traditions

On Mysticism, Transcendence, Meditation, Seers & Stones

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What is mysticism?  That is the million dollar question.

It is incredibly difficult to define. Wikipedia defines it as the “pursuit of communion with, identity with, or conscious awareness of an ultimate reality, divinity, spiritual truth, or God through direct experience, intuition, instinct or insight.”  What?  By combining all possible definitions into one, they have created an incomprehensible one.

Let’s turn to some closer associates.  Hugh Nibley once defined it, quoting Eduard Lehmann, as “an intuitive and ecstatic union with the deity obtained by means of contemplation and other mental exercises.” Professor William Hamblin turns to oft-repeated definitions such as “a domain of religion that deals with the search for and the attainment of a profound experiential knowledge of God or of ultimate reality,” or, “mysticism is … a type of religious experience which involves a sense of union or merging with either God or an all-pervading spiritual force in the universe,” but finds even these lacking.  In Kevin Christensen’s recent Interpreter review of Margarget Barker’s book Temple Mysticism: An Introduction he indicated that his “favorite LDS approach” to the topic has become Mark E. Koltko’s essay “Mysticism and Mormonism: An LDS Perspective on Transcendence and Higher Consciousness,” found in the April 1989 issue of Sunstone. We’ll come back to this shortly. Christensen notes that while Nibley’s view tends to be the more conventional definition, Margaret Barker’s own use of the term in her book is very different still, focusing on the experience of “seeing the Lord,” i.e. a temple theophany. While different, there is clearly overlap between the ideas of “a union with deity,” and “seeing God,” as Matthew Bowen also elucidates in his recent article in Interpreter. Koltko’s essay also perhaps helps bridge the gap. [Read more…]

Nibley’s ‘One Eternal Round’ Magnum Opus Published

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Book Cover

Book Cover

I know a lot of people who have been waiting for this book for many years.  One Eternal Round is the 19th volume in The Collected Works of Hugh Nibley, and is his magnum opus, the volume of materials he worked on for a very long time until the end of his life.  The book is described thus:

One Eternal Round is the culmination of Hugh Nibley’s thought on the book of Abraham and represents over fifteen years of research and writing. The volume includes penetrating insights into Egyptian pharaohs and medieval Jewish and Islamic traditions about Abraham; Greek, Egyptian, and Mesopotamian myths; the Aztec calendar stone; Hopi Indian ceremonies; and early Jewish and Christian apocrypha, as well as the relationship of myth, ritual, and history.

The final groundbreaking chapter delves into geometry and mathematical relationships depicted on Facsimile 2. All these are woven together into a magnificent tapestry of evidence demonstrating that the book of Abraham and its facsimiles represent actual ancient materials and traditions. This book would not have come to fruition without the efforts of co-author Michael D. Rhodes. Includes illustrations by Michael P. Lyon.

I hope to soon get a copy and write my reflections about it.  The book is available from the BYU Bookstore and Deseret Book.

Running Champion Bernard Lagat and Nandi Initiation

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U.S. professional running champion, Bernard Lagat

It is fascinating to me all the places that I hear or see or read glimpses of temple theology, the “scattered fragments” of ritual tradition ((Nibley, The Message of the Joseph Smith Papyri: An Egyptian Endowment, xxvii)).  As Nibley found out, and taught extensively, these remnants are found all around us, everywhere.  My wife was listening to the radio on the way to the grocery store last week, and heard part of a program on Classical 89 that related to the Creation song.  She came home and told me about it, and I was immediately interested, and tracked down the transcription.  I’m still studying that, and will write about it soon.  But today, again, I was reading the February 2010 edition of Runner’s World, of all places, and came across references to ritual initiation and rites of passage.  [Read more…]

The Traditional Greek Folk Dances and their Ancient Roots

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San Joaquin Delta College Hellenic Dancers doing the Greek Syrtos dance at the school's new campus dedication in 1977. They wear the traditional Greek folk dance costume. A musician is playing a Thracian gaida in the center of the circle. Used by permission.

San Joaquin Delta College Hellenic Dancers doing the Greek Syrtos dance at the school's new campus dedication in 1977. They wear the traditional Greek folk dance costume. A musician is playing a Thracian gaida in the center of the circle, leading the dance. Used with permission.

When I originally wrote my paper on “The Genesis of the Round Dance,” I included a short section on the ancient Greek dance forms:

The ancient choruses, dances, and songs of the dithyramb of Greece displayed the familiar pattern of a dignified, circular dance around the altar of Dionysus in the theater’s orchestra. In fact, the term orchestra originally meant the circular dancing place of the theater. In addition, the terms carole and chorus, also originally Greek, meant a sacred ring dance, men and women holding each others hands [other related English words are chorale, choir, and choreography]. LDS scholar, Dr. Hugh Nibley, reminds us that the creation was often acted out in these Greek dance dramas:

The Greek play has a chorus. Well what does chorus mean? It’s a ring dance; it’s a circle. Same as our word curve; Latin: curvus; going around. The chorus sings, and the chorus of the muses sings the poiema, the creation song . . . When they sing together, it’s the poiema, the song of the creation. It’s a glorious thing. It’s a round dance like the Egyptian maypole.

Nibley takes it one step further to explain that all the arts originated from the ancient temple dramas. “So poetry, music, and dance,” he tells us, “go out to the world from the temple-called by the Greeks the Mouseion, the shrine of the Muses.” Again he states that, “All the arts and sciences began at the temple. Dance, music, architecture, sculpture, drama, and so forth-they all go back to the temple.” Kraus supports this claim of a ritualistic connection between the arts when he informs us that Native American ceremonies and sacred dances are “part of an elaborate drama which embraces all the arts.” ((http://www.templestudy.com/2008/02/01/the-genesis-of-the-round-dance-part-3/))

The more one learns about the arts, the more one is convinced of Nibley’s stunning summation.

I want to expand a bit more on the traditional Greek dance forms, and share some more interesting details I’ve learned about these ancient practices that still are continued today.  [Read more…]

Pōwhiri and Hongi of New Zealand’s Māori: a Sacred Ritual

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New Zealand Maori exchanging the sacred act of hongi, the breath of life.

New Zealand Maori sharing in the sacred act of hongi, exchanging the ha or breath of life.

The title is a bit of a mouthful, but let me explain.

I have been a ballroom dancer since I was about 12 years old, or about 15 years.  It has been quite an experience being involved with this subculture of ballroom dance, which has made up a large portion of my life.  During the summer of 2005 I had the opportunity to tour with the BYU Ballroom Dance Company to the South Pacific, during which we visited Hawaii, New Zealand, Australia, and Tahiti.  My wife was also fortunate to join us on the trip.  It was a singular experience which has burned a place in my memory.

Naturally, as part of these tours we were also able to learn much about the locations and people of the places we visited.  One of the places that really struck me for its beauty and uniqueness was New Zealand.  Going to New Zealand was like stepping into a different world.  The indigenous people of New Zealand are known as the Maori, and the customs and traditions of these people were quite different than what we were accustomed to.  Some of the things we experienced with the Maori were very spiritual in nature, which immediately caused me to ponder, and which I have had opportunity to think about for several years now.  Specifically, the Maori ceremonial greeting tradition that they conducted with our BYU group as we arrived in New Zealand was one of the most significant experiences I had with the group.  This rite or ceremony is known as the powhiri, and has insightful elements for Latter-day Saints to consider.  [Read more…]