Phases of the Ecstatic Dance Journey
Phases of the Ecstatic Dance Journey ©2018 Peter Weinstein. Phases of the Ecstatic Dance Journey by Peter Weinstein is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. There are many different approaches to weaving together a journey we call Ecstatic Dance. Here at Ecstatic Dance Records we refer to the following “phases” for the Ecstatic Dance journey.
Arrival gentle. awakening. graceful. flowy. innocent. stirring. Arrival tracks welcome the community to the space and the dance floor. They help the dancers feel present, safe, and grounded. It’s the potentiality of dance foreplay. Arrival tracks set the container. (The tracks begin as ambient and move into the downtempo realm.)
Buildup driving. insistent. throbbing. thrusting. playful. intensifying. rising. Buildup tracks get the energy moving. The beats are driving and percussive. They help the dancers develop dynamic tension. (Typically, they are mid-tempo.)
Peak
wild. surging. chaotic. orgasmic. soaring. Peak tracks are for catharsis and climax. The beats are assertive, and the bass drops are powerful. (Typically they are high tempo.)
Cruise
steady. deep. unwavering. Cruise tracks are played between peaks, giving the dancers a chance to get recharged. They are the antidote for beat fatigue. They aren’t moving the energy up or down. (They are typically high tempo with temperate beats.)
Landing
airy. lyrical. angelic. nostalgic. fliting. These tracks carry the dancers down from the final peak into the heart.
Integration
peaceful. still. drifting. fulfilled. Integration tracks are played at the end of the journey to hold the “beingness” after all of the dancing “doingness”. They differ from Arrival tracks in that they feel more emotional, reflective, and resolving. (They are chill and ambient.)
Phases of the Ecstatic Dance Journey ©2018 Peter Weinstein. Phases of the Ecstatic Dance Journey by Peter Weinstein is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. |