The Adamic Woman
and the Redemption of the Twin-Shechinahs
Rock and Roll, Religion and the Trance of Dance
By S♀S - Sisters of Solomon
Turn, turn, O Shulamite, turn, turn that we may gaze upon you.
What will you behold in the Shulamite, dancing within the twin camps
- King Solomon’s Song of Songs
In the future, the Holy One, blessed is He, will make a circle dance and
each one will point with his finger and proclaim, “This is our God for Whom
we have waited for, we will rejoice and be glad in Him”.
- Talmud quoting King David’s Psalms
In this well-known Aggadah from the Talmud, you don’t have to be a Kabbalah
rocket scientist to begin to see what the Talmudic masters of concealment have wonderfully
revealed before us.
1. “In the future” is a phrase that refers to the Messianic Era. For us now, that means that the Adamic Era is right around the curve of the corner, and we are already walking — and dancing — into it.
2. "The Holy One, Blessed is He” is a code term that is an abbreviated form of “The Holy One, Blessed is He and His Shechinah”. When shortened without “His Shechinah”, the term “Blessed” now becomes the aspect of the Shechinah, relative to the “Holy One”. This means that the hasadim of “The Holy One” and the gevurot of “Blessed is He” are in a state of zivug-union.
3. “He will make a circle dance”, “make” is the verb from the same root as the dimension of Asiyah (“Action”, i.e., making and activating) which, relative to the higher realms, is the feminine gevurot. “Circle dance” is the curved, circular female gynergy. “Dance” is code for the Holy Zivug (as in the “Dance of the Hasadim and Gevurot”).
4. “Each one will point with his finger”, the finger being the sod-code of the male yesod and “pointing” is euphemistic language (lashon nekiah) for the act of the sacred zivug-union.
5. “This is our God for Whom we have waited for, we will rejoice and be glad in Him”, namely, this rejoicing is the ultimate psychosexual-spiritual ecstasy of the zivug-consummation between the iterations of all the male-female polarities from throughout all existence. This is the ultimate purpose of God’s creation (both from our perspective and from the Divine perspective.)
Thus far is the simple narrative (p’shat) of the sod-code of this Aggadah. To go further we need to restrain our imagination and propensity to anthropomorphize, yet at the same time keeping our passions holy and high — as in “higher-dimensional”. The alchemical synthesis of dance, together with sexual energy, and the added background music is oozing from Solomon’s dance of the past, and with his father David’s dance of the future. We can see it, we can feel it, we can taste it, we can smell it and we can virtually touch it. How can this combination be so powerful and other-worldly, as if it is, in fact, emanating from another world? What are the forces that are animating dance, music and female energy? This is the mystery that this chapter explores.
Let’s take an example of a genre of music that is dear to many of our hearts — rock and roll. Rock music is a vast spectrum — hard rock, soft rock, country rock, Gospel rock, electric rock, spiritual rock and classical rock to name a few (If, however, you are into real classical music, big band or jazz, etc., just make the applicable equivalences). Originally, the expression “rocking”, whence comes “rock”, was used to describe the spiritual rapture felt by worshippers at certain religious events, as well as to refer to the rhythm often found in the accompanying music. Additionally, “rocking" and "rolling" were also used, both separately and together, in a sexual context. Thus, began the evolution of the term rock & roll unto this very day and night. (For the women rockers among us, however, upon discovering the additional stimulation of the depths of the Kabbalah, our slogan is (with apologies to Kiss), “I just want to rock and roll all night and learn Kabbalah everyday”). Rock & roll music, together with Torah based Kabbalah, super-energized with exotic trance-dancing like a swirling, whirling Dervish — such a synergistic combination is certainly at least one-sixtieth of [the Messianic dance of] Olam HaBah!
(Did you know that Dervish is an order of Sufism, the mystical tradition within Islam? Contrary to fundamentalist Islam, Sufism is generally universalistic in its beliefs — and Sufis were often, and continue to be, persecuted by mainstream Islam. The numerous Sufi schools are kind of a cross between the mystical elements of Hinduism, the monasticism of Christianity, with some influence from Kabbalah, and a passionate Godly love of the Song of Solomon. The 13th-century mystic and poet Rumi was a Sufi of the Dervish order. King Solomon was a Kabbalist of the Jewish order).
What, from an esoteric Torah perspective, exactly is dance and music? Why does it naturally turn the archetypal Shulamite woman on, along with the women of the world, as she goes “around and around”? According to Kabbalah, the secret of dance is that at its essence, it is the dance of the HuG, the expanding straight light of the masculine and the contracting, curved light of the feminine — the hasadim and the gevurot. Coming closer, moving further apart, coming closer, separating again, only to be followed by reunion. This dialectical movement is also known as “ratzo v’shov” — running and returning, going and coming — that is used to describe the Chayot haKodesh in Ezekiel’s vison and elsewhere. Even without a partner, however, the rhythm of the dancers can be replicated within the movements of one’s own body, hips to the right and left, as well as up and down the spine (as explained in the chapter: Prayer Power of the Divine Spine). Dynamic dance is the name of the game, that God dances and plays with His feminine creation — with the feminine within Himself and the feminine outside of Himself. The Shulamite-Shechinah is none other than His Own Self turning inside-out! “Turn, turn, O Shulamite, turn, turn”. Turning Her inside-out and then on the rebound, turning Her back outside-in, and then again and again, is the eternal cosmic dance. The love and the joy for both dancers is indescribable. What is even more indescribable is how they can transform their dance of love and joy into— stimulation from below (“M♀N”) — for the Adamic Messiah.
So, what is the secret of dance? Almost 3,000 years’ ago, King Solomon wrote, “Turn, turn, O Shulamite, turn, turn that we may gaze upon you. What will you behold in the Shulamite, dancing within the twin camps?” The “Shulamite” woman is the Shechinah. Both Shlomo and Shulamite are from the same root from which also comes the word “shalom”. Everyone knows that shalom means “peace”, “hello” and “goodbye”. In Kabbalah, however, “shalom” is also the sod-code for the holy zivug. “Shlomo” is half of the zivug — the masculine light — and Shulamite — the feminine light — is the other half. Here in this verse, the male counterpart is watching, gazing at her every move, following the curvature of her form. In the narrative, the male hasadim are stimulated and inspired, and she, in turn — the female gevurot — are stimulated and inspired. (“Inspired” has its origins from “to be with” or “to be in spirit”). In light of the Zohar’s formula, “As Below, So Above” — The Shechinah is arousing from below and the Holy One, correspondingly, is radiating from above. He is motioning to her to turn around and around, inside and out, outside and in, within him and without him. This, the Kabbalists explain, is at the core of the Great Dance of the higher-dimensional future that the Adamic Messiah (aka, Tiferet, Ze’ir Anpin) will orchestrate with the tzadikim — also a code for all the yesod energy in the world. Although, as individuals we can experience these energies at times now in the world, beginning with the inception of the Davidic Messianic Era, all women and men will collectively share in this divine phenomenon. Where, however, does the bliss, rapture and ecstasy come from? What is the supernal root of spiritually erotic dance and female consciousness?
Fourth of July Ohrganuzic Independence Day
The following is an edited version of one woman’s experience from her former teenage life of “sex, drugs and rock and roll”. We are including it here (and have her permission to do so) because of the indelible, numinous impression it made upon her, and the serious spiritual questions it left her with. It wasn’t until she became a ba’alat teshuvah that she found the unexpected answers in Kabbalah centered Torah. We believe her astounding account touches the core of some of the deep questions we all have had about our twin female gevurot energies — the secret of M♀N. This is also an example of the synergy between sexuality, drugs, rock and roll and the trance of dance. In her retrospection on her other-worldly experience, she contemplates as to what was the higher source behind her manifested experience. Many years after the event, she shares how she can now offer her past as an offering (a korban) of M♀N for the Man — the Adamic Messiah. She concludes that her experience was a true glimpse of the Messianic dance of the future, echoing forward from the past – that is the ancient dance of the past of King Solomon’s Song of Songs pointing into the Messianic future of King David’s cosmic circle dance.
I am a ba’alat teshuvah, repentant of many of the things I did in my youth (i.e., until I become religiously observant). I have acknowledged my past wrongs with regret and would never do many of the things again that I have done. Every Yom Kippur, I review my actions, speech and thoughts of my past and, surrendering to the God Consciousness so much greater than me, I pray for atonement. Now, Torah ethics teach that one should never draw attention to a person’s past transgressions — including one’s own — especially after they have made amends. However, if that person desires to share parts of her past in order to reveal the extent of her teshuva for the glory of God — and to also share some deep truths about her discoveries in Torah — then this is permissible and even meritorious. Here is my story:
It was the Fourth of July, Independence Day, the summer before I would go off to college, and I was celebrating my own independence at a local rock concert, at a local park with a local band with my local boyfriend. I think we were on mushrooms, or perhaps mescaline? I was in a very euphoric state of mind and in a “at one with the universe” state of body. I was, as often, at such venues, dancing wildly by myself, off to the side, but near the outdoor stage. The weather was very hot, and it was about to get even hotter.
At some point, swimming in the music and flying in the clouds, I found myself up on the stage with the band, dancing. I was wearing a pair of very short, cut-off jeans, and my lacy, hippy halter top, sans bra, tied together in the back with a slip knot. Now, I was not the only girl who was down to wearing a virtual bikini. It was over 90 degrees, many of the guys had their shirts off, so why shouldn’t we girls have a similar right? (This argument, of course, is so lame, but that was my mind-set at the time).
I am not sure of the sequence of events that got me up there, but then again, I was skyrocketing quite high, straddling somewhere between the stratosphere and the troposphere (but with my powers of “mind over matter” I was still the pilot of my own rocket ship). Aside from the obvious effects of my day trip to the State of Expanded Consciousness, I think what pushed me over the edge and pushed me up onto the stage was when the band began playing their rendition of “Blue Suede Shoes”. The rhythm of that rockabilly country blues number always did a number on my head, and I wanted to be in that number, with my sainted-self marching right up on stage.
I was putting on an amazing show for the several hundred folks that were rocking to the music. They were loving it and cheering me on (I should mention that at my ripe age of 17 years, I was rather well-endowed). The security officers? Well, my boyfriend told me afterwards that he thought that there was only one security personnel present near the stage during those short, five-spangled minutes. Apparently, that one guard was enjoying my Ziegfeld Follies along with everyone else and only came to escort me off the stage when the song was over. You couldn’t be more entertained if you had paid a professional pole-dancer. (Yes, this was me — or at least the “me” that I used to be until I saw that was not the “me” that I needed, or really ever wanted to be.)
I was up on the stage in a “peace, love and don’t make war” altered state. So, I was quite oblivious when the singer in the band came up from behind me and pulled the slipknot, undoing my halter top. I was not, however, stunned. To the contrary, without missing a beat, I continued surfing the synesthetic waves that I was observing, which were pulsating forth from the now literally visible notes of the music (I think that is when I started peaking on the hallucinogen that I had taken). As if nothing had happened, I just carried on my dance performance as if it was a planned part of the act.
The men in the audience were howling and cheering me on with their cat and dog calls. The women were either stunned, sternly observing the reaction of their boyfriends and husbands, or shaking and snaking along with me, joining my sorority of temple goddesses. I was transported, they were transported and, being completely scot free, we were all beamed up to the great Starship Enterprise in the sky, as if all our consciousnesses had all been dematerialized, and fused into a Grand Unified Theory of everything — the G.U.T. of God!
Now, I know that everything I am describing to you (As best as I can remember from several decades ago) is being perceived from my altered doors of perception, and I have no objective proof of what I witnessed. But I was no longer just a half-naked girl gyrating on a stage with a rock and roll band in a park on a steamy Fourth of July. Rather, I was gratefully and gracefully offering sacred incense in a celestial temple, high up in the heavens, somewhere between the edge of time and the curvature of space. I made contact with a higher consciousness, and everyone else seemed to have a collective “contact high” from mine.
Now, please understand me, as this is crucial to follow the clues to my self-discovery as to what I experienced, despite my unlady-like behavior. It was not because I was emotionally insecure and lacked self-esteem and needed attention. I was not a nympho-exhibitionist, or simply because “some girls just want to have fun”. You have had to have taken psychedelics (or today, also ayahuasca) to grok what I was experiencing. (If, however, you are not “experienced” I don’t think there is any way you can believe any of this.) The entire time I was up there half-naked — which was all of 5 minutes — I was not feeling outwardly sexual or inwardly sleazy. There was no raw, lustful, carnal sexuality. There was no sense of shame of nakedness. I was standing at the threshold to the Gates of Eden before the Fall of Adam, as it is written, “They were both naked, the man and his wife, and they were not ashamed."
I was in love with the universe with a childlike purity, and the universe was loving me back with all the compassion of a mother, and my ever-expanding universal love was there for all the world to see. I felt like a goddess (or at least a hippie-goddess) completely surrendered as I performed my cosmic dance before the King of the Universe. If I had to use only one word to describe my experience, it would be “Godly” — and this was long before I even believed in both a collective and a personal God.
Now, this is really going to get weird, but you can’t make this stuff up. Emanating outward, as if from a double-barreled ray gun, twin streams of milky white light began shooting forward from my two breasts and showering the crowd. My breasts were sending out healing viscous waves of love, peace and happiness. It seemed that whoever my “flesh-lights” touched, they were turned into human angels and everyone literally “saw the light”. They didn’t know what hit them but somehow, they were all dancing and singing along as if it was the number-one hit song of the year.
Now, instead of the rays of light only going straight out, when they reached the back end of the crowd on the green lawn, instead of dissipating or continuing off into the horizon, they split off to the right and to the left. The curved lights then came whooshing around from behind me and reunited into my back, only to continue once again to protrude out through my heart, and from in-between my breasts. It was like a giant, elliptical, transparent orb of light, a saucer-shaped oceanic cloud, enveloping the entire park. It kept cycling and revolving on itself, becoming larger and stronger, and feeling as if it was its own self-perpetuating vortex of consciousness. (Much later I was to learn that this bizarre shape was a colossal rotating torus.)
Whatever it was, it was all centered in, and passing through my body like a torrential river of light. OMG, I could see it, I could feel it, I could taste it, I could smell it and I could touch it. It was super-synesthesia as all five of my senses melded into each other. The scene was like a massive whirlwind, right out of the Sunday school Bible images of the cloud tunnel that opened up, and took the prophet Elijah to heaven while still alive. Although it truly felt like a slice of eternity’s pie, in reality, this climatic crescendo lasted only a few minutes. The band finished the song and I landed back in this earthly dimension, and it was all over. I was, however, still deep in a state of psychedelic delight and wonder, right out of a sequel to Alice in Wonderland. As expected, I continued tripping for several endless hours.
After I was safe and snug back home in my room, I finally fully came down by late at night and the next day. Everything was the same, but it wasn’t. From the imprint that was left in me, I was feeling something different, and whatever it was, it was the first time in my life that I had this new awareness. The closest term I had for it was “cosmic consciousness”, but I had already had numerous of those inner-space events with mind-expanding substances (I was “experienced” by the time I was 15 years old). But this event was beyond anything I had encountered, or, for that matter, beyond anything I had read about in Eastern meditation literature. I felt a “holiness” although I wasn’t yet quite sure what “holy” even meant.
Aside from the taste of the “holy”, I had one looming question: What in the name of heaven was that?! What had just happened at that concert in the park? Did it even really happen? If it did happen, could it have been an alien intelligence? A UFO that was trying to land? Should I report it the authorities? Or, was it just an old-fashioned home-brewed hallucination? But, close psychotropic encounters of this kind are not simply mirages or imaginary Disney fantasias. Rather, the word psychedelic comes from a Greek root meaning “mind manifesting”. As Aldous Huxley investigated and experimented with these natural substances, he concluded in his famous book “The Doors of Perception” (Yes, that is where the rock band “The Doors” took their name) that our mind sensorium is blocking out and filtering the full spectrum of reality and consciousness. Mescaline (derived from peyote cactus, with Don Juan’s Mescalito as its patron saint) with which he experimented, opened the “doors of perception”. In other words, these plant-based molecules (or synthesized compounds, based upon the natural molecules) have the ability to remove the veils that are the façade, covering up what is right in front of us and all around us.
So, my experience cannot be simply discounted because I was in a California state of mind. What I saw was, in fact, rooted in something that was there, whether centered in my own brain, or in a cosmic brain. In other words, my other-worldly dance was a very-worldly “true hallucination”. But whose hallucination was it — mine or theirs? Did they see what I saw? Did I see what I saw, or what I think I saw? Honestly, it felt more like I was being seen. My instruments of vision and consciousness were being used as a mode of higher-dimensional communication. Was this some kind of an alien consciousness psychically communicating with me through my senses, only using the psychedelics, the dance and the rock music as a medium? Was it trying to communicate with all of us there in the park? The ecstasy of the truth that I experienced was not just “out there” as if in a X-Files episode, rather it was “right here” and “right now” and very real. But what was it?
This was the most profound out-of-this-world phenomenon that I had ever experienced. It would not be until many years later, after I began my Torah studies, that I was able to begin to make sense out of my Fourth of July Spiritual Independence Day. This event, together with a few others, all pointed in one direction, they all intersected at one vortex, they were all whispering the same language. I now know that it was the secret of the Ohr Ganuz, the Hidden Light of Genesis, the numinosity of the holy, and a flash-forward fractal of the dance of the future. All fingers were pointing in one direction, to the center of God’s Own curved consciousness, surrounded by endless circling pulsations dancing within the twin camps with each one of us proclaiming in a state of Ohrganuzic love, “This is our God for Whom we have waited for, we will rejoice and be glad in Him”. I now understood, in retrospect, that my incomprehensible dance decades ago in the park was, in fact, a fractal fact of the Dance of the Future Pas
May We Please Have This Dance?
So, what can we learn from King Solomon’s Song of Songs together with this woman’s story? Why does sensuality — in this case the sensation of a dancing body — psychedelic drugs and rock and roll feel so good – so very good, as if the source was rooted in something out-of-this world? In fact, it is something from out-of-this world! Why, for all of us, is contemplating the Song of Songs so intoxicating, and especially this one verse? A major clue is the phrase “dancing within the twin camps”. The twin camps are alluding to the camp below of our human world, and the camp above in the divine realm. “As the delight Below, so the light Above”. The terrestrial dance Below is Her celestial dance Above. Both are simultaneously being charted and calibrated by the penetrating eyes of the straight light of God. Her virtual out-of-body experience, yet while being deeply in her body, was the delight of the Light of God. It was only afterwards, in a world of Torah centered Kabbalah where she learned that there is an actual name for the higher-dimensional root of this type of ecstasy. It is called the Ohr HaGanuz, the Hidden Light, the Messianic Light, the imploding vortex of the cosmic toroidal circle-dance of the yesod-tzadikim. It is the psychosexual-spiritual trance of dance rapture of the Shulamite-Shechinah dancing before the eyes of her man — the Solomonic Adamic Man. Their very glances at each other are, in this instance, the actual sacred zivug taking place before our eyes, yet done so discreetly.
So, ladies, are you ready to join the deep exotic trance of the Davidic dance of the Cosmic Curvature of God’s Consciousness? If your soul is rooted in the Twin-Shechinahs, your choice has already been chosen for you. Welcome to the Great Encircling Dance of the future Messianic Era, where we will all be pointing in the direction of our God and exclaim, “This is our God for Whom we have waited for, we will rejoice and be glad in Him”. And the band has already begun to play. (You can also choose any song or melody you wish!)
Exercise-Let's Dance
Women, we need to Dance, Dance, Dance! When you do dance, set the intention, and connect to dancing with your God, just as King David did in his day and as the Women at the Sea did in the time of Miriam and Moses. Envision the dancing of the Shechinah and the Holy One in the Song of Songs. Read a line or two, or a chapter, and then act it and dance it out. Draw the entire ambience of sight, scent and sound into your mind and let dancing take on a whole new level. If you are able to make the zivug-unions within yourself while dancing, all the better. That is connecting the Rachel (Chavah, base of the spine) to the Leah (Chayah, base of neck) moving the energy up and down the spine.
On a health note, dancing and moving our bodies in curvature opens blockages within us, allowing the spinal energy to flow. This brings more clarity, produces “feel good” hormones and a sense of wellbeing. Some of us dance daily, as an exercise, as an offering, as a renewal of our mind and body, and as a release of psychosexual-spirituality. Dancing in this manner has enhanced our own relationships with our husbands and ourselves. We have seen it strengthen marriages — physically, emotionally, and spiritually. Who knew dancing could transform a person in such a way? King Solomon and his Shulamite certainly knew!
