The Square Dance

On the day I gave the measurements for the square diagram, the process was clear and concise. I instinctively knew the numbers were God-given, and within an hour, I had an equitable square. I had to wait. In the diagram I designed in 2007, the reactivation of the square dance ceremony site did not occur until March 2017. The four squares and the small square, which is the dead centre, differ. The ‘ Dead centre of the court is symbolic of the ‘ checks and balances in place to limit the powers and influence of the Mowi.

The annual ritual performed by tribal priests increased the people inner perceptive cognition and reinforced a certainty the tribespeople could manifest the protection in their day to day lives. The ‘ Dead centre was not as with that in the physical world and the Dreaming. It was ‘ ground zero—a container to hold the metaphysical qualities needed to maintain it. The structured human square of the tribal priests is tight-knit one could not see it in the middle. The Priests all bases no room allowed for the Mowi to interference its presence or deeds immediately recognised by the tribespeople who possessed the mental, emotional and spiritual protective qualities that maintained the order of the unseen negative influences rising above the Mowi’s unnatural and uninvited occurrences.

The four squares represent all living things in the physical world and the realms and dimensions of the spirit beings and the Dreamtime creatures. It is symbolic of the fourfold patterns of metamorphosis which occur on every level of manifestation – spatial, stellar, energetic, plant, animal and human.

The Origine’ divide their universe according to the colours of the earth pigments – red ochre, yellow ochre, white pipe clay and black carbonic soils. Black, white, yellow and red corresponds to the fourfold archetypal division of creation found in many indigenous cultures. Native Americans relate the four colours of their corn yellow, red, black and white to the four orientations of north, south, east and west—the same archetypal patterns based on the four colours and four directions found in Sanskrit cultures of India. The same cosmological division also existed in ancient Egypt and continued in the esoteric philosophies of alchemy and astrology. The ancient Taoist philosophies of China and Japan order the entire universe around the same colours.

Material science reveals the same fourfold pattern: the four elements essential to all organic substances – nitrogen, hydrogen, carbon and oxygen; the four universal fields of force – electromagnetism, gravity and the two nuclear fields; the four types of rocks that make up the earth’s body igneous, sedimentary, conglomerate and metamorphic and the four primary tissues of the body – nerve, bone, blood and the layered tissue (skin, fat, muscle). Modern astronomers have designated the four major phases in the life cycle of stars as black holes, white dwarfs, red giants and yellow suns; their respective qualities are related to and consistent with other symbologies of the four colours.

Black, white, red and yellow is considered a sign of a fourfold relationship of universal qualities. Fourfoldness is one of the archetypal patterns through which the foundations of the natural world are generated. Entering into these primary symmetries – or what the Origine’ call dream patterns – in dance, music, image and thought allows one’s being to join in the interrelatedness of seemingly separate phenomena.

The two lines travel in four directions crossing in the centre of the square creating the ‘ dead centre representing a man and woman. The Matristic societies to the Starlore culture honoured the sacred masculine and the sacred feminine, thus the holy significance of both the phallus and the womb. A matristic (partnership) society centred on the traditional thought of the feminine values of nurture, care, cooperation, protection, unconditional mutual respect, reciprocity and connectedness to the earth. While concerned for the rights, the wellbeing of women, needs arise broadly involved with the source of energy in all its manifestations. It is a restoration of the balance to unchecked patriarchy.

The square dance artwork reveals multi-layered symbolism and is relevant to understanding natural processes. The square dance design protected the design of the circle named ‘ conception. In Origine art, the ring relates not only to a physical object but, through that object, to the supernatural creative power of the earth: to a waterhole as well as the specific regions of the planet from which the spirits of various species emerge; to a woman’s breast as well as to the rain that falls from heaven in response to the earth’s hunger. In other words, the circle ultimately represents the source of all life and nourishment. Eventually, matristic culture recognises all life springs from the feminine.

The two lines outside the square are two souls of the slow travelling back to the stars after death.

The four signs of the direction of South, East, North & West, the four primary colours used by the Origine’ in traditional art. Fourfoldness also complete the four stages of initiation in ritual and ceremony
The equitable Square Begins
Title – Conception
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