In dance, even the weakest can do wonders.

Music as a whole, in its overwhelming wealth and endlessness, is inaccessible unless we free ourselves from the limitations of our own restricted training.

In the earliest cultures any tie between the dancers is slight. In a higher level the choral dancers almost always touch one another and thus force themselves into the same stride and the same movement. The closer the contact, the stronger is the social character of the choral.

In Europe we have the "loss of self" motif clearly illustrated in the whirl dances of the Russians sects of the Molokani in Armenia....All the countries that bordered the Meditteranean in ancient times, and the less remote sections of Asia as well, appear to have had whirl dances.

The adult who puts his arm around his companion in the ballroom, and the child in the roadway, skipping in a round dance - they forget themselve, they dissolve the weight of earthly contact and the rigidity of daily existence. The soul slips into a twilight stage.

It removes the limitations of his body, extinguishes his consciousness, and pours the divine spirit into him. The whirl dance is the purest form of dance devotion.

The dance lives in all mankind as a necessary motor-rhythmic expression of excess energy and the joy of living.