Rune Might: The Secret Practices of the German Rune Magicians - Edred Thorsson 2018

Rune-Dance
Secret Practices

The practice of putting the various runic postures in motion, of making them “dynamic,” was probably introduced by F. B. Marby. But it was S. A. Kummer who really developed it extensively. In his book Heilige Runenmacht, he wrote:

Among our forebears, the holy, religious Germanic dance was the dance of the initiates, the priests and priestesses, who received especially high cosmic waves by means of this dancing and thereby developed their innermost kernel-essence, their divine “I,” to its highest unfoldment, and got high inspiration, spiritual abilities, clairvoyance, and so forth.

Kummer maintains that the initiated dance of the ancient rune magicians was free of what he refers to as “ape-like movements.” He would characterize the initiated dance of the Germanic peoples as something in which only calm, harmony, and rhythm prevailed. It must be made clear, however, that there probably was more than one school of sacred or magical dance in the Germanic cultural sphere in ancient times and that at least one of them, that of Freyja, was characterized by somewhat “wilder” forms, of which S. A. Kummer might not have approved! But as the runer can see, these “dances” are really more akin to dynamic yogic exercises, the dance of the Sufis, Eurythmy, or the so-called Gurdjieff movements than anything we might ordinarily associate with dancing now. Kummer is at pains (as he was when discussing the origins of yodeling and how it was preserved) to point out that some of the basic movements of dynamic rune exercises have often been preserved in traditional forms of Germanic folk dancing.

These exercises are best performed outdoors on a level surface. For most of them, a good deal of room is needed: a surface area of about seven to ten yards in diameter would be ideal. Kummer also said that these dances were usually performed naked, except where the initiates of what he called the priesthood were involved. They were supposed to have worn robes fitted with jewels corresponding to the magical purpose at hand.

First Dance

Standing in the south of a circle seven to nine yards in diameter, take up the MAN-rune posture after performing a few preliminary breathing exercises. Now begin to move with relatively short side steps to your left (i.e., in a clockwise direction), always facing toward the center of the circle. During this whole phase of the exercise the sound mmmmmm should be sung or hummed. As you return to the southernmost point in the circle, begin to spiral ever inward to the center of the circle on each successive turn, until you are standing in the center. Once the center has been reached, begin to spin in the middle of the ring while more intensely humming the mmmmmm sound and while intensely concentrating on the solar plexus region. The turning should be made to be progressively faster. After a high level of concentration has been attained in the sound of the M-rune, the student should slip into silence, entering a complete thought-vacuum. If thoughts should begin to creep into the mind, resume the humming to eliminate them. After some time in the thought-vacuum, lie down in restful contemplation. In the state of mind that falls on the runer after these rune-dances, there often come flashes of inspiration, insight, and understanding. This period of rest should follow all rune-dance exercises.

This exercise should not be repeated more than three times a day. It is also recommended that the TYR-rune be performed in the same way. The exercise should be experimented with by turning in both a clockwise and a counterclockwise direction. An alternate mode of doing the exercise would be to begin turning in the middle in a clockwise direction, working your way outward, then turn back inward in a counterclockwise direction. This is especially recommended for the TYR rune-dance.

Second Dance

In the basic cross posture, with the palms facing upward, begin a basic waltz step in a circle while singing the ha sound in a rhythmic fashion. Concentration would be maintained on the solar plexus and on the third eye, or pineal gland. After the H-rune has been thoroughly invoked, you should lapse into a perfect thought-vacuum while gently swaying in the center of the circle. If thoughts should begin to arise in the mind, again begin the waltz step and the singing of the ha sound.

Third Dance

Start in the static form of the K-rune exercise. Take three side steps to the left and then three side steps back to the right, the whole time evoking the negative state within the mind. Do this cycle of movements about seven times before resting. Kummer advises the runer to undertake this exercise at the time of the waning moon and to do it in a time and place where the student will go unobserved.

Fourth Dance

In this dance, simply stand in one spot (preferably in the center of a magical runic circle) and spin while evoking the negative state of mind. You should do this exercise three times in a row and then rest. If a concentrated thought-vacuum is attained, the effects of dizziness will be minimized. In any event, the student will want to rest with his or her head to the north at the conclusion of the exercise.

Fifth Dance

Facing north, take up the N-rune posture, perform a few preliminary breathing exercises, and then begin to sing or hum the nnnnnn sound. Then put the right foot spread out sideways to the right, and remain in this position for about seven seconds while singing the nnnnnn sound. You will still be facing north at this point. Then turn around 180 degrees on the right foot so that you are facing south. Remain in this position again for about seven seconds, but sing the eeeeee sound. Now make the 180-degree turn on your left foot so that you are again facing north, and sing the nnnnnn sound for another seven seconds. Turn again on the left foot to the south and sing the eeeeee sound, and finally return to the north by pivoting on the right foot and conclude with the nnnnnn sound. This whole cycle of movements is to be repeated at least three times. This exercise is actually a dynamic combination of the N- and E-runes into the HAGAL.

Another way to intensify the experience of some runic dance and postures is to use illumination from behind so that the postures throw shadows onto a wall. This form of shadow dance is especially powerful as a mode of evoking memories from ages past and as an enhancement of the runer’s ability to read the runes in divinatory work.