The Wormhole Dance

Did the Dervish Sages Know the Secret of Time Travel?

“We come spinning out of nothingness, scattering stars…
the stars form a circle, and in the center we dance.”

—Rumi, 13th century

 

Picture this: It’s nighttime on a Nile cruise ship docked under a blanket of stars in Luxor, the lazy palm-lined resort town in Upper Egypt. Three musicians are ‘hitting the shed.’ With the call of the drum and the colorful keys of glory from an electronic keyboard, suddenly ‘Benny and the Pyramids’ (not their real name) have your feet tapping. They’re not Led Zeppelin. In fact, they’re kind of cheesy, but hey—they’re all right.

Benny and the Pyramids change their tune, and then, a dancer materializes from the shadows. Tall. Rail thin. Stoic. He begins to gently spin in place. His feet move in an intricate counterclockwise rhythm. His head jerks in a circular motion. Who knew the human body could move like that?

As you watch the dancer, a whirling dervish, you’re mesmerized. His spinning is dizzying, and it continues for five, ten, fifteen minutes and more.

Right before your eyes, he produces a brightly colored bell-like skirt that he expertly spins around his hips. An ecstatic pulse of excitement washes through your blood as you realize that, to western eyes, it’s a saucer-shaped UFO or Mer-Ka-Ba (‘space-time-light vehicle’) spinning around his body!

Don’t stop watching. The dance is far from finished. The revolution of your thinking has only just begun.

Unbeknownst, this is the magic moment every Grail knight seeks: It’s the moment when the rock spurts water, the angel spins out of the whirlwind, the sea-sky opens and the stairway to heaven appears, and suddenly you are in a magical new world—another level. It’s not an accident that you are here. It’s synchronicity time. The Eye of Egypt is upon you.

In the next phase of this whirling or “sema” (samâ) ceremony of the divine love and mystical ecstasy the dancer produces a second skirt and spins it into a ‘saucer.’ He lifts the second ‘saucer’ above his head, spinning it in perfect synchrony with the first.

“Holy Singularity!” you think. His skirts and body form the shape of a wormhole! He is the phoenix, rising to perform the alchemical transformational process of ascension, the secret closely guarded by the ancient mystery schools.

The human wormhole—the merger of the Hour Glass shape of the two ‘saucers’—becomes the Star of David, another symbol of the Mer-Ka-Ba. The meeting of the upper world (Heaven ) and the lower world (Earth) is exactly what is performed by the dancer.

The Human Wormhole

Wormholes are essentially tunnels in space/time. In the figures shown below the top and bottom sheets are connected via a wormhole. The two sheets may represent two different universes or two sections of the same universe, which, if not for the wormhole’s presence, would be separated by a very large distance.

After this whirlwind blew through my mind and my dendrites stopped sizzling at 19.5 degrees I floated as if on angel’s wings back to my stateroom thinking I was in Oz. I guess this is what happens when the old and new worlds collide. In fact, when I talked with the dancer after his performance he told me the ‘story’ told by his dance concerned connecting heaven and Earth.

The dancer is part of the Al Tanura Group. The dance is known as Al Darweesh, or dervish dancing. A special ability of these dancers is the ability to spin in a counter clockwise circle in place for hours, his feet forming a never-changing intricate pattern. Twenty to thirty times a minute the dervish twirls for Allah. Adherents believe this tight circular movement represents the universe, which stems from a single, spinning point. Their twirling is a form of prayer, a method of tapping into hyperconsciousness and an act of love.

The Persian word darwish is accepted in Arabic and Turkish (dervish) to describe the Sufi who is the one who is at the door to enlightenment. Derived from the Persian word ‘dar’ (door), a dervish is one who is poor in the sight of God and in need of His mercy.

As the doorway, we might say that the dervish is a mystical dancer—the Poor or Pure One—who stands between or unites the material and cosmic worlds. Through his spinning he arrives at a place where ego dissolves and a resonance with universal soul comes in. It is believed that the dervish is in prayer and that his body becomes open to receive the energy of God.

The purpose of the ritual whirling is to empty himself of all distracting thoughts. Placing himself in a trance, his body conquers dizziness. He accepts that he is the true instrument (tuner) of God (Allah, Light) and therefore he does not question the power that comes and leaves him during the spinning trance.

Max Pulver’s article “Jesus’s Round Dance and Crucifixion According to the Acts of St. John” in Joseph Campbell’s The Mysteries in Papers from the Eranos Yearbook, informs us this may even have been the initiatory round dance secretly performed by Jesus.

Perhaps the reason why I am the first to connect the (eastern) dance of the mystic dervish with the (western) wormhole science is because the Al Tanura group represents a breakaway from the traditional dervish dance. For centuries, the dervishes start by wearing black cloaks symbolizing tombs. Upon removal, they remove themselves from the world.

The multicolored spin-fest I witnessed is actually a runaway advance comparable to the breakthrough in technology sweeping away the old world and introducing the superhuman future.

Speaking of the birth of a new human, as ‘the wormhole dance’ progresses, the dervish closes the wormhole and a ‘baby soul’ descends from the “wormhole” into “creation.” This is only natural as the circle represents the feminine.

The ‘child’ brought through the ‘wormhole’ symbolizes a very interesting connection between the whirling dervish (doorway, wormhole) dance and the traditions of the Great Mother. According to mythologist Barbara Walker, Sufism is an Arabic mystical system preserving within Islam a Tantric form of goddess-and-woman worship.

Both Christian and Buddhist art also portray this concept of the birth of a divine child through a gate. In the painting shown here, Mary brings the baby Jesus through the mouth or gate of the universe, the almond-shaped vesica piscis. A wormhole is an extension of Schwarzchild geometry, which shows the throat of a wormhole as the vesica symbol.

The Sufis believe feminine forces hold the universe together. They disguised their doctrine in allegorical symbols, and established a mystical system in which nearly every tenet was imparted as a graphic image or metaphorical tale. Sir Richard Burton, says Barbara Walker, called Sufism “the Eastern parent of Freemasonry.”

The word Sufi is translated from the Arabic word, Suf, meaning wool or, as others believe, from the Greek word ‘sophos’ or ‘Sophia,’ meaning wisdom. There are two fables for how the whirling-dervish dance began involving tradesmen spinning wool (the symbol of the wisdom of the Golden Fleece) from a bale onto a spindle.

A third story traces the origin of the whirling dervishes to the 13th century Ottoman Empire mystic Mevlâna Jalâluddîn Rumi (d. 1273), a native of Afghanistan who is considered one of the greatest mystics and spiritual poets of all time. It is said Rumi was walking through the goldsmith area (the alchemists were gold smiths) of Konya in Turkey. He heard beautiful music in the craftsmen’s hammering and began to turn in harmony. The whirling dervish dance was born.

Rumi’s father, a religious scholar, reared him to become a highly trained spiritual teacher. In his thirties he was widely known as an eminent professor of religion. All his education was preparing him for his encounter with a spiritual guru known as the Shams of Tabriz. This was the central event of Rumi’s life.

At the age of thirty-seven Mevlâna met the spiritual vagabond Shams. This meeting can be compared to Abraham’s initiation recorded in the Book of Genesis in the mysteries of the ladder to heaven by Melchizedek, the founder of Jesus’s Holy Grail priesthood, the Order of Melchizedek. In fact, Melchizedek and the Shams are considered to be messengers from the Source. They carry enlightenment to someone who can receive, someone who is either too full or too empty.

Fascinatingly, as researchers, including Zecharia Sitchin and Laurence Gardner, have observed, the letters SHM of Sham denotes that which is high or heavenward! It is the root of the words shaman and Shambhala, the mystical center where esoteric Buddhism says the immortals dwell.

After his ‘shamanic attunement’ by the Shams, Rumi became an inspired poet greatly loved. In his verses, Rumi emphasized that music uplifts our spirit to realms above, and we hear the tunes of the Gates of Paradise. The meeting places of the dervishes, consequently, became academies of art, music and dance.

A dervish is an apprentice, one who is learning the profession that will provide eternal livelihood, which I would suggest is the Great Work—alchemy. This profession is still taught in certain “schools of higher learning.” While there are many skills that can be self-taught or learned alone, the skills of the dervish are learned by being in relationship to a shaikh, or guide, and within a spiritual family, a Sufi circle.

One of the most well known of these Sufi circles, the Mevlevi, or Mevleviye, was founded in 1273 by Rumi’s followers after his death, particularly his son, Sultan Veled Celebi. The Mevlevi, or “The Whirling Dervishes,” believe that union with God can be attained in the sema (which is very close to shema) dance. Sema represents a mystical journey of man’s spiritual ascent through mind and love to “Perfect.” Turning towards the truth, his growth comes through love, deserting his ego, finding the truth and arriving to the “Perfect.” When he returns from this spiritual journey he is a man who has reached maturity and a greater perfection, now prepared to love and to be of service to the whole of creation, to all creatures without discrimination as to belief, race, class or national origin.

 

The Merkaba

Sufism may not be the only way to this shamanic state of being. Scan the spiritual horizon and you’ll find that evidence of knowledge of this round dance outside of Islam is plentiful. In Jewish mysticism the soul must ascend to the throne or the Merkaba. An Egyptian word usually translated as “chariot,” the Mer-Ka-Ba is the vehicle of Light mentioned in the Bible by Ezekiel, which is equated with the shem of the Annunaki. It is the most ancient and secret teaching of Kaballah, the collection of Jewish mystic writings.

The Mer-Ka-Ba is described as a counter-rotating field of light that affects spirit and body simultaneously. Of utmost import to this discussion is that the Star of David or hexagon that we find surrounding the body of the dervish in the whirling dance denotes the Mer-Ka-Ba. It is alternately portrayed similar to the disk-shaped structure of our galaxy or the saucer-shaped ship the ancient gods tooled around the world upon. It is a vehicle that can take spirit and body from one world or dimension into another. Some speculate this is the interdimensional vehicle used not just by gods and angels, but also by prophets.

The Mer-Ka-Ba mystics believed they could reach the Throne of God (possibly the center of the Milky Way) in a shamanistic ascent, through a series of heavenly halls. In several of my books, I have interpreted these halls as wormholes or ‘halls’ in space.

Perhaps the most dramatic reference to the Mer-Ka-Ba in the Bible comes from II Kings and the story of Elijah, the prophet who never died, but who may have returned as John the Baptist, the forerunner and initiator of Jesus. We read that the Lord sent Elijah, and his disciple and successor Elisha, to a place called Beth-el (II Kings 2:2). This was same place where Jacob had seen the ladder to heaven. Beth-El (meaning ‘House of God’) is also known as Luz (‘light’), and is considered by Jewish mystics to be one of the ‘Seats of the Immortals.’ Shambhala, we recall, is also called the dwelling of the immortals.

At Beth-el, the sons or the brotherhood of prophets came out to greet Elijah. Fifty of the brotherhood followed Elijah and Elisha to the Jordan River. Upon arrival, Elijah and Elisha cross the Jordan, which takes its name from Eridanus, the river of life, or the Milky Way.

Elijah rolled up his mantle or cloak and struck the water of the river. The water was parted and the two prophets cross the river. Suddenly, a Merkaba of fire appears, and Elijah disappears in a whirlwind. On the third dimension of reality, the one we are tuned to, Elijah has vanished! Has he crossed the Milky Way?

Most biblical interpreters explain these verses in the following way: Elisha had a “vision” of a war chariot of fire. He hallucinated or “imagined” something chaotic (the “whirlwind”).

However, something very profound happens if we interpret this word “whirlwind” as a rotating or counter-rotating field of energy that is the open ‘mouth’ or entrance to the (energy) of the House or Throne of God. In this model, the concentric rings symbolize not only the pulsing energy of the ‘whirlwind,’ and the whirling dervish, but also the top-down view of a description of the mouth of a wormhole.

What was the brotherhood of 50 prophets? The mystical number of the group, 50, draws a comparison to the 50 Anunnaki who came to Earth from heaven in shems in the Sumerian tradition as well as the 50 Argonauts who sailed with Jason in search of the Golden Fleece (wool, soph, sufi). Perhaps all these brotherhoods were ancient mystery schools, akin to the whirling dervish mystery schools of Egypt and Persia, where interdimensional travel may have been taught. If so, one wonders if Elijah performed the ‘wormhole dance.’

As our world tumbles toward a great conflagration between Judeo-Christianity and radical Islam, what is needed is a way to unite people. Perhaps the whirling dervishes are the gift from above that will show us a way to shamanically spin our world to a higher level of understanding.

 

William Henry’s book, Egypt: The Greatest Show On Earth, features a DVD of the wormhole dance. It is available through http://www.williamhenry.net.

 

CAPTIONS:

Wormholes are essentially tunnels in space/time. In the above figure, the top and bottom sheets are connected via a wormhole. The two sheets may represent two different universes, or two sections of the same universe, which, if not for the wormhole’s presence, would be separated by a very large distance.

Zoroaster rides his ‘ring’ or Mer-Ka-Ba.

Mary brings the baby Jesus through the mouth or gate.

Mevlâna Jalâluddîn Rumi

 

SIDEBAR:

The Wormhole Possibilities

The question of whether or not it is possible to travel in time is getting a fresh look these days. As new NASA spacecraft are dispatched to measure gravity in interstellar space, and laboratories in the U.S. and Austria learn how to teleport photons, many exotic possibilities, including superfast quantum computing, are being tested in new ways.

At the heart of the new research is the notion, originally conceived by Einstein, that space/time is a four-dimensional construct that can be influenced by the presence of heavy objects. Gravity has been shown to bend light and the net result, physicists say, is curved or, in effect, folded space/time. Though many of the distortions, which have been observed, are at the sub-atomic level in what has been called quantum foam, the possibility that such phenomena might exist at much greater levels has not been ruled out. Black holes, for instance, it has been theorized, represent such great concentrations of gravity that time itself could well cease to exist at their center—termed a “singularity.” Such possibilities have left some to wonder if it might be possible to travel directly from one compartment of space/time to another—or, perhaps, to take a kind of shortcut across its curve—through random openings which might provide portals to alternate universes or perhaps to different times in the same universe. These openings have been called “wormholes” and are usually visualized as hourglass-shaped vortices connecting one world or time with another.

While today’s science may be on the threshold of understanding such wormholes, the possibility has arisen that, in this area—as in many others—our ancient ancestors may have gotten here first. In the accompanying story, author and investigative mythologist William Henry suggests that, indeed, such knowledge may have been passed down to us in the form of a powerful ancient dance.

 

CAPTION: Artist’s conception of a wormhole entrance, by Tosin Adetoro, under supervision of Pat Tyler (NASA).

By William Henry