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Baldr’s Magic: The Power of Norse Shamanism and Ecstatic Trance

A guide to using ecstatic trance to connect with your ancestors, rediscover your extrasensory powers, and reclaim the peaceful nature of humanity

• Illustrates ecstatic trance postures to connect with the ancient Nordic people, to journey to exact points in time, and to access powers such as seeing into our future

• Explains how the coming new age of peace and veneration for Mother Earth was predicted in Norse mythology as the rebirth of the compassionate god Baldr

• Expands on the stories of the early Nordic gods and goddesses from the Prose Edda and the Poetic Edda

Connecting Norse mythology, ecstatic trance, the Universal Mind, and the dawn of a new age of peace and veneration for Mother Earth, Nicholas Brink reveals how we can use ecstatic and hypnotic trance to learn more directly and deeply from our distant ancestors, rediscover our extrasensory powers, and reclaim the original magical nature of humanity. The imminent rebirth of a peaceful, balanced, connected world was predicted in Norse mythology as the return of Baldr, the gentle and compassionate Nordic god of truth, healing, and rune work.

Illustrating ecstatic trance postures to connect with the ancient Nordic people and their beliefs, to journey to exact points in time, and to access specific powers, such as seeing into our future, Brink explores humanity’s evolving cycle of consciousness from the era when the Great Mother goddess was the center of life through the transition to the worship of power and physical strength in the Bronze Age and the world of the Vikings. He explores the coming return of Baldr and the imminent new age of peace and respect for the earth. Through hypnotic divination, the author expands the stories of the early Nordic gods and goddesses from the Prose Edda and the Poetic Edda, in particular the fertility deities of the Vanir, such as Freyr, Freyja, and Idunn, who came before the warrior deities of the Æsir, such as Odin, Thor, and Loki. He details the epic battle of Ragnarǫk and the birth, life, death, and rebirth of Baldr.   

Brink shows how these ancient stories happen outside of time, in the past, present, and future, thus Baldr’s return is replayed in our death-rebirth experiences of life, in each dawn, with each spring, and now with the birth of a new age that we see happening all around us. Through the power of trance at this time of rebirth, we move full circle to reclaim the magic of the earliest times, the times of the Garden of Idunn.

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  1. Joseph Bloch says

    Very Disappointing As a Germanic Heathen myself, and a fan of Felicitas Goodman’s work using ancient images as guides for postures to be used in trance work, I was expecting a book dedicated to exploring the technique in the context of purely Germanic imagery.What I got instead was a tedious recitation of outdated and discredited academic theories, used to bolster a clearly radically feminist and New Age-focused agenda. There is but a single chapter (17 out of 306 pages in the book) that uses Scandinavian and other Germanic art as the basis of trance-postures, detailing eight postures in all.Of those postures, one (the Tanum Lower World posture) is based on a petroglyph whose subject matter is obtuse at best, and which doesn’t seem to be in any actual posture other than simply lying flat (many of the Tanum figures lack arms). This is particularly odd, since there are numerous other petroglyphs to be found at Tanum which are indisputably human beings in various poses. (It might well be that the quite warlike activities of the other figures, holding axes and spears and the like, was the cause for their omission, since such activities would contradict the pacifist agenda of the book.)The choice of the Hallstatt Warrior is also quite puzzling. The image of the statue in the book doesn’t look anything like the actual famous Hirshlanden Warrior statue; the author seems to have chosen some other piece from the site that happens to be missing the lower part of the right arm (unless the omission was deliberate – see below). And what is near the right hand of the Halstatt Warrior? A dagger. A pattern seems to be emerging in the choice of models for the eight postures. (And it also begs the question of how the author can establish that the right hand is supposed to be placed across the belly, if his model is missing the entire right forearm, and no trace of a hand on the stomach appears in his accompanying illustration.)The other illustrations are also problematic. His “Nyborg Man” illustration clearly has two eyes, but the text says it is “…thought to be Odin because it has only one eye…”. Too, the posture doesn’t match the illustration – the one has the arms bent at the elbows, while the other has straight arms. Elsewhere he mentions that the bending of a knee can have a profound impact on the result of a particular posture, so it would seem a significant anomaly. The fact that no clear identification of the figure he is using is given is also troubling.Finally, his choice of the Cernunnos figure as the model for a posture is baffling, as he even admits that the Gundestrop Cauldron whence it comes is of Celtic origin. His sole justification seems to be that the cauldron was discovered in Denmark. Various statues of Buddha have been found in Scandinavia as well, the result of trade; by that logic, one would be able to use those as insights into Germanic trance postures as well.Even more disappointing than his actual treatment of the sources and postures is the rest of the book, which seems to be an advertisement for a Goddess-centered agenda that posits that the peaceful Goddess-worshiping people of Europe were conquered by nasty Gods-worshipping invaders, takes baffling but purely political shots at talk radio (?), and urges that a return to a life of pacifism, egalitarianism, deep ecology, connecting with the “ascended masters” and femininity is not only sorely needed but imminent, heralded by such things as the end of the Mayan calendar (!) and the rebirth of the Norse god Baldr.Mixed into this, of course, are the theories of Frazier (Baldr is described as a sun god throughout the book, which is a now-thoroughly-discredited theory from the 19th century, which sought to plug every myth possible into either that of a dying-and-reborn vegetative god or a solar deity and Christ-analog) and Gimbutas, who originally posited the existence of a peaceful pre-Indo-European culture that serious archaeologists and historians have thoroughly debunked.The rest of the book is filled with what amounts to a new Edda. Supposedly revealed to Dr. Brink (his degree is in psychology) during his trance work, it tells the tale of the Vanir gods and goddesses, in the process rewriting numerous legends and giving everything a pacifist “oh, it is so horrible that Odin and the Aesir came along with their violent man-like ways” spin. In so doing, he finds it not only necessary to invent a goddess from whole cloth – the unlikely-named Moðir, the lost Great Mother of prehistoric Scandinavia – but also to move gods and goddesses from the Aesir to the Vanir to suit his needs. Ullr, for example, is now of Vanic stock, as are Idunn and others.Somewhat more troubling is the fact that Dr. Brink seems completely unaware of the story of the death of Balder as recounted in the Gesta Danorum of Saxo Grammaticus. His characterization of Balder as the peaceful,…

  2. Max says

    Bringing Shamanism to the West 0

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