Shekhinah Mountainwater  Shekhinah Mountainwater (October 24, 1938 - August 11, 2007) was a musician, author, teacher, priestess of Aphrodite, and a key figure in the Goddess movement. She is well known on the west coast of the United States, but has a significant following throughout America and abroad for her music, writing, teaching, Womanrunes, Moonwheels, Goddess ritual, and spiritual and social activism. Mountainwater referred to herself as a "muse-ical mystical magical woman who loves the Goddess and women, a foremother of the Womanspirit movement, a teacher of Women's Mysteries, and a priestess of Aphrodite." She dedicated her life to sharing and expressing the love of the Goddess, leading women to reclaim their power and connection to one another and to the earth. Her music, poetry, tarot and learned writings are still celebrated in women's circles worldwide. Mountainwater was a pioneer of what is now referred to in some circles as “Pagan music;” her unique melding of folk and spiritual, ritualistic themes eventually led to her passion for the Goddess. She began folksinging during the American folk music revival of the 1950s and 60's, and played in the same coffee houses in the Village in New York as Bob Dylan and Joni Mitchell. Mountainwater was one of the first musicians in the early 60’s folk movement to start re-tuning the guitar to simple chords, creating a unique and resonant sound that was reminiscent of the organ, or sometimes even the bag-pipe. This movement was called “Modal Music.” In Mountainwater’s case, the lower strings were often used to create a base-drone, while the others harmonized or quarreled with them. Although the bulk of her early influences were Scottish, Celtic, English, Appalachian and American folk, her work has Arabic and African under/overtones. Besides creating a distinctive style and sound, she was a prolific and gifted poet. Her literary compositions stand on their own for eloquence and social pertinence. Motivated by a passionate spirituality, she often chose mythical or occult themes for her treatments. She was able to communicate stories from the protagonist’s perspective, allowing the listener to delve into the psyche of her characters -- to feel the pain and joy of an icon personified. As she became more active in the women’s spiritual community, her songs were often overtly political, or designed as tools for trance induction and prayer.