Back to the Index pagePresenting herself as a gift to God

Dance was an integral part of the celebrations of the ancient Israelites. It was used both in worship in ordinary life and on occasions of triumphant victory and festivity.

The sacred dance mediated between God and humanity, thus bringing the Israelites into a closer relationship with their God, Jehovah.

In many Old Testament biblical allusions to, and descriptions of, dance there is no disapproval, only affirmation of this medium of worship. The people are exhorted to praise God with 'dancing, making melody to him with timbrel and lyre' (Psalm 149:3), and to 'praise him with timbrel and dance' (Psalm 150:4). Dancing is so common that in passages alluding to rejoicing without specific mention of dancing, it can be assumed dance is implied (Gagne 1984:24).

The most frequently used root for the word 'dance' in the Old Testament is hul which refers to the whirl of the dance and implies highly active movement. Of the 44 words in the Hebrew language for dancing, only in one is there a possible reference to secular movement as distinct from religious dancing (Clarke and Crisp 1981:35).

The types of dance used in Israelite society included the circular or ring dance, as well as the processional dance. These were often used to celebrate specific events as when David and the people of Israel danced before the Ark of the Lord, which represented the presence of God (2 Samuel 6:14).

A third type of dance included hopping and whirling movements which were exuberant with joy. At the defeat of Pharaoh's armies following the crossing of the Red Sea, 'Miriam, the prophetess, the sister of Aaron, took a timbrel in her hand; and all the women went out after her with timbrels and with dances' (Exodus 15:20). When David slew Goliath, the women sang 'to one another in dance' (1 Samuel 29:5).

Each of these forms of dance found an expression in daily life and at festival times. At the Feast of Tabernacles, for instance, 'pious men danced with torches in their hands and sang songs of joy and praise, while the Levites played all sorts of instruments. The dance drew crowds of spectators ... It did not end until the morning at a given sign' (Gagne 1984:30). The revered tradition of community celebration found its expression through movement.

However, dance is not mentioned formally in the Mosaic code, nor was the movement free of certain prohibitions. A distinction came to be made between the early, holy dances of a sacred nature, and those which resembled pagan ceremonies. This distinction, made by the Israelites, was to be made even more sharply by the Christians in the following centuries.

The Early Christian Church (A.D. 100-500)

In the first five centuries of the Christian church 'dance was still acceptable because it was planted deep in the soil of the Judeo-Christian tradition' (Gagne 1984:43). Christians were accustomed to celebrating, in dance, at worship and festivals because of the Hebrew tradition of dance.

Christianity was also subjected to the prevailing social and political influences of the Roman Empire. Changing circumstances in the 4th century thus led to changes in the importance and meaning of dance as well as in the dance material used in Christian liturgy. In the course of the history of theatre and dance, Christianity shaped and proscribed new developments. Although seemingly restrictive in these early centuries, 'the church actually created a context for new flowerings of social, theatrical and religious dance' (Fallon and Wolbers 1982:9).

The New Testament gives few direct references to dance. 'But even this points to a possible parallel of the Jewish tradition of presuming the presence of dance without the need to mention it explicitly' (Gagne 1984:35). Evidence of the use of dance as an accepted expression of joy is reflected in Jesus' comment, 'We piped to you but you did not dance' (Matthew 11:17). Similarly, in Jesus' parable of the prodigal son there was dancing and rejoicing on the son's return to his home (Luke 15:25).

Paul reminds Christians that their bodies are temples of the Holy Spirit and that they should glorify God with their bodies (1 Corinthians 6:19-20). He further indicates physical movement is an approved part of prayer-like expression when he exhorts Timothy to pray lifting up holy hands (1 Timothy 2:8). The biblical stance for most prayers included raising arms and hands above the head (1 Timothy 2:8). In prayers of confession, kneeling or prostration was common, and in thanksgiving prayers or intercession standing with arms raised was common (Adams 1975:4).

Additionally, recent studies suggest there are more references to dance in the New Testament than originally thought (Daniels 1981:11). In the Aramaic language which Jews spoke, the word for 'rejoice' and 'dance' are the same. Hence, in including 'dance' with 'rejoice' there are references to dancing and leaping for joy (Luke 6:23) as well as 'dancing in the Spirit' (Luke 10:21).

In the two earliest Christian liturgies recorded in detail, dance is used in the order of service. Both Justin Martyr in A.D. 150 and Hippolytus in A.D. 200 describe joyful circle dances (Daniels 1981:13). In the early church, dance was perceived as one of the 'heavenly joys and part of the adoration of the divinity by the angels and by the saved' (Gagne 1984:36).

This attitude to dance contrasts sharply with Roman society in which Christianity first appeared. As Shawn comments, 'Here in Imperial Rome we find the dance first completely theatricalised - then commercialised; and as the religious life of Rome became orgiastic, so the religious dances became occasions for unbridled licentiousness and sensuality' (Kraus and Chapman 1981:42).

In reaction to what the Christians perceived as moral decadence, the church sought to purify the dance by expunging all traces of paganism from the intention and expression of the movement. Dance, however, continued within the church itself, provided the form and intent were holy and not profane. The purpose of liturgical movement was to bring glory and honour to God, and take the focus off the self.

By the third century there is detailed evidence of dance integrated into the ritual and worship of the church in the writings of Hippolytus (A.D. 215) and Gregory the Wonder-Worker (A.D. 213-270). At the same time, there is an increasing emphasis on spiritual thanksgiving in Christian worship. Christian intellectuals sought to overcome the passion of the flesh by reason of mind, the greatest evidence of this being demonstrated through martyrdom.

During the fourth century, significant changes in and outside the church influenced attitudes towards the type of dance used in Christian worship. The major cause of change stemmed from the reign of Constantine (AD 306-337). Constantine converted to Christianity in A.D. 312 and was instrumental in accepting and supporting the church. The Roman Empire officially adopted Christianity in A.D. 378, thus ushering in a new relationship between church and state.

Many references to dance as part of worship in the fourth and fifth centuries are tempered by warnings about forms of dance which were considered sinful, dissolute and which smacked of Roman degeneracy. As membership in the Christian Church became popular, licentiousness began to characterise the sacred festivals.

In the writings of the Church Fathers of these early centuries, there is evident concern with the changing focus of Christian dances. Epiphanius (AD 315-403) sought to emphasise the spiritual element in the dance. In a sermon on Palm Sunday A.D. 367, he describes the festival's celebration in the following way:

Rejoice in the highest, Daughter of Zion! Rejoice, be glad and leap boisterously thou all-embracing Church. For behold, once again the King approaches ... once again perform the choral dances ... leap wildly, ye Heavens; sing Hymns, ye Angels; ye who dwell in Zion, dance ring dances (Kraus and Chapman 1981:49).

This text describes both the literal dance and the spiritual emphasis of the ceremony, while favouring the latter as the focus of the celebration.

This was the tendency of other church leaders, who 'attempted to turn their eyes away from the actual physical movement intrinsic to dance and regard dance from a singularly spirtualised perspective, as symbolic of spiritual motions of the soul' (Gagne 1984:47).

In the late fourth century, Ambrose (AD 340-397), Bishop of Milan, tried to clarify the values and dangers of sacred dance by emphasising the spiritual. 'The Lord bids us dance, not merely with the circling movements of the body, but with the pious faith in him' (Adams 1990:18). He saw dance as spiritual applause and did not rule it out of the church. Similarly, Gregory of Nyssa (AD 335-394) described Jesus as the one and only choreographer and leader of dancers on earth and in the church.

However, other leaders in the church began to voice their opposition to the use of dance. John Chrysostom (AD 345-407), in speaking of Herodias' daughter, commented that 'where dancing is, there is the evil one' (Gagne 1984:50). Augustine (AD 354-430), Bishop of Hippo, warned against 'frivolous or unseemly' dances (Adams 1990:20) and insisted on prayer, not dance. Caesarius of Arles (AD 470-542) condemned dance at the vigils of saints, calling them a 'most sordid and disgraceful act' (Gagne 1984:51).

This conflict reflects the difficulties the Church Fathers were experiencing as the church grew in popularity. The increasing number of converts made attempts to retain the dances of their own pagan cults, so that by the beginning of the sixth century, dance came under severe condemnation in the church.

The fall of Rome in A.D. 476 left Europe without a centralised power. The Church stepped in as the arbitrator of morality, law, education and social structure. The conflicts between the tradition of ecclesiastical dancing and the moral reprobation of the church itself, led to conflict over the use and value of dance, which continued throughout the Middle Ages.

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