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Home , Sacred dance, Worship dance

CHAPTER TWO belief thatthe@it AND RELICION 6-hamen. -+MEDICINE D Oh! how'beautiful! . . - ForYr:u men and women strike the tambour:ine' The ln manY cultures, I)ivine-Powers, the stars. dan.ce foryoLr' ! o to the Egyptian Coddess tlatharl restore the health -Hvmr1 g!-easilg 4gpeelE Let them praise t{is name in the dance: let them siflg praises ufito Him oreventative, {€!8 wilft timbrel and harp. tommunity freg-d 149:) -tlsalms iffi which an bad fortune, fall in airange these dan< their gods and to request I ong ago itrthe mists of preliterate time, early peoples danced to please COMMEMO] I i"rirJirom them. Cave paintings found in France and ltaly, dating back to the Paleolithic period, contact with and dependence o{tg L a"pi.t dancers in animal skins iimulating a hunt. Living in close These Qan999. iml on animals motivated early peoples to imitate them. With the development of agriculture, other commemorate of request -for rain, fertility of the fields and good harvests-also developed' The evidence 59r-4mer solstices' role r stone carving, potterymaking and later wriften languages gives us further proof of the importance of a grouP, a glds.oi' a t of danced . Dance became a wav to connect wjih the spirit world 9f-11c-99.1o19 commemorative in means of ensuring nealtn and-gooa io.tune and a vital part of ceremonies for major events individuals:.birth, the community. examPle,,h1| them as well as Pl pure joy of movement, most Although early man probably danced to express feelings and for the wo rthi ne tl. l5".r.lora dance historians agree that a belief system generated the first forms of organized dance. Today, masked dances d This chapter will exPlore both specialrSWffi ancient and modern forms of religious dance. lt is useful to put these dances into several general DANCES F( categories, based on their intent. These dances an sPi' ,.urii6 gods or examPle, after a TYPES OF RTLICIOUS DANCE

DANCES OF IMITATION Wworld; the sPirit Without question, the movements of other Iiving are means of re; things and natural phenomena were one of the Other sPiritual < g earliest inspirations for dan-ce. Even animals hunted to a Particular for food were not revered as spiritually inferior to humarls; often, animals or birds were considered WORLD RI messengers from the spirit world. Animal imitation evider dances, for example the lh*eArril&hgfu lo Our best the wot DRACON DANCE ar4eagt6"-dffi€a'honor such qualities as the around oerformed at a Chinese New Year celebration in Texas, is courage of a particular animal. Other imitation so widesPread i-roth a commemorative dance and an imitation dance that tq9! qs.a pattle, with+he- sacred sPot aru captures the qualities of is featured creature. dairccidepiglgd gl "rql. 6 I il,{i\cF,4N [] l{Ll-lc }oN

belief that the depiction ,.-w_oljd-make-rhe-desiredsu1cpJ1r9. ll'grslikcly

-7"*J-r-4t6-haooen. te.The MEDICINE DANCES ln many cultures/ shamans, priests or Hathart =< re sto re t h e h ea I th o{ a n i n d-i ii d uii b,y" "ward iw.off .ev-ilSptfjE -sr}.J" The dances may a|so be TIim p!-gq;j!S a.9p,e-cific-So-d.-,o,feeddett. i re pieventative, dgg1glgdjg.;uotect an i n d ivi d ua I, fam ly or enti The elaborate serpent rituals found alm 149:3 community from-danger,er'dis.ga-s-e. irJrif! which are intended to prevent blindness, skin diseases and bad fortune, fall into this category. A special caste of priest/ performers airange these dances for families, and they may last several weeks' rgods and to request the Paleolithic period, COMMEMORATIVE DANCES th and dependence are used to These dances often inyqlyqirn gnlirq com;ngplty and yiculture, other SHAMAN important events in the calendar, such as WfnfefAn-d- commemorate A painting by the author. ln some d. The evidence of preserving the history -sulllmer solstices. They also provide a means of cultures, a shaman leads sPiritual f the importance quests, dcting as a medium a group, a role especially important in nonliterate cultures' Some of between the and il95ildgedE a PhYsical commemorative dances also eelgb-r-ate m-Lleslpner in the lives of spiritual worlds. for events in Fo r i n d i vi d u a l s :,b ! n ! ti o-! !.th,o.gdr d.eath" ! f b, ati inlo-.g-d-u Tqf li Sge.o.r: . :m:f;lHw:f;:ml,*X.l;.'**H::"J.jl[:;r.i;I''-ffi ffi ;l"eu:rv novement, most and worth!pes9, knpwlg4g:--lld'e-l-d.gl9-'1c9.l{ffih*dtffiif may intlude elaborately costumed dance. Today, a masled dances aesig#d 6'iiiist the departed's voyage to the spirit world. Dances commemorating rill explore both special r$-$ffrfiu*Btry often include a processional to a sacred site. igious dance. It is weral general DANCES FOR SPIRITUAL collectio-n T!1ese dancgs are u-qed a.s a means of reaching a more spiritual qlane and establish+inpa Da;ces that are spontaneous expressions of gratitude ioward a deity, for -urifh gods or spirits. L*"rpt", aftera crisis is resolved, fall into this category.,C,onnection may be achieved by spinning ...t- ,ANCE ^i!:-^ ^^'- --^.,@ rnd al

made signs of the zodia llSE."ty_lr.gr.g considered the oldest dance formati_ons. Both of them also appeared in the courses of the Plane earth.2 example and-hqBritish lsles are relics of ancient tree-worshiping planet rituals, but are dances that were once connected with ln West Africa, tribes il have become entertainment for other dances, for example, those to the have religious Pradice volcano goddess Pele, have retained their sacred context. Osun, the river goddes white and dance with r Following is a sampler of the rich diversity of , both ancient and modern, found in goddess, and it is a cultures throughout the world. the culminate in a Process zZ---\ AFRICA Th(eg(nggrlcerelngn communication wlm i The earliest evidence Ll lctica q-omeslomston-e-q4ryi0g! gq rgwtlg t"T!y' {tSyS|agrc-" skirts and head c depicting complex fun6ral rituals that included dancers and acrobats. Egyptian pharaohs and their long his Perso families were considered gods, and elaborate preparations were madelSi[Effi6iiation and that PortraYs greatlY from village to resurrection after death. Royal families had troupes of dancers and musicians who were used on lasting a week or mor

The ultimatE{Piritual through whftffi?d thus, ihe Practices of svstem for a large Pat Vaudou, or Vodun (d

While the ol prohibited dance an ihe Mevlevi Dervish continuouslY for lon directlY exPerience t

AU STRALIAN

ln aboriginal Austra z,,{ mentrd -J include, for ljlru-z women, significant :zc menoPause' These examPle, Denise C

Thost ECYPTIAN FICURE DANCES recei may have expressed the order and harmony of the stars as part of sacred rituals. conil newl sacred and secular occasions. Also, bands of female singing dancers were attached to temples for the a sig honor of specific gods, including Osiris, his sister-wife , and the goddess Hathor. ln another ritual' < One elaborate Egyptian dance ritual, the Astronomic, was described by Plato, although he never site' The t actually observed it. Performed by priests around a central altar representing the sun, the dancers totemic

[- LIEST AilT r}ANCT ANI} I{TI-ICION nred in ancient Greece made signs of the zodiac with their hands while turning rhythmically from east to west, representing igious sign ificance; for the courses of the planets. After each turn, the dancers froze in place to represent the immobility of ent tree-worshiping planetearth.2 re connected with ln West Africa, tribes including the Ashanti, Congolese, Dahomean, Ibo, Koromantyn an{ Yoruba ) ample,-those to the song and dance. The follow€r:\f./ have religious practices that are primarily carried out through -\ Osun, the rivei goddess associated with curing the sick and with blessing women with children, wear modern, found in white and dance with calmness and dignity. Proper dancing to the proper drums is a way of pleasing the goddess, and it is an honor if one of the dancers is possessed by her spirit. The ceremonies culminate in a processional to the river, where Osun is offered her favorite foods and spices. ,Z--\\ ., fh(6gr.inglCcege!res, from Nigeria in West Africa, are designed to open direct channels of gyptian tomb/ commfi-ication with?nEbis-fmuglr dance. Each ancestor, depicted by a village man wearing phara,oTfli,ttheir long skirts and head coverings sometimes decorated with monkey skulls, spins and stamps in a way ffi-rvation and thaiportrays his personality while he Iived on earth. These festivals honoring various gods vary fio were used on gr""ity from village to village, with some localities having has many as ten festivals a year, each lasting a week or more.3

The ultimate/piritual experienln thur" West African is possession-becoming the vehicle through *nfiT;EamFa"faiff.akes his wishes known. Vodu is the Dahomean word lor "deity;" thus, ihe practicei of African-derived cults that were brought to the West lndies, forming the belief system for a large part of the population, became known looselv ar{oodofl*-- for the Haitian French Vaudou, or Vodun (the standardized form today).a

While the religion of Islam, which spread across northern Africa beginning in the 800s A.D., prohibited dance and other contact betWeen men and womenr an all-male Muslim. sect kno;,vrrQ\ the Mevlevi Dervishes incorporated dance into worship. These Dervishes believe that bf{hirlg Do-'l'ol^ continuously for long periods of time, they will achieve a higher spiritual plane of existence and directly experience the presence of Allah. Many other Sufi dervishes also dance.

AUSTRALIAN ABORIGINAL DANCE

example, Denise Carmody describes a warrior's ritual:

Those to be initiated would come forward, accompanied by their guardians . . . to receive new names emblematic of their new spiritual status . . . A ceremonial combat would ensue to inscribe the ability to fight well on behalf of the tribe in the newly matured hunters and warriors. The bullroarer [a noisemaking device] played il to temples for the a significant role in this ceremony, hetping to dramatize the fiShting'S r- rugh he never ln another ritual, olderrdoQ dun." to assist the spirit of a deceased man in its return to its original m, the dancers totemic site. The wom}l ai6riiGle6rate white and ochre body paint and feathered headdresses. A{:t$?*{fi{X,q?$zu{; $},q;qflfi * A {,;i.ilf}I T{} Tl'i}: l'u{}l{li}'5 I lVtLl,-5, Al{.{

SIIIVA NATAIlAJA the Hindu Lord of the one Dance, Poised on leg above a child, and depicts creation . destruction-energy ln many forms

INDIA The influence of lndi th Japan and even to including a copPer fr 'l 2300 and 700 ec, ir lives of lndia's earlie Shiva, the god of bor posed on one leg as is described as a dar outward, matter is d DANCE OF NYMPHS AND SATYRS,,\FTER ENCRi\\zlNC i\N Vishn OF TI-IE EICIiT[[NTI-{ CENTURY fire. The deitY depicts the artist's rendition of dancing at a Dionysian revel. human form. The at circ and Performing These dances sYmb'

Other dances, performed by men, reenact the creation stories known as Since the second c( Dreamtime in aboriginal mythology, emphasizing the exploits of their particular dance were condu< clan's creator heroes. educated to the ser exploitation of You CREECE AND ANCIENT ROME being outlawed in I the For the ancient Creeks, dance was personified as Terpsichore, one of the nine jeopardizing Pr influet goddesses known as Muses, whose purpose was to inspire creativity in FortunatelY, (includ humankind. To this day, dance is often referred to as the terpsichorean art. MTRCURY Westerners the Roman interest in establist messenger god, Dancing figures are found on the earliest Creek pottery and frequently cited in se whose stance is art{orm. TodaY, considered the hasis Creek literature and poetry, indicating that dance was an important part of used to relate the s virtually of the step called all Creek religious ceremonies and celebrations. Notable among these "attitude." training, uses hanc were the revels of , a nature god identified with vegetation, fertility and accomPaniment rr sexual ecstasy. Processions of noisy, enthusiastic dancers and singers led by the priests of Dionysus NatYam is figured prominently in the great spring festival in Athens. During the sixth centuryr sc, these Bharata one's I processions were gradually transformed into choral and dramatic competitions.6 lt was typical in this comparing

10 LIEST AITT NANCT ANN RELICION

Classical Creek period to combine music, theater and dance into a total performance that depicted the antics of the gods and their interactions with humans. conquering Romans adopted many of the creeks' religious practices/ including dance-worship, changing the names of the gods but keeping their characteristics. For example, Dionysus became Bacchus, lover of wine, women frenzied women () and satyrs-half-man and half- SHIVA and dance, with NATARA)A goat-as his votaries. Throughout the Roman Empire, numerous "mystery the Hindu Lord of the religions" existed that included some kind of dance in their Dance, poised on one leg above a child, ceremonies. Much dance in ancient Rome, however/ was secular, including depicts creation and the bawdy dances performed at public games, which were condemned by destruction-€nergy in many forms. moralists of the time.

INDIA

The influence of lndian dance has been felt throughout Southeast Asia, as far away as China and have found a wealth of evidence, Japan and even to the islands of the South Pacific. Archaeologists including a copper figurine of a female dancer dating between 2300 and 17OO ec, indicating that sacred dance was a part of the lives of lndia's earliest civilizations.T Among the Hindu deities, Shiva, the god of both creation and destruction, is represented posed on one leg as the Lord of the Dance; the act of creation itself is described as a dance. As Shiva sends pulsating waves of energy outward, matter is depicted dancing around him as an aureole of fire. The deity Vishnu is also associated with dance, appearing in human form. The avatar Krishna is often depicted carrying a flute and performing circle and serpentine dances with village maidens'B

r h ese d a n c e s sy m bo l i ze h::.g1:lg"-"J1,ll-r-" ll :.::-::119" : ":l Since the second century ac, temple rituals that included song and dance were conducted by devadasi, young females who were with the educated to the service of a particular god. Concern BHARATA NATYAM DANCER exploitation of young girls resulted in the institution of the devadasi Jyoti Dugar, a young Bharata NatYam continues the tradition ol years of the twentieth century, dancer, being outlawed in the early female Hindu dance begun in earlY jeopardizing the preservation of lndia's classical dance traditions' rituals. Fortunately, influential Brahmin (upper-caste) families and some MEIiCURY Westerners (including Ruth St. Denis and Anna Pavlova) took the Roman dance as a respected living messenger god, interest in establishing schools for the preservation of classical lndian whose stance is art form. Today, several forms of dance, notably BHARATA NATYAM and KATHAKALI, are still considered the basis rhythmic form requiring years of of the step called used to relate the stories of the gods. Bharata Natyam, a highly "attitude.', training, uses hand movements (mudras) and facial expressions to tell stories, while the feet beat out accompaniment with the assistance of ankle bells. riests of Dionysus is Bc, these Bharata Natyam is still primarily performed by women. One theme often found in Bharata Natyam bliss of union with god in t was typical in this comparing one,s relation to god as to that of a lover, and describing the

11 {

,4rrRtClATINC D,ANCE . A CUIDI Tf) THr WORI-D'S LIV[1tr[5T ART

terms of union with a beloved. Kathakali dance-drama, performed by men only, uses elaborate and the Eagle danct costuming and makeup, spoken word and hand gestures. Stories of heroes, deities and demons from imitation of sowing the Mahabharata and other Hindu writings are depicted, sometimes with comic effect. The popular The HoPi, a Pueblc entertainment is an invaluable tool for the transmission of culture in a country with hundreds of rituals, Performed f spoken languages, where much of the population cannot read. dancing, the dance in Hopi life: fertiliq J EWISH DANCE underground kivas, are moved outdoot There are abundant references to dancing in the Old Testament, particularly on occasions of kachinas then dePl welcoming and celebration. King "danced before the Lord with all his might" (2 Samuel 6:14) from the HoPi Peo as a way of honoring Cod, and Exodus tells us of Miriam and other women dancing joyously after the crossing of the Red Sea. However, not all the Old Testament references to dance are positive. The CarmodY describe dances before the Colden Calf, for example, illustrate a concern-the attraction among the early in conjunction wil Hebrews toleighboring religions and their rituals. The, As evidence of its importance to the ancient Hebrews, biblical Hebrew has twelve different verbs to and describe the act of dancing. Ritual processions, whirling and hopping dances, harvest dances and Seve wedding dances are described in the Old Testament and in the Talmud, a book of rabbinical writings Pain from the third to sixth centuries. Marilyn Daniels states" "The Jewish prophets danced in their offa communion with Cod. They danced before conveying the word of the Lord to the people, the brea symbolism of movement being more soul-stirring than words."e Although mixed dancing was Be common in neighboring cultures, men and women were customarily separated in Hebraic dances; offe this was part of the effort to make a distinction between the new monotheistic religion and along surrounding pagan ceremonies. This dance, United States Bur ln eighteenth-century eastern Europe, group a of rabbis known as the Hasidim changed the character government Poli< of Judaism by proposing that joy, prayer and an ecstatic connection with Cod through physical action were as important, if not more so, than simply Iiving life as an observant.lew. The Hasidic Jews SOUTH AN "choose to actively engage in practice that not only facilitates our conquer( ability to hear celestial music, but inspires us to dance with it as Spanish civ well."10 Today in lsraef many folkloric dance groups reenact Old comPlex lnca but sPecia Testament stories. In America, dance is a part of many Jewish cycle, celebrations, particularly weddings and barlbat-mitzvahs (coming-of- buried. Cod imq ant age celebrations). Among the most orthodox groups, however, men and public Plaza, women remain strictly separated when they dance and, in some cases, The lndians of C only the men are permitted to dance. Mayan calendar dance was meril NATIVE AMERICAN has survived to I the ParticiPants Rituals of Native Americans vary from tribe to tribe. Historically the times susPender most marked differences were between nomadic hunting tribes and the descent of d settled agricultural tribes. Virtually hunting tribes had all dances MEN'S FANCY DANCI honoring respected animals, animals upon which they Alabama-Coushatta Tribe: Native Forest PeoPles I depended or which could teach them necessary skills. Examples of American dance continues at and still annual festivals and powwows held Practic these dances are the wol{ ceremonies of the lnuit peoples in Alaska throughout North America. ritual dance Pet

12 'ELIEST,4ftX []ANCI AND ITEI.ICION

Dnly, uses elaborate and the Eagle dance of the PIains lndians. Agricultural tribes, on the other hand, often danced in deities and demons from imitation of sowing and gathering crops. mic effect. The popular continue to hold elaborate ry with hundreds of The Hopi, a Pueblo people who raise corn in the arid land of Arizona, rituals, performed from January through July, that feature masked dancers called kachinas. When dancing, the dancer becomes the kachina, or spiri! representing the most significant forces in Hopi life: fertility, healing and sustenance. From January to March, the dances take place in underground kivas, representing the place where the world originated. Later in the season, they on occasions of are moved outdoors, and the kachinas are accompanied by unmasked clown dancers. The prayers and thanks rmighf'(2 Samuel 6:14) kachinas then depart from the tribe, returning to their mountain homes with hncing joyously after the from the Hopi people. nce are positive. The Carmody describes the sacred sun dance of the Plains lndians (Oglala Dakota), which was performed ioo among the early in conjunction with the buffalo hunt:

The tribe would construct a circle of trees to represent the fullness of the people yelve different verbs to and the bounty of nature. The essence of the ceremony was for men to dance for , harvest dances and several days gazing at the sun. They were offering themselves, their energy and * of rabbinical writings pain, for the welfare of the people. To increase their pain, and so the merit of their danced in their offering, they would tie leather thongs to the trees and then affix them to theit own l the people, the breasts. As they danced, the thongs would pull through their flesh and tear it. ed dancing was Because everything else in the world already belonged to the Great SpiriS the d in Hebraic dances; offering of human flesh was especially significant.l t religion and This dance, along with others, fell into disuse and forced into seclusion when it was outlawed by the United States Bureau of Indian Affairs in'order to force assimilation. Repression of lndian dancing was changed the character government policy between 188'l and I934, with some easing only after 1925. firough physical action te Hasidic Jews SOUTH AND CENTRAL AMERICA

Spanish conquerors of the Incas in the Andes mountains reported elaborate dance riEals in the complex lnca civilization. The major public ceremonials were agricultural rites, which followed a fixed cycle, but special ceremonials were held in times of crisis or when an lnca emperor was crowned or buried. Cod images, mummy bundles of deceased Incas, and other religious Sear were brought into the public plaza, and dances and recitations were interspersed with offerings to the gods.12

The lndians of Central America also had a culture rich in complex ceremonies-eighteen in all in the Mayan calendar-marking various religious, political and natural events. They held the belief that dance was meritorious, advancing a person/s status in the eyes of the gods. One spectacular form that has survived to the present day is the Volador dance, believed to be five thousand years old, in which the participants climb a hundred-foot-high pole, then lean off a platform and circle the pole thirteen times suspended on ropes. Originally, this dance was associated with an elaborate ritual depicting the descent of the gods from heaven to earth. EN'S FANCY DANCF ru{oushatta Tribe: Native Forest peoples that have been hunter-gatherers for millennia still survive in parts of South America rcrican dance continues at rainforests have a :slivals and powwows held and still practice ancient dance rituals. The Yanomamo people of the Brazilian tlroughout North America ritual dance performed before the hunt to ensure good luck. ln this dance, the hunters enter the

13 t

APPRICIATINC DANCI * A C,Ul,][: T() Tl"{[ \ryOl?LD'S LlVf ]-1[51 A,{T

village center in pairs. Then each costumed and decorated hunter performs his own unique and energetic dance step, while chanting and brandishing his weapons to the cheers of the villagers.l3

TIBET AND NEPAL

Tantric Buddhist monks in Tibet have for centuries held elaborately masked and costumed rituals which included much dance. One ancient legend claims that the origin'of these dances was to divert and entertain evil spirits, so that they would not interfere with the Tibetans' work, such as bridge- building. For a festival commemorating the New Year, monks form a circle and spin as an act of DANCE OF THE R Angelico's tar cleansi ng and preparation. kun Fra Hdence. Showstitetri d angels in heaven: dr Another festival, known as Mani-rimdu, requires weeks of preparation on the part of the monks and includes a full day of dancing that depicts the lives of gods and kings, a joyous diversion from the hard Iife of fte Sherpa mountain people.la These religious practices are fast disappearing under the naturallY througho rule of the Chinese. As a result of religious persecution, many Tibetan Buddhist monks, including the hcated in what is Dalai Lama, now reside in lndia. the church's aftitr

During the earlY Il AND THE DANCE DITEMMA centered in Rome denial of boditY d Over the centuries much has been written about dance by Christian ministers and scholars, some of philosoPhY of life them highly in favor of it as a form of worship and others vehemently opposed. For example, in 1879, celibacY. Dancinl the Reverend J. B. Cross of Pennsylvania wrote a treatise that cited examples of religious dance in to the idea of con early civilizations and in both the Old and New TestamentS. He claimed that the "Christians' Sacred of the literal call ' Gospel Emphatically and Benignly sanction and sanctify its [dances'] Judicious Observance." ln the word "chorus" wi treatise Cross also states, "Crace of Manners and lnnocent Joys are thy Charming Cifts, Centle Muse, circling grouP-"Ie and not in the Rhythmism of Motion, but only in a Bad Heart, or a Vicious Tongue, is the Cuilt of Sin."ls Others point out that in Aramaic, the language spoken by Jesus, the word for "rejoicing" and Under the Pontifi "dance" are one and the same. liturgY. ln the latt dancing," sPecifi On the other hand, in America alone between 1 685 and 1963, no fewer than 157 antidance books liturgical dance I and treatises were written by Christian leaders. Their objections were primarily directed not to dance angels dancing ir as religious expression, but toward "mixed" dancing performed for recreation. In An Arrow Against laid out on the fl Mixt Dancing (1 685) by Increase Mather, a minister in Boston, the author states that men and women labyrinths, whicl dancing together is "A practice in use, only amongst the Heathen, but never known among the ferusalem or in t people of Cod, except in times of degeneracy."l6 Other treatises claimed that meetings between the squares in front r Devil and witches were characterizd by dancing which, therefore, made it a Satanic practice. Duringthe Rena ln the early development of the Christian religion, strong objections to dancing did not occur Elizabethan time immediately. Dating from the first ferv centuries rro, there are many references to dance in Christian Pentecost, just a worship. For example, the Cnostic'Hymn of Jesus," from the Apocryphal second-century Acts of John, "Los Seises" (the is a sacred dance wherein the new disciple is united with the Master.l7 lt contains the following verse: Processional dar Grace danceth. I would pipe: dance ye all. ofthe heels and The whole world on high hath part in our dancing. AMEN ln England, ritu; Who so danceth not, knoweth not what cometh to pass. popularlY caller twould be united and t would unite. AMEN|7

14

h ELIEST,4'{T []A],lcI Ard I] RrLlc Iohi

(or empire, dance and theater his own unique and ln the late Roman early Byzantine) there reers of the villagers.t3 were proscribed by the Church Fathers as immoral, although were orators who refuted the claim. Dance survived in court festivities and, despite rhetorical attacks against it remained popular until the collapse of the Empire in the mid-fifteenth and costumed rituals century among the Byzantine population at large as an tese dances was to divert indispensable element of holiday and, especially, wedding uorlg such as bridge- celebrations.l B nd spin as an act of THF REDEFA/FN DANCF OF rejoicing FromFraAngetico,s trrtfuag."lig" TheEasternorthodoxChurchhaspreservedthespiritof Florence. Shows the primary occupation and dance in its ceremonieS. Processions and spontaneous of angels in heaven: dancing' lpart of the monks and gestures are still very much a part of the Eastern orthodox liturgy. ls diversion from the With no chairs or pews in their churches, people stand and move lisappearing under the naturally throughout the service. Had Constantinople, the center of the Eastern Orthodox Church ist monks, including the located in what is now Turkey, become the chief center of Christian law in Europe instead of Rome, the church's attitude toward dance would have been much more welcoming.

During the early Middle Ages, a growing tension between body and soul developed in the Church centered in Rome. This derived from the movement toward otherworldliness, which required the in preparation for the Second Coming. With the and scholars, some of denial of bodily desires in order to live a pure life death came the honoring of a life of L For example, in 1879, philosophy of life on earth becoming a prelude to life after of the emotions, seemed to run counter t' religious dance in celibacy. Dancing, associated with love and the freeing St. Augustine encouraged the interpretation ilre "Christians' Sacred to the idea of control of bodily lusts. ln the fifth century, 149 and.l 50, to mean singingonly. The Latin s Observance." ln the of the literal call "todance," asfound in Psalms Hebrew word meaning "to dance in a ing Cifts, Centle Muse, word "chorus" was thereafter used to translate the original ryue, is the Cuilt of circling group."le rd for "rejoicing" and Under the pontificate of Cregory the Creat, both dance and drama were excluded from the Catholic liturgy. ln the laier Middle Ages (1200 to 1500), church councils continued to condemn "unseemly at the same time a form o{ 157 antidance books dancing," specifically dancing of men and women together. However, within the churches. Paintings of the period frefluently showed 'directed not to dance liturgicil dance began developing included symmetrical labyrinths ln An Arrow Against angels dancing in heaven. Many churches built during this period processions followed the leader through these s that men and women laid out on the floor in multicolored stones: dance final arrival in own among the labyrinths, which signified the journey through Satan's realm with a triumphant in the religious dramas and festivals held in village neetings between the .lerusalem or in heaven.20 Dance was also found SaAnic practice. squares in front of, but not within, the church buildings. id not occur During the Renaissance in Europe, dance returned to the sanctuary for a brief time. Up until at dance in Christian Elizabethan times in England, a double-file Morris (see Chapter 3) was danced inside churches Toledo in Spain. A similar dance, fcentury Acts ofJohn, Pentecost, just as it was on the Feast of Corpus Christi in Seville and Preadolescent boys perform this sthe following verse: "Los Seises" (the sixes), can still be seen in churches in Seville. processional dance by singing and playing '---castanetswhile dancing very restrained rising and lowering of the heets and changingitoor patterns.2l FLf\^rAl C, D^B-L\DG, In England, ritual dancing within the church was prohibited in 1604. Then, in 1747, a Christian sect popularly called the "shaking Quakers" appeaied. This group believed in dancing for the adoration

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AprlKrclATlhl{ *Ar{cr $ A fitJlt}E To T}"i[: wtf KLlf 's LivEL]rsT AR-{" H of Cod. Known as the Shakers in America, they settled in the eastern and midwestern states at a time tre Front Porch of when religious dance in this country was virtually nonexistent. Accompanied by singing and t-adition of fusing da the shouting, early Shaker dance was individualistic and ecstatic. As the sect itself became more iiioms to evoke I organized, the dances also became codified. Large groups performed together but always with men example, Jackson, IV und *o."n separated. So strict was this sect that no sexual practices, even marriage, were permitted, Christian themes- pivotal point of their worship. lndeed the ability to dance was considered a gift yet dance became the is aI the Shaker song "simple Cifts" reveals: from Cod, as lhat originated in Pe When true simPlicitY is gained, initiated as memben to bow and bend we shan't be ashamed. ilrrough the use of S To turn, turn will be.qur delight, rcrship services an 'tit by turning, turning we come round right. dance comPanY rm Sabbath services, c< into non-European countries with established traditions of dance in worship, As Christianiry spread in worshiP is so grei Christian services. This use of movement in can be dance was incorporated into sPression. ManY N services in Nigeria and other African countries, which in turn strongly influenced the seen in church [.,lew waves of imm dance into African-based churches in North America, Brazil and the Caribbean. incorporation of influence. These irx in West lndies, Mexico and South America were more liberal French and Spanish slaveholders the America from lndia than North Americans about allowing native Africans to retain their own culture. Thus, more African religious dance was retained in these areas. When the white ruling class in Haiti was overthrown in 1801, planters and their slaves flocked to Louisiana, bringing the Afro-Carihbean dance traditions with them. Hence, much dance became incorporated into Christian worship and celebrations such as Mardi Cras and Christmas.

RELIGIOUS DANCT rODAY - oF T?ftQintlt'/ Lt* Barzel, Ann. As in the past/ wars, colonization and displacement continue to cause the Joss 9i[ "PILGRIMACI many traditional religious dances. Others have changed form or have blended Dance MagaT i@ions. Governments that repress religion or Berk, Fred. MACHOL HA a state religion to the detriment of all others have had a damaging effect promote N.p.: Americz on all the sacred arts. In recentyears, international conferences on sacred dance Blackmer,.Joan dances. Additionally, some have served to encourage the preservation of these ACROBATS ( preserving lnne previously reluctant Sovernments have shown new interest in Toronto: indigenous culture as a way of bolstering tourism. Daniels, MarilY THE DANCE ln America, the incorporation of dance into worship is on the upswing' Many THROUCH I mainstream religions now find this an acceptable form of worship. ln part, this New York P: DEVIL MASK dance movement, with many dedicated De Mille, Agne used in a Devil Dance was the result of the American modern OF TT ritual in Sri Lanka. choreographers seeking to return spirituality to dance. Early in this movement, BOOK New York G Ruth St. Denis and Ted Shawn began presenting theatricalized versions of sacred Ellfeldt, Lois- East. Later, Doris Humphrey created The Shakers, and Martha Craham, dances from lndia and the Far DANCE: FR( paul Taylor and Erick Hawkins produced with American religious themes. ln 1960 Dubuque, lo in his masterpiece choreographer Alvin Ailey depicted the use of dance in black churches Ginn, Victoria- Revelations, a work set to gospel music that still serves as inspiration for church-based movement THE SPIRITE New York R choirs. Former Ailey dancer UtYSStS DOVE (1947-1 996) choreographed a work called Dancing on lriI I i. 16

i I rI ELIEST ART DANCF AND RELICIOh] fdwestern states at a time the Front Porch of Heaven (1992) and RONALD K. EROWN (b. 1966), following in the Ailey by singing d and tradition of fusing dance styles, has created Grace (2001), using and West African r*f became more idioms to evoke the grace that suffuses life's journey. has also responded to spirituality. As an lu but always with men example, Jackson, Mississippi, is home to the Ballet Magnificat!, a ballet company treating rnarriage, were permitted, Christian themes. [lce was considered a gift Worship dance is also found in the Sufi dances of Universal Peace. The Sufi are a mystic Muslim sect that originated in Persia and tends toward pantheism. Since the 1960s many Americans have been initiated as members of the Sufi Order of the West. Dance is found in some Christian churches through the use of Shaker songs and movements, in churches that incorporate Sroup dance into their worship services and in more liberal Jewish synagogues. The Avodah Dance Ensemble is a modern dance company rooted in the Jewish tradition that tours nationally, presenting its diverse repertory in interest in dance rs of dance in worship, Sabbath services, concerts, arts festivals and as part of educational programs. ln fact, as spiritual ristian worship can be in worship is so great that there is now a SACRED DANCT CUILD dedicated to dance are a return to pre-Christian forms and include dance. r strongly influenced the expression. Many New Age religious rituals I and the Caribbean. New waves of immigrants whose cultures promote dance in worship have also had considerable rica were more Iiberal influence. These include West lndians in New York, Cubans in Florida and new families throughout hrre. Thus, more African America from lndia, lndonesia and Africa. laiti was overthrown in rcan dance traditions and celebrations such as SUCGTSTED READING

Barzel, Ann. inue to cause the loss of ,PILCRIMAGE TO JERUSALEM: INTERNATIONAL SEMINAR ON THE BIBLE IN DANCE." brm or have blended , December 1979: 80-87. religion ryress or Berk, Fred. e had a damaging effect MACHOL HA,AM: DANCE OF THE JEWISH PEOPLE. SUSAN REIMER, ED. rences on sacred dance N.p.: American Zionist Youth Foundation, 1978. Additionally, some Blackmer, Joan Dexter. =. DANCE AND TRANSFORMATION. st in preserving ACROBATS OF THE CODS: Toronto: Inner City Books, 1980.

Daniels, Marilyn. A HISTORY OF RELIGIOUS DANCE t the upswing. Many THE DANCE IN CHRISTIANITY: Iworship. THROUCH THE ACES. In par! this New York: Paulist Press, 1981. , with many dedicated De Mille, Agnes. rly in this movement, BOOK OF THE DANCE. ilized versions of sacred NewYork: Golden Press, 1963. rs, and Martha Craham, EIlfeldt, Lois. DANCE: FROM MACIC TO ART. usthemes. ln 1960 '1976. Dubuque, lowa: William C. Brown, masterpiece fi-based movement Cinn, Victoria. THE SPIRITED EARTH: DANCE, FROM SOUTH ASIA TO THE SOUTH PACIFIC 'l ork called Dancing on New York: Rizzoli lnternational Publications, 990.

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