Dancing and christian church- a tragic love history

Throught the 2000 years of Christian history, worship dancing looses its importance up to gaining a pejorative sens around the Middle Ages. Many records exist of prohibitions by leaders within most branches of the Christian Church, for such reasons as the association of dance with paganism, fears relating to sexuality, and a Greek-influenced belief in the separation of soul and body. However, beginning in the later half of the 20th century there was a significant growth in the use of dance within christian worship.

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". Christians were accustomed to celebrating, in dance, at worship and festivals because of the Hebrew tradition of dance.

The New Testament gives few direct references to dance. 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).The biblical stance for most prayers included raising arms and hands above the head (1 Timothy 2:8).

In the two earliest Christian liturgies recorded in detail, dance is used in the order of service. 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'.

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'. 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.

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.

Simultaneously in the Middle Ages, there were outbreaks of dance epidemics known as Danseomania - dance mania The dance epidemics reached an intensity that rendered ecclesiastical councils helpless in opposition to them. Despite the church's command to cease the dance manias, the people either wouldn't or couldn't. Consequently, the dancers were often accused of being possessed by the devil.
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. There were an increasing number of edicts and considerable legislation which reformed church liturgy, the use of dance was restricted. In the later Middle Ages church hierarchy issued a number of edicts against the use of dance.
The Reformation ideas were even more critic to dances. Christians were taught not to glorify the body.Those who cultivate it are generally idolaters, epicureans, good for nothings, despicable or dishonourable comedians or actors, as well as souteneurs, gigolos, and other dissolute, worthless, wanton persons.
Consequently, religious dance disappeared, or survived in only a few isolated places. Other Christian dance movements were changed into folk expressions, to be seen at weddings or funerals.

Today
Gradually, with the renewal of the church in the twentieth century, including liturgical renewal, dance has begun to find increasing acceptance in the worship life of the church once again. It has a rich and biblical tradition. Dance offers an enormous range of forms and expressions in worship from the carefully choreographed dramatic presentation to the spontaneous worship and celebration of indiviuals and congregations of all ages.


Sources : http://www.pastornet.net.au/renewal/journal6/coleman.html
Wikipédia : article on Worship dance

Jewish worship dances

The Jewish records make frequent mention of dancing, as a religious ceremony, or as an expression of gratitude and praise. As a means of entertainment in private society, dancing was practiced in ancient times, but by professional dancers, and not by the company themselves. The Bible sanctions dancing as a religious rite, to be practiced on joyful occasions, at national feasts, and after great victories, and "performed by maidens in the daytime, in open air, in highways, fields, or groves.

However, there are no instances of dancing sanctioned in the Bible, in which both sexes united in the exercise, either as an act of worship or as an amusement, and any who perverted the dance from a sacred use to purposes of amusement were called infamous. The only records in the Bible of dancing as a social amusement were those of the ungodly families described by Job xxi, 11-13, who spent their time in luxury and gayety, and who came to a sudden destruction; and the dancing of Herodias, Matt. Xiv, 6, which led to the rash vow of King Herod Antipas and to the murder of John the Baptist.

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.

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. A third type of dance included hopping and whirling movements which were exuberant with joy. Each of these forms of dance found an expression in daily life and at festival times. 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.

Sources : http://www.pastornet.net.au/renewal/journal6/coleman.html

Wikipédia : article on worship dances

Indian Sacred Dances

The Indian dance is one of the oldest art that has been through a steady development for nearly two thousand years.
From a Hindu point of view, the whole Universe is being brought into existence as the manifestation of the dance of the Supreme Dancer, Nataraja.
In the Hindu scriptures, every god has his or her own style (lasya and tandava respectively represent two aspects of dance) we read about 23 celestial beings called Apsaras (female spirit of the clouds and waters) who dance to please the gods and express the supreme truths in the magic of movement.

The Indian classical dance has its origin in the temples, especially in the South and Eastern India, where it was used to illustrate the Hindu mythology and to be part of a sacred rituals. This art was performed in the temples by the Devadasis, ladies who dedicated themselves to God and His different aspects through the elaborate language of mime and gestures. With the passage of time, this form of art was used both as a means to worship God and a way to express one's emotion or state of mind.

This form of art is based on the NatyaShastra which is the most ancient and the most elaborate scripture describing every element and aspect of this sacred art-worship.written by Sage Bharata. The supreme manifestation of the Indian dance is Lord Shiva, also referred as Lord Nataraja.

The temple dance gradually evolved into what is known today as the South Indian Classical dances that still preserves many ritualistic elements of Hinduism. Some of the Classical Indian dancers are believed to be incarnations of apsaras.

All dance forms follow the same gestures or hasta mudras for each of these rasas. The major schools of classical dances in India are Kathak, Manipuri, Odissi, Bharatha Natyam, Kuchipudi, Kathakali and Mohiniattam, apart from the Folk and Tribal dances.

Sources: http://www.geocities.com/Tokyo/Shrine/4287/dances.htm and
Wikipédia articles : worship dance and sacred dance

The Tibetan Cham Dance

An example of sacred dances in Buddhism: the Tibetan Cham Dance

The origin of the Cham Dance may well be an older form of shamanic ceremonial dance in Tibet, but centuries of evolution within a Buddhist-dominated society led to the recasting of the roles and theme of the dance in keeping with Buddhist.

The Cham Dance, is a lively dance which employs dancers wearing masks and ornamented costumes. The dance is accompanied by music played by monks using traditional Tibetan instruments. The dances often offer moral instruction relating to non-harm to sentient beings and are said to bring merit to all who observe them.
We also find Cham Dance in countries such as Bhutan, the dances are performed during an annual religious festival known as Tsechu, which is held in each district. At certain festivals a large painting known as a thongdrol is also briefly unfurled (déployé). The simple viewing of the thongdrol is believed to carry such merit as to free the observer from all present sin (pechés).

The Cham dance, a masked dance, also thought of as a type of drama, can be found in both the Bon and Buddhist traditions. It is performed by monks outside the monasteries for those Tibetans that are not monks. The Cham dance dances are accompanied by instrumental ensembles. One can see the traditional dress, costumes and masks used in The Cham dance.
Cham dances are considered illegal in Tibet by the governing body of the Peoples Republic of China.
Sources:
http://www.acsu.buffalo.edu/~jemorgan/dalai/sacred.html
Wikipedia

The Dervish Turners Dance

An example of sacred dances in Islam: the Dervish Turners Dance in the Sufism movement

Sufism is a particular religious movement of Islam that was born around the 14th century. It refers to people who considered that the aim of religion is to reach the fusion with the Supreme Being.
Asceticism, god’s contemplation, love, poetic and philosophical activities are considering as the best way to get on it. The idea is that the intention you put on your act and the love you feel for god is more important that the religious rite itself.

The turning Dervish dance is one the way Sufism adepts use “to feel one with god”.
It is a mystic dance that makes the Dervish get to a conscious state of mind and it modifies its perception to be in phase with Allah. Each detail of the celebration has a religious and philosophical symbolism. The dark coat that the dancers take off before starting represents the material envelope that Man refuses in order to make one with Allah when he’s dead. The large dresses represent the “suaire” and the conic hats the sepulchre.
With their head a bit switched to the right, their right hand toward the skies and the left one to the land, the dancers make a slow and circling movement to evocate the movement of the planets in the universe. Along with the dancing, come the music and a song (called dikhr) invocating the name of Allah.

Source: http://www.treklens.com/gallery/Africa/Tunisia/photo176879.htm