An Extract from Sacred Dance by Dzagbe Cudjoe

Dance is clearly one of the earliest forms of worship. Cave art from early prehistoric times onwards bears witness to the power of the dance. Such paintings and engravings occur worldwide. In the western part of Arnhem Land in Australia a cave painting shows two men playing instruments to accompany the dance. A rock shelter at Cogul near Lenda in Catolonia, Spain portrays a group of nine women. They are wearing knee length skirts and are dancing round a small naked male figure. The State of Madhya Pradash in India has abundant rock art depicting dancers and musicians. The caves in Tassili Algeria have paintings of female dancers and the Etruscans in 500 BC depicted dancing in wall frescoes.

Certain dances mimic animals or are aimed to ensure that something happens. For example hunters in ancient times are shown in cave paintings dancing wearing animal skins and masks. We can safely assume that this was to ensure good hunting. Dances miming the gathering of the harvest must also be of ancient origin. As time has passed such dances have become folk dance rather than sacred dance.

Sacred Dance is often preceded by elaborate secret preparations such as bathing, avoidance of certain foods and drinks and from sexual intercourse. There may be periods of intense prayer and the taking of trance inducing substances.

One of the best documented european sacred dances is that connected to the cult of the Greek god Dionysus. The rituals in his honor included orgies, the sacrifice of animals, excessive wine-drinking and trance dancing which continued until the dancers collapsed with exhaustion.

Judaism had no problem with dance being connected to worship. Psalm 150 for example:- "Praise ye the Lord... Praise him with the timbrel and dance". King David is said to have whirled before the Ark of the Covenant. In the Talmud dancing is described as being the principal function of angels.

Dance was part of the service in the early Christian church. It took place in the choir and was led by the bishop. Today there are Christian churches who are reintroducing dance sometimes in a very self-conscious style.

Sacred Dance can in itself be therapeutic.

The Shakers, who were an offshoot of the Quakers were brought to America from England in 1774 by Ann Lee. A vision had told her that sexual intercourse was the source of mankinds's troubles. She established a closed community which practised self-sufficiency and communal ownership of all possessions. The Shakers had a deep understanding of the aesthetic of simplicity which showed itself in all aspects of their lives.

Shaker dances were held in the evening. Men and women entered the hall separately. They marched in on tip-toe and formed two rows facing each other about five feet apart.Men were on the right with the women on the left. The Chief Elder stood in the middle and gave a five minute address. He concluded by saying "Go forth, old men, young men and maidens and worship God with all your might in the dance". Men and women did not intermingle. There were pauses to see if anyone had received "a gift". Then two of the sisters would start whirling like tops with their eyes shut. They continued whirling for about 15 minutes when they stopped suddenly and sat down again.

There are no longer any viable Shaker communities and the dances have therefore died out. A certain number of their hymns, however, continue to be sung in various other churches.

An ancient Sacred Dance tradition continues to this day in Turkey, the Middle East and North Africa.

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Liturgical Dance

Liturgical dance is being increasingly re-introduced into services of Christian worship. Behind the choreography is the belief that the dance must be a heartfelt expression of faith and prayer. It is a physical expression of worship.Young people especially need to see a connection between body, movement and spirit. The aim is not to dazzle audiences but to deepen their religious experience,to make dance a prayer. However, the dance must not become such a personal expression that it means nothing in particular to the rest of the congregation.

Liturgical dance can include Folk dance, modern dance, jazz, interpretive dance, spontaneous dance, and circle dance to name a few. There are many starting points for the choreography . For example a song which has "danceability" and allows the word to be interpreted as movement. The dancers could also move to the music and see what emerges. Facial expression is also important. Sign language can be used as a basis to create dance moves. Some Christian church groups have been inspired to create dance by the exercises of St.Ignatius Loyola.

The dance can express many aspects of worship. Praise where the dancers are offering thanksgiving. Worship when intimacy between the performers would be expressed through reverent, yielding movements.There are celebratory dances and those expressing the fight against evil which would be forceful, bold and full of confidence. Expressing travail and trouble would suggest movements conveying reaching out to God for help, guidance, direction and relief.

Simplicity and humility are characteristics which are emphasized. Liturgical choreographers have to carefully integrate their choreography into rites that have been established for generations. All works have to be created with the peculiarities of each sanctuary's architecture. Sometimes obstacles such as stairs have to be taken into account. Sometimes the altar is in the middle of the dancing space and must be worked into the choreography.

Dance might accompany the entrance of the clergy and choir into the church, might replace the sermon, serve as a meditation or accompany an ancient prayer.

Christian women's groups are at the forefront of introducing liturgical dance. Interpreting scripture through movement can in fact be done by anyone, anywhere. Neither physical ability or experience with dance are required. Dancers need to work together for a significant period of time before dancing in the actual service. This develops rapport between dancers in both faith and movement. If there are great differences in technical ability then the choreography must be levelled at the least experienced to preserve integrity of movement and its meaning.

Some groups only dance for their own congregations while others tour to other places of worship.There are congregations who are involving the youth in dance, fitness and nutrition education. Christian based dance schools impart character development, self-discipline, self-control and self-esteem. The students are taught in a positive atmosphere with strong dance technique. Some dance ensembles have women's groups, young adults and children's groups.

Many videos, articles and books exist with instructional material for liturgical dance.

What liturgical dancers wear is not a costume. It is a garment of praise, symbolic and meaningful in design, colors and fabrics .Modesty is the key. There is much advice on the type of undergarments, the depth of necklines and the appropriate length of dresses and skirts.

The International Christian Dance Fellowship is an ecumenical fellowship that links individuals and organizations involved in dance and movement ministries around the world.


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