Study Notes on Dance as a Way of Being Religious
The Oxford Handbook of Religion and the Arts (Chapter: Dance as a Way of Being Religious)
General Information
Editors: Frank Burch Brown
Published: 03 February 2014
Online ISBN: 9780199984572
Print ISBN: 9780195176674
Subject: Religious Studies, Religious Subjects in Art
Keywords: Dance and religion, devadasis, tribal religion, dervishes, funerals, Hindu temples, Hindu dance, Natya Shastra, processions, Sufism
Pages: 182-202
11 Dance as a Way of Being Religious
11.1 Introduction
Dance has been part of religious ceremonies since prehistoric times, integrated into the worship of most religions at various points in history.
Dance is associated with body celebration and fertility, which has led to its prohibition at different times in certain religions.
The historical acceptance of dance in Christian rites has fluctuated.
In India, dance as part of worship is highly formalized and long-trained, often preserved within specific caste communities.
The 20th century saw a revival movement for Sacred Dance, leading to diverse and innovative dance styles.
The study of dance in religious contexts includes its historical significance and intertwining with other art forms.
11.2 Devotional Dance
Dance embodies significant symbolic, athletic, or decorative values, being a form of expression that incorporates movement, emotion, and symbolism.
Judith Hanna stated that in dance, “feelings, thoughts and actions are translated into purposeful, intentionally rhythmic, culturally patterned sequences of action.”
The distinction between ritual movements performed by specialists and dance is often arbitrary; contexts shift interpretations.
Dance connects with theatre, deriving from divine inspirations, especially in South and Southeast Asia.
11.3 Dance and Religious Emotions
Dance is viewed as a supreme means of religious expression, giving form to abstract religious ideas. Dancers manifest spiritual uplift.
Significant distinctions exist in the role of ritual specialists (transmitting ideas) versus individual spiritual practice (e.g., Sufi dervishes).
11.4 Historical Context
Throughout history, many cultures celebrated holidays and festivals involving dance.
Dance functions as a human offering to the divine, reflecting the inconsistency in formal religions' attitudes towards dance due to its associations with sexuality and fertility rites.
The ambivalence surrounding dance in religions may originate from Greek philosophical thought separating mind and body.
Governments and citizens often promote dance as a cultural heritage, such as Hula, whirling dervishes, and Hindu temple dances.
11.5 Functions of Dance in Funerals
Many tribal societies engage in dances following a death, often as part of funeral processions.
In South India, dance may accompany the corpse to the cremation site for those who lived fulfilling lives; linked to images of Hindu deities like Shiva and Kali, who are depicted with dance on cremation grounds.
Ancient Egyptian funerals featured dancing, evidenced in archaeological findings (e.g., Sakkara).
11.6 Dance in Processions
Dance features prominently in religious processions to engage the community and strengthen social bonds, e.g., Shilosh Regalim in Jerusalem, dragon dances in China, and processions in South India.
Contemporary examples in Mexico showcase integration of dance in cultural celebrations and religious events.
11.7 Dance in Sacred Spaces
Dance can create or define a sacred space, crucial in different cultural practices; referenced in Natya Shastra.
Classical Indian dances, like Odissi, often start by veneration of deities, exalting the performance space to a sacred one.
11.8 Use of Masks in Dance
Many religious dance forms incorporate specific costumes, masks, or stylized makeup to represent archetypal characters (good/evil).
Some examples include Chhau and Kathakali, which draw on religious epics but can include secular themes.
11.9 Body Preparation for Dance
Dancers often undergo ritual purification, dietary restrictions, and consecration ceremonies to become vessels of divine energy.
Historical texts describe the ideal dancer's physical attributes, linking aesthetics with religious efficacy in performance.
11.10 Dance in Prehistoric Religions
Evidence from the Neolithic period demonstrates that dance has been integral to early religious practices, as seen in cave paintings and petroglyphs depicting dancers.
11.11 Dance in Tribal Religions
Tribal dances often relate to agricultural and hunting practices aimed at invoking fertility and ensuring community wellbeing by appeasing supernatural forces.
The distinction exists between shamanistic dances (ritual specialists) and community-oriented agricultural dances.
11.12 Dance in Classical Religions
11.12.1 Greece
Dance was prevalent in Greek culture, associated with gods and goddesses, often linked to themes of creation and worship.
Dances were performed at shrines and tied to initiation festivals.
11.12.2 Rome
Roman culture borrowed extensively from Greek dance traditions, integrating it into religious practices but later associating dance with moral decline.
11.13 Judeo-Christian Attitudes Toward Dance
The Judeo-Christian tradition exhibits contradictory practices regarding dance, with historical references supporting its inclusion in worship against others advocating its prohibition.
Dance represented joyous expressions in Biblical narratives but faced restrictions and negative associations from early church figures.
11.14 Islamic Perspectives on Dance
While dance is generally discouraged in various Islamic traditions, Sufi sects, like the Mehlevis, integrate dance into spiritual practices for expressing divine love and achieving ecstasy.
11.15 Dance in Far Eastern Religions
Dance in East Asia, influenced by Daoism, Buddhism, and Confucianism, blends with social customs and rituals, blurring lines between performance art and religious practice.
11.16 Dance in Japanese Religions
Traditional Shinto and Buddha practices incorporate dance in ceremonial contexts, often through the interpretations of ancient texts and mythological narratives.
11.17 Dance Developments in Hindu Rituals
Indian dance has roots in the Natya Shastra, detailing its divine origination and practices associated with gods, reflected in temple art and modern performances.
11.18 Dance in Contemporary Sacred Arts
The 20th century rebirth of dance transcends religious boundaries, incorporating biblical themes into various styles and expressing faith through modern choreography.
11.19 Studies on Sacred Dance
Recent scholarship has focused on societal and cultural contexts of dance, attempting to synthesize academic rigor with lived dance experiences in South Asia.
11.20 Future of Dance in Religion
Future studies may explore the impact of globalization and hybridization of dance, including modernization influences, the sacred in theater, and the evolution of religious rituals.
Notes/References
The document includes numerous citations from diverse academic sources that analyze the intersections of dance, religion, and culture throughout history.