ACADEMIA Letters

Dance in the Christian Traditions

Selena Madden

This paper will explore the practice and perspective of dance within the Christian traditions,
specifically the emergence of dance as a ritual practice and the conflicting views of dance as
sacred or as sinful. Liturgical dance serves as an expression of spiritual experiences, according
to those such as professional liturgical dancer Carla DeSola and theological scholar Stephanie
Scott. Historical references have indicated a condemnation of dance by the Church, yet dance
continued as a means of expression throughout the Christian faith practices.
References to dance as a viable expression of worship have been noted in the Bible, such
as in the Acts of John, chapters 94-102, which describe an empyrean space that opens itself
“when we enter in the round dance of the disciples, led by Christ” as written by Pulver (Camp-
bell 160). This book, believed to have been written by the same John who wrote the book of
Revelation with three of his epistles, speaks to dance as an act of prayer and thanks; dance is
“a positive spiritual act, a substantial offering” (174). This hymn of praise is a round dance,
believed to have consisted of 12 apostles, who danced in a circle around Christ, who was
placed in the center of the circle.
This type of round dance, or circular dance, parallels the concept of the “cosmic dance”,
originating from the Greek idea of combining a world that is rational and orderly with a “poetic
image of harmony” in the cosmic sense (Miller 4). The ancient Egyptians also shared this
perception, considering dance was “first regarded as an image of divine and social harmony”
(5). The first book of Jehu mentions a round dance involving 12 participants, all praising God
with hymns and speaking in tongues, perhaps similar to the magical formulas found in the
Magic Papyri of Greece (Campbell 175).
According to Mews’ discussion of the Bishop of Sicard in Cremona, around 1200 CE,
circular dances demonstrate origination with pagan traditions, and were viewed as sacred and
associated with a freedom of expression. They were an offering of the whole body to honor

Academia Letters, June 2021 ©2021 by the author — Open Access — Distributed under CC BY 4.0

Corresponding Author: Selena Madden, selena.madden@gmail.com

Citation: Madden, S. (2021). Dance in the Christian Traditions. Academia Letters, Article 1164.
https://doi.org/10.20935/AL1164.

1
ideas:

Through the circling, they understood the revolution of the firmament; through
the joining of hands, the interconnection of the elements; through the gestures of
bodies, the motions of the signs or planets; through the melodies of singers, the
harmonies of planets; through the clapping of hands and the stomping of feet, the
sounding of thunder; but what those people shared to their idols, the worshippers
of the one God converted to his praise. (512-513)

John Stevens calls this the “Dance of the Heavens”, theorizing the emulation of the revolution
of the cosmos. Linking hands was akin to linking the elements; singers sung the sound of the
resounding planets; bodily gestures mimicked the movements of constellations; the clapping
of hands and stomping of feet were the sounds of thunder. These ring dances were pagan
in nature but the Church attributed them to devotion to God (Hudler 23). Sicard draws on
Honorius, stating the Christian choir is essentially positively utilizing the pagan celebration
of the cosmic dance (Mews 515).
The perception of dance as an “expressive movement” is in alignment with the phrasing
“in the beginning God moved over the waters and created”, denoting the idea that expressive
movement, or dance, is a part of the worship experience (Borchers 207). Theodoret of Cyrrhus
and Clement of Alexandria “described dance as an imitation of the perpetual dance of angels,
the blessed and righteous expressing physically their desire to enter heaven” (Hanna 2135).
Scholars have discussed the contradiction within Christian traditions regarding the prac-
tice of dance as either sinful or acceptable. Hudler writes “the physical body is sinful, but
is necessary as a house and vehicle for the soul” (20). Christians of medieval Europe be-
lieved the body was an obstacle to salvation but the soul could only reach salvation through
the body (20). It seems a reconciliation was reached in that certain movements of dance, such
as leaping and other “wild” gestures were considered sinful, as originating with the pagans,
but liturgical dance – practiced in the “right” environment and with the “right” intentions –
was an accepted form of worship (20).
Scott writes that dance is a movement in reaction to, or in conjunction with, a rhythm
or music. In the Christian perception, this becomes liturgical because the dance relates to a
spiritual experience, or a “conscious and direct exposure to God” (245-250). Liturgical dance
is such because it gives testimony to God’s work in the life of the dancer and the dancer’s work
in service to God. It can be a way of communicating one’s relationship with the divine (250).
Between the 4th century and 14th century in Europe there came to be a separation between
dance and acceptable forms of Christian worship. The Protestant Church condemned the
practice of dance (Scott 252). Constantine created a distinction between the members of

Academia Letters, June 2021 ©2021 by the author — Open Access — Distributed under CC BY 4.0

Corresponding Author: Selena Madden, selena.madden@gmail.com

Citation: Madden, S. (2021). Dance in the Christian Traditions. Academia Letters, Article 1164.
https://doi.org/10.20935/AL1164.

2
clergy and the laity, and discouraged the practice of dancing and singing in worship (Borchers
211). The archdiocese of Sens passed statutes that spread throughout France banning dance in
churches, cemeteries, and in processions by priests (Mews 540-542). Reasons for prohibiting
dance ranged from concern of an inappropriate practice being intermingled with Christian
worship “to a confusion between sensuality and sensuousness” (Borchers 212). Borchers
elaborates on the difference that may have been confused by the Church: “Sensuality arises
when the body is objectified and is thus stripped of its sacramental meaning. Sensuousness
is a natural and good aspect of humanity, which needs to be incorporated into our worship.
We cannot worship as disembodied spirits” (212). Hanna states “Christianity has a love-hate
relationship with the body and therefore with dance” (2135).
Contemporary liturgical dancer Carla DeSola has written and performed extensively relat-
ing to her calling as a professional faith-based dancer. She believes dance offers the opportu-
nity to join the sacramental nature of the body with spirit (5). Liturgical dance is site-specific
and unique with each performance based on the layout of the altar, the pulpit, the stairs, etc.
The mood is particularly relevant, as can be the season (8-9). As a contemporary dancer, DeS-
ola has had access to other spiritual and religious traditions and in her work she researched
these other traditions in order to gain a stronger understanding of sacred gestures and move-
ments (10).
Historically, particularly during the time of the plague in Europe, the peasantry utilized
dances of death. In the case of plague, the idea was to drive away or catch the Devil, believed
to be the cause of this atrocity (Borchers 211). Death dances were also performed with the
intent of celebrating the deceased’s eternal life (Hudler 25). Liturgical death dances offer the
opportunity to weave together the community; to offer the space to “people to grieve and to
be blessed and find new spirit. Dance provides a key element of transcendence to the service;
it is a forecast of the resurrected body” (DeSola 11).
Various passages are written in the Acts of John that support the value of dance in worship,
as shared by Miller: “Grace is dancing. Dance all of you. He who dances not knows not what
comes to pass” (82). [Those in the Acts of John] “dance because Jesus calls upon them in
person, on a unique occasion, to prepare for the public drama of his Passion in a private
ceremony of divine praise and thanksgiving” (85). Citing Ecclesaiastes 3:3-4: “A time to kill,
and a time to heal; a time to break down, and a time to build up; a time to weep, a time to
laugh; a time to mourn, and a time to dance” (86).
The presence and practice of dance in connection with ritual, religious and spiritual ob-
servance has been well recorded throughout history. As early as the 12th century in Europe
religious leaders and authors defended the utilization of dance with Biblical references as
well as the connection with accepted pagan influence. John Beleth in France elaborated on

Academia Letters, June 2021 ©2021 by the author — Open Access — Distributed under CC BY 4.0

Corresponding Author: Selena Madden, selena.madden@gmail.com

Citation: Madden, S. (2021). Dance in the Christian Traditions. Academia Letters, Article 1164.
https://doi.org/10.20935/AL1164.

3
liturgy in both pagan and scriptural imagery, aiming to explain Christian faith and ritual to a
wider audience (Mews 528). Beleth discussed the birth of St. John the Baptist celebrated as
a “coming of grace” by both Christians and pagans (531).
Despite the conflict of dance viewed as sinful or sacred, dance as a form of worship still
clearly exists in modern society, such as with liturgical dance. DeSola states “I believe we are
all blessed by the practice of sacred dance” (13).

Works Cited
Borchers, Deena. “Dance in Christian Worship.” Currents in Theology and Mission, vol. 17,
no. 3, June 1990, pp. 207–13.

Campbell, Joseph, editor. The Mysteries: Papers from the Eranos Yearbooks. Princetone:
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De Sola, Carla. “The Spirit Moves…My Soul Responds.” ARTS, vol. 21, no. 1, 2010, pp.
4–13.

Hanna, Judith Lynne. “Dance: Dance and Religion.” Encyclopedia of Religion, vol. Vol. 4.
2nd Edition. Detroit: Macmillan Reference USA, 2005, pp. p2134-2143.

Hudler, Melissa. “The Body Speaks of Sin: The Voice of Dance in the Middle Ages.” Inter-
disciplinary Humanities, vol. 21, no. 1, Spring 2004, pp. 20–29.

Kraus, Rachel. “They Danced in the Bible: Identity Integration among Christian Women
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Mews, Constant J. “Liturgists and Dance in the Twelfth Century: The Witness of John Beleth
and Sicard of Cremona.” Church History, vol. 78, no. 3, Sept. 2009, pp. 512–48.
EBSCOhost, doi:10.1017/S0009640709990412.

Miller, James L. Measures of Wisdom: The Cosmic Dance in Classical and Christian Antiq-
uity. Toronto: Univ of Toronto Pr, 1986. Print.

Scott, Stephanie S. “The Language of Liturgical Dance in African-American Christian Wor-

ship.” The Journal of the Interdenominational Theological Center, vol. 27, no. 1–2, 1999,
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Academia Letters, June 2021 ©2021 by the author — Open Access — Distributed under CC BY 4.0

Corresponding Author: Selena Madden, selena.madden@gmail.com

Citation: Madden, S. (2021). Dance in the Christian Traditions. Academia Letters, Article 1164.
https://doi.org/10.20935/AL1164.