The sacred dance : $b A study in comparative folkloreOesterley, W. O. E. (William Oscar Emil)
Religion
The sacred dance : $b A study in comparative folklore
Oesterley, W. O. E. (William Oscar Emil)
Dance -- Religious aspects -- History
all periods of the history of Roman burial are unified by
the belief in the continued existence of the dead, and in
his ghostly participation in the life of the family and the
community, and by the consequent scrupulous care about proper
burial, and the maintenance of right relations with the spirits
of dead ancestors. The quick and the dead of ancient Rome were
in a more than usually intimate communion[370].
The sacred dance, as a mark of honour to the deceased, is therefore not
likely to have been neglected among the poor any more than among the rich.
V
We come now to consider some examples of dancing as a mourning or burial
rite among some of the savage and semi-civilized peoples. What will
strike us here as strange are the contradictory ideas regarding the
purpose of the rite; but it is just these opposing ideas that will be
found to be so instructive. Various customs in existence at the present
day among civilized peoples are explained in the light of the ideas and
practices now to be considered.
There is no doubt that the object of this rite among uncivilized races
which is most common now is the honouring of the departed; but it
is probably true to say that this represents the latest development
regarding its purpose, and that the other reasons for which it was
performed take us back to earlier stages of the growth of savage thought
regarding the departed.
We will begin by offering examples of this most developed idea and
purpose of the rite.
In writing of the Kol tribes of Chota Nagpur who are remarkable for their
pathetic reverence for their dead, Tylor says:
When a Ho or Munda has been burned on the funeral pile,
collected morsels of his bones are carried in procession
with a solemn, ghostly, sliding step, keeping time to the
deep-sounding drum, and when the old woman who carries the
bones in her bamboo tray lowers it from time to time, then
girls who carry pitchers and brass vessels mournfully reverse
them to show that they are empty; thus the remains are taken
to visit every house in the village, and every dwelling of a
friend or a relative for miles, and the inmates come out to
mourn and praise the goodness of the departed. The bones are
carried to all the dead man’s favourite haunts, to the fields
he cultivated, to the grove he planted, to the threshing-floor
where he worked, to the village dance-room where he made merry.
At last they are taken to the grave, and buried in an earthen
vase upon a store of food...[371].
Public-domain text, read in full here on John Shaqi.
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