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
In the following discussion on the sacred dance we have made the Old
Testament our starting-point. In spite of some drawbacks which will
become very apparent, this course has its advantages. The Old Testament
offers, either explicitly or implicitly, as we hope to show, evidence
of the existence among the ancient Israelites of most of the typical
sacred dances of antiquity. By “typical” we do not mean dances in their
outward form, but in the intention and object for which they were
performed. In dealing with sacred dances it is only by considering their
intention and purpose that a classification of them can be attempted.
The Old Testament gives within the compass of its pages certain _points
d’appui_ which afford convenient starting-points for the consideration
of these different types of the sacred dance. Then, in each case we go
on to the further investigation of these among various other races. From
this we are often able to discern, with tolerable probability, the early
underlying ideas which prompted the performance of the type of dance in
question; for, as may well be supposed, it is not from the Israelites
that we can expect to discover, excepting in the one case of the ecstatic
dance, the root motives of the different types of the sacred dance.
The most promising sphere for the discernment of these is among the
uncivilized races; their _naïve_ and unsophisticated naturalness reveals
things which a gradually developing civilization obscures. Hence the
devoting of a good deal of attention to the sacred dance among savages in
the following pages.
Another advantage of using the Old Testament for our various
starting-points is that the Israelites were in that stage of culture
in which a people still retains many more or less primitive rites and
customs while pushing forward on the path of cultural development; so
that among them we are in touch with the past and yet experiencing
the upward trend that is taking place. Crawley truly says that “it is
in the middle stages of culture that dancing is seen at its highest
development[14]”; that applies to the Israelites. It is like standing on
an eminence and looking behind and before. That has its advantages.
Public-domain text, read in full here on John Shaqi.
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