Dance
Dance
This act is usually denoted in Hebrews by some form of , chul, which literally signifies to twist (and is often applied to writhing under pain, as of birth, or trembling under fear), and hence probably refers to the whirling motions of the Oriental sacred dances (Jdg 21:21; Jdg 21:23; Psa 30:11; Psa 149:3; Psa 150:4; Jer 31:4; Jer 31:13; Lam 5:15; Exo 15:20; Exo 32:19; Jdg 11:34; 1Sa 18:6; 1Sa 29:5; Son 6:13). A similar idea of moving in a circle is radically contained in the word , chagag’, translated dancing in 1Sa 30:16. Another term thus rendered (Ecc 3:4, Job 21:11; Isa 13:21; 1Ch 15:29) is , rakad’, which simply means to skip or leap for joy, as it is elsewhere rendered, and is nearly equivalent to a fourth term thus translated (2Sa 6:14; 2Sa 6:16), , karat’, which means to jump or spring. In the New Test. the terms translated dance are (radically expressive of the same idea of circular motion), applied to a festive occasion in connection with music (Luk 15:25), and , literally to leap up and down, but conventionally used in later times to denote a regular dance according to rule, either in concert (Mat 11:17; Luk 7:32) or by a single person, especially in the elaborate pantomime dance of Roman times (Mat 14:6; Mar 6:22). (See Smith’s Dict. of Class. Antiq. s.v. Saltatio, Pantomimus.)
As emotions of joy and sorrow universally express themselves in movements and gestures of the body, efforts have been made among all nations, but especially among those of the South and East, in proportion as they seem to be more demonstrative, to reduce to measure and to strengthen by unison the more pleasurable those of joy. The dance is spoken of in holy Scripture universally as symbolical of some rejoicing, and is often coupled for the sake of contrast with mourning, as in Ecc 3:4, a time to mourn and a time to dance (comp.Psa 30:11; Mat 11:17). Children dance spontaneously (Job 21:11; Mat 11:17; Luk 7:32).
1. At a very early period, dancing was enlisted into the service of religion among the heathen; the dance, enlivened by vocal and instrumental music, was a usual accompaniment in all the processions and festivals of the gods (Strabo, 10); and, indeed, so indispensable was this species of violent merriment, that no ceremonial was considered duly accomplished-no triumph rightly celebrated, without the aid of dancing. The Hebrews, in common with other nations, had their sacred dances, which were performed on their solemn anniversaries, and other occasions of commemorating some special token of the divine goodness and favor, as means of drawing forth, in the liveliest manner, their expressions of joy and thanksgiving. The performers were usually a band of females, who, in cases of public rejoicing, volunteered their services (Exo 15:20; 1Sa 18:6), and who, in the case of religious observances, composed the regular chorus of the temple (Psa 149:3; Psa 150:4), although there are not wanting instances of men also joining in the dance on these seasons of religious festivity. Thus David deemed it no way derogatory to his royal dignity to dance on the auspicious occasion of the ark being brought up to Jerusalem (2Sa 6:14; 2Sa 6:16). The word used to describe his attitude is significant of violent efforts of leaping ( , ); and, from the apparent impropriety and indecency of a man advanced in life, above all a king, exhibiting such freaks, with no other covering than a linen ephod, many learned men have declared themselves at a loss to account for so strange a spectacle.
It was, unquestionably, done as an act of religious homage; and when it is remembered that the ancient Asiatics were accustomed, in many of their religious festivals, to throw off their garments even to perfect nudity, as a symbol sometimes of penitence, sometimes of joy, and that this, together with many other observances that bear the stamp of a remote antiquity, was adopted by Mohammed, who has enjoined the pilgrims of Mecca to encompass the Kaaba clothed only with the ihram, we may perhaps consider the linen ephod, which David put on when he threw off his garments and danced before the ark, to be symbolic of the same objects as the ihram of the Mohammedans (see Foster’s Mohammedanism Unveiled). The conduct of David was imitated by the later Jews, and the dance was incorporated among their favorite usages as an appropriate close of the joyous occasion of the feast of Tabernacles. The members of the Sanhedrim, the rulers of the synagogues, doctors of schools, and all who were eminent for rank or piety, accompanied the sacred music with their voices, and leaped and danced with torches in their hands for a great part of the night, while the women and common people looked on. This strange and riotous kind of festivity was kept up till exhaustion and sleep dismissed them to their homes (Buxtorf, De Synag. Jud. cap. 21). The character of the ancient dance was very different from that of ours, as appears from the conduct of Miriam, who took a timbrel in her hand, and all the women went out after her with timbrels and with dances. Precisely similar is the Oriental dance of the present day, which, accompanied of course with music, is led by the principal person of the company, the rest imitating the steps. The evolutions, as well as the songs, are extemporaneous not confined to a fixed rule, but varied at the pleasure of the leading dancer; and yet they are generally executed with so much grace, and the time so well kept with the simple notes of the music, that the group of attendants show wonderful address and propriety in following the variations of the leader’s feet. The missionary Wolff describes a festival of some Eastern Christians, where one eminent individual, who led the song as well as the dance, conducted through the streets of the city a numerous band of people, who leaped and danced in imitation of the gestures used by him. When the late deputation of the Church of Scotland were on their way through Palestine, their young Arab guides, to relieve the tedium of the journey, sometimes commenced a native song and dance; one of them, advancing a little before the rest, began the song, dancing forward as he repeated the words; when the rest, following him in regular order, joined in the chorus, keeping time by a simultaneous clapping of hands. They sang several Arabian songs, responding to one another, dancing and clapping their hands. In their dancing dervishes the Turks seem to have adopted into their system the enthusiastic raptures, at once martial and sacred, which (e.g. in the Roman Salii) seem indigenous in many Southern and Eastern races from the earliest times.
In the earlier period dancing is found combined with some song or refrain (Exo 15:20; Exo 32:18-19; 1Sa 21:11); and with the , or tambourine (A. V. timbrel), more especially in those impulsive outbursts of popular feeling which cannot find sufficient vent in voice or in gesture singly. Nor is there any more strongly popular element traceable in the religion of the ancient Jews than the opportunity so given to a prophet or prophetess to kindle enthusiasm for Jehovah on momentous crises of national joy, and thus root the theocracy in their deepest feelings, more especially in those of the women, themselves most easily stirred, and most capable of exciting others. The dance was regarded even by the Romans as the worship of the body, and thus had a place among sacred things (Servius ad Virg. Bucol. v. 73). A similar sentiment is conveyed in Psa 35:10 : All my bones shall say, Lord, who is like unto thee? So the;tongue is the best member among many, the glory (Psa 57:8) of the whole frame of flesh, every part of which is to have a share in the praises of God. Similarly among the Greeks is ascribed by Athenaeus to Socrates a fragment in praise of dancing (Athen. 14:627; comp. Arrian, Alex. 4:11). Plato certainly (Leg. 7:6) reckons dancing () as part of gymnastics (). So far was the feeling of the purest period of antiquity from attaching the notion of effeminacy to dancing, that the ideas of this and of warlike exercise are mutually interwoven, and their terms almost correspond as synonyms (Homer, II. 16:617; comp. Creuzer, Symb. 2:367; 4:474; and see especially Lucian, De Salt., passim).
Women, however, among the Hebrews made the dance their especial means of expressing their feelings; and when their husbands or friends returned from a battle on behalf of life and home, they felt that they too ought to have some share in the event, and found that share in the dance of triumph welcoming them back. The eating, and drinking, and dancing of the Amalekites is recorded, as is the people’s rising up to play (, including a revelling dance), with a tacit censure; the one seems to mark the lower civilization of the Amalekites, the other the looseness of conduct into which idolatry led the Israelites (Exodus 32; 1Co 10:7; 1Sa 30:16). So, among the Bedouins, native dances of men are mentioned (Lynch, Dead Sea, p. 295), and are probably an ancient custom. The Hebrews, however, save in such moments of temptation, seem to have left dancing to the women. But, more especially, on such occasions of triumph, any woman, whose nearness of kin to the champion of the moment gave her a public character among her own sex. seems to have felt that it was her part to lead such a demonstration of triumph or of welcome; so Miriam (Exo 15:20), and so Jephthah’s daughter (Jdg 11:34), and similarly there no doubt was, though none is mentioned, a chorus and dance of women led by Deborah, as the song of the men by Barak (comp. Jdg 5:1 with Exo 15:1; Exo 15:20). Similarly, too, Judith (15:12, 13) leads her own song and dance of triumph over Holofernes. There was no such leader of the choir mentioned in the case of David and Saul. Hence, whereas Miriam answered the entire chorus in Exo 15:21, the women in the latter case answered one another as they played (1Sa 18:7), that answer embodying the sentiment of the occasion, and forming the burden of the song. The coming out of the women to do this (Jdg 11:34; 1Sa 18:6; comp. Went out, Exo 15:20) is also a feature worthy of note, and implies the object of meeting, attending upon, and conducting home.
So Jephthah’s daughter met her father, the women of all the cities came to meet and celebrate Saul and David, and their host, but Miriam in the same way goes out before Jehovah the man of war, whose presence seems implied. This marks the peculiarity of David’s conduct when, on the return of the ark of God from its long sojourn among strangers and borderers, he (2Sa 6:5-22) was himself choregus; and here, too, the women, with their timbrels (see especially 2Sa 6:5; 2Sa 6:19-20; 2Sa 6:22), took an important share. This fact brings out more markedly the feelings of Saul’s daughter Michal, keeping aloof from the occasion, and looking through a window at the scene. She should, in accordance with the examples of Miriam, etc., have herself led the female choir, and so come out to meet the ark and her lord. She stays with the household (2Sa 6:20), and comes out to meet him with reproaches, perhaps feeling that his zeal was a rebuke to her apathy. It was before the handmaids, i.e. in leading that choir which she should have led, that he had uncovered himself; an unkingly exposure as she thought it, which the dance rendered necessary the wearing merely the ephod or linen tunic. The occasion was meant to be popularly viewed in connection with David’s subjugation of various enemies and accession to the throne of Israel (see 1Ch 12:23 to 1Ch 13:8); he accordingly thinks only of the honor of God who had so advanced him, and in that forgets self (comp. Mller, De Davide ante Arc. Ugolini, 32). From the mention of damsels, timbrels, and dances (Psa 68:25; Psa 149:3; Psa 150:4) as elements of religious worship, it may perhaps be inferred that David’s feeling led him to incorporate in its rites that popular mode of festive celebration. This does not seem to have survived him, for as Saalschitz remarks (Archaol. der Hebr. 1:299), in the mention of religious revivals under Hezekiah and Josiah, no notice of them occurs; and this, although the words, the writing, and the commandment of David on such subjects are distinctly alluded to (2Ch 29:30; 2Ch 35:4; 2Ch 35:15).
It is possible that the banishing of this popular element, which found its vent no doubt in the idolatrous rites of Baal and Astarte (as it certainly did in those of the golden calf, Exo 32:19), made those efforts take a less firm hold on the people than they might have done, and that David’s more comprehensive scheme might have retained some ties of feeling which were thus lost. On the other hand was doubtless the peril of the loose morality which commonly attended festive dances at heathen shrines. Certainly in later Judaism the dance was included among some religious festivities, e.g. the feast of tabernacles (Mishna, Succah, v. 3, 4), where, however, the performers were men. This was probably a mere following the example of David in the letter. Also in the earlier period of the Judges the dances of the virgins in Shiloh (Jdg 21:19-23) were certainly part of a religious festivity. It seems also from this last instance clear, and from the others probable, that such dances were performed by maidens apart from men, which gives an additional point to the reproach of Michal. What the fashion or figure of the dance was is a doubtful question, nor is it likely to have lacked such variety as would adapt it to the various occasions of its use. The terms employed, however, all point to dancing in a ring. In modern Oriental dances a woman leads off the dance, the others then follow her with exact imitation of her artistic and graceful attitudes. A parallelism of movement is also incident to it (Saalschiitz, ib. p. 301). Possibly Miriam so led her countrywomen. The same writer thinks that in Son 6:13, the words (A.V. company of two armies) imply two rows of dancing girls, and that the address in the singular number, return, return, and again in 7:1, applies to the movements of the individual performer in a kind of contre-danse. This interpretation, however, does not remove the obscurities of the passage.
From being exclusively, or at least principally, reserved for occasions of religious worship and festivity, dancing came gradually to be practiced in common life on any remarkable seasons of mirth and rejoicing (Jer 31:4; Psa 30:11). In early times, indeed, those who perverted the exercise from a sacred use to purposes of amusement were considered profane and infamous; and hence Job. introduces it as a distinguishing feature in the character of the ungodly rich, that they encouraged a taste for dancing in their families (Job 21:11). During the classic ages of Greece and Rome society underwent a complete revolution of sentiment on this subject, insomuch that the Grecian poets represent the gods themselves as passionately fond of the diversion (Potter’s Grec. Antiq. ii. 400), and that not only at Rome, but through all the provinces of the empire it was a favorite pastime, resorted to not only to enliven feasts, but in the celebration of domestic joy (Luk 15:25; Mat 14:6). Notwithstanding, however, the strong partiality cherished for this inspiriting amusement, it was considered beneath the dignity of persons of rank and character to practice it. The well-known words of Cicero, that no one dances unless he is either drunk or mad, express the prevailing sense as to the impropriety of respectable individuals taking part in it; and hence the gay circles of Rome and its provinces derived all their entertainment, as is done in the East to this day, from the exhibitions of professional dancers. Under the patronage of the emperors, and of their luxurious tributaries, like Herod, the art was carried to the utmost perfection, the favorite mode being pantomime, which, like that of the modern Almahs or Arab women, was often of the most licentious description (see Lane’s Mod. Eg. 2:105-9; St. John’s Nubia, p. 268 sq.). A story of love was chosen-generally an adventure of the gods-as the plan of the dance, and the address of the performer consisted in representing, by the waving of his hands, the agility of his limbs, and the innumerable attitudes into which he threw himself, all the various passions of love, jealousy, disgust, that sway the human breast. (See at large Lucian’s Treatise on Dancing.)
Amateur dancing in high life was, as that writer informs us, by no means uncommon in the voluptuous times of the later emperors. But in the age of Herod it was exceedingly rare and almost unheard of, and therefore the condescension of Salome, who volunteered, in honor of the anniversary of that monarch’s birthday, to exhibit her handsome person as she led the mazy dance in the saloons of Machaerus for, though she was a child at this time, as some suppose (Michaelis, Introd.), she was still a princess was felt to be a compliment that merited the highest reward. The folly and rashness of Herod in giving her an unlimited promise, great as they were, have been equaled and even surpassed by the munificence which many other Eastern monarchs have lavished upon favorite dancers. Shah Abbas (to mention only one anecdote of the kind), having been on a particular occasion extremely gratified with a woman who danced before him, and being at the time much intoxicated, made her a present of a magnificent khan that yielded him a considerable revenue. Next morning his minister reminded him of his extravagant liberality, whereupon, being now cool and ashamed of his folly, he sent for the dancer, and obliged her to be contented with a sum of money (Thevenot’s Trav. in Persia, p. 100). It is by no means improbable that Herod too was flushed with wine, and that it was from fear he should retract his promise if she delayed till the morning that Herodias sent immediately for the head of the Baptist.
It remains to notice further that the Jewish dance was performed by the sexes separately. There is no evidence from sacred history that the diversion was promiscuously enjoyed, except it might be at the erection of the deified calf, when, in imitation of the Egyptian festival of Apis, all classes of the Hebrews intermingled in the frantic revelry. In the sacred dances, although both sexes seem to have frequently borne a part in the procession or chorus, they remained in distinct and separate companies (Psa 68:25; Jer 31:13.)
Dancing formed a part of the religious ceremonies of the Egyptians, and was also common in private entertainments (see Wilkinson’s Anc. Eg. abridgment, 1:133 sq.). Many representations of dances both of men and women are found in the Egyptian paintings. The feast unto the Lord, which Moses proposed to Pharaoh to hold, was really a dance (; see above).
A modern Oriental dancing-party is thus described by Layard (Nineveh. 1:119): The dance of the Arabs, the Debk, as it is called, resembles in some respects that of the Albanians, and those who perform in it are scarcely less vehement in their gestures or less extravagant in their excitement than those wild mountaineers. They form a circle, holding one another by the hand, and, moving slowly round at first, go through a shuffling step with their feet, twisting their bodies into various attitudes. As the music quickens their movements are more active; they stamp with their feet, yell their war-cry, and jump as they hurry round the musicians. The motions of the women are not without grace; but as they insist on wrapping themselves in their coarse cloaks before they join in the dance, their forms, which the simple Arab shirt so well displays, are entirely concealed. When those who formed the debk were completely exhausted by their exertions, they joined the lookers-on, and seated themselves on the ground. Two warriors of different tribes, furnished with shields and naked cimeters, then entered the circle, and went through the sword-dance. As the music quickened the excitement of the performers increased. The by- standers at length were obliged to interfere and to deprive the combatants of their weapons, which were replaced by stout staves. With these they belabored one another unmercifully, to the great enjoyment of the crowd. On every successful hit, the tribe to which the one who dealt it belonged set up their war-cry and shouts of applause, while the women deafened us with the shrill tahlehl, a noise made by a combined motion of the tongue, throat, and hand vibrated rapidly over the mouth. When an Arab or a Kurd hears this tahlehl he almost loses his senses through excitement, and is ready to commit any desperate act. A party of Kurdish jesters from the mountains entertained the Arabs with performances and imitations more amusing than refined. They were received with shouts of laughter. The dances were kept up by the light of the moon the greater part of the night.
See Renz, De saltationibus Jud. vett. relig. (Lips. 1738); Danov, De choreis sacris Ebr. (Gryph. 1766); Spencer, De saltat. vett. Hebr. (in Ugolini Thesaur. 30); Zeltner, De choreis vett. Hebr. (Altorf. 1726); Altenon, De choreis Paulo interdictis (Misen. 1744); Bromel, Festanze der ersten Christen (Jen. 1701); Grunenberg, De saltatione Christiano licita (Rost. 1704,1719, 1730); Purmann, De saltatione (Freft. 1785); Burette (in the Mem. de l’Acad. des Inscr. 1:93 sq.); Bonnet, Hist. de la Danse (Par. 1724); Hecker, Die Tanzwuth (Berl. 1832). SEE MUSICAL INSTRUMENTS.
Fuente: Cyclopedia of Biblical, Theological and Ecclesiastical Literature
Dance
found in Judg. 21:21, 23; Ps. 30:11; 149:3; 150:4; Jer. 31:4, 13, etc., as the translation of _hul_, which points to the whirling motion of Oriental sacred dances. It is the rendering of a word (rakad’) which means to skip or leap for joy, in Eccl. 3:4; Job 21:11; Isa. 13:21, etc.
In the New Testament it is in like manner the translation of different Greek words, circular motion (Luke 15:25); leaping up and down in concert (Matt. 11:17), and by a single person (Matt. 14:6).
It is spoken of as symbolical of rejoicing (Eccl. 3:4. Comp. Ps. 30:11; Matt. 11: 17). The Hebrews had their sacred dances expressive of joy and thanksgiving, when the performers were usually females (Ex. 15:20; 1 Sam. 18:6).
The ancient dance was very different from that common among Western nations. It was usually the part of the women only (Ex. 15:20; Judg. 11:34; comp. 5:1). Hence the peculiarity of David’s conduct in dancing before the ark of the Lord (2 Sam. 6:14). The women took part in it with their timbrels. Michal should, in accordance with the example of Miriam and others, have herself led the female choir, instead of keeping aloof on the occasion and “looking through the window.” David led the choir “uncovered”, i.e., wearing only the ephod or linen tunic. He thought only of the honour of God, and forgot himself.
From being reserved for occasions of religious worship and festivity, it came gradually to be practised in common life on occasions of rejoicing (Jer. 31:4). The sexes among the Jews always danced separately. The daughter of Herodias danced alone (Matt. 14:6).
Fuente: Easton’s Bible Dictionary
Dance
machol, literally, moving or leaping in a circle. Gesenius however translates machalath “a stringed instrument,” and machol “dancing” Mendelssohn makes machol, “a hollow musical instrument” (Psa 150:4, margin) Expressing joy, as contrasted with mourning (Ecc 3:4; Psa 30:11). The woman nearest of kin to the champion in some national triumph or thanksgiving, and who had a kind of public character with her own sex, led a choir of women; as Miriam (Exo 15:1-20) (while Moses led the men), Jephthah’s daughter (Jdg 11:34), Deborah (Judges 5) (while Barak led the men). Some song or refrain in antiphonal answer. forming the burden of the song, accompanied the dance (Exo 32:18-19; 1Sa 18:7; 1Sa 21:11). The women are represented as “coming out” to do this and meet the hero.
Miriam went out before “Jehovah, the Man of war” (Exo 15:3; Exo 15:20-21), and answered the entire chorus. But the women glorifying Saul and David, having no leader, “answered one another.” The special feature of David’s conduct before the returning ark (2Sa 6:5-22) is that he was choir leader, the women with their timbrels (2Sa 6:5; 2Sa 6:19-20; 2Sa 6:22) taking a prominent part. Michal ought to have led them; but jealousy of David’s other wives, married while she was with Phaltiel, and attachment to the latter (2Sa 3:15-16), and the feeling that David’s zeal rebuked her apathy, led her to “come out to meet” him with sneers not songs.
The dance necessitated his taking off his royal upper robes to “dance with all his might.” This she called “uncovering himself in the eyes of the handmaids.” His leading thought was to do honor to God who had delivered him from all his enemies (1Ch 13:8; 1Ch 13:16; 2Sa 6:21-23). Enthusiasm was kindled by these religious dances, which enlisted at once the tongue and the other members of the body in acts of worship; which explains Psa 35:10. David says, “All my bones shall say, Lord, who is like unto Thee?” the very language that the Israelites, while the women danced to the Lord, uttered as their song after the Red Sea deliverance (Exo 15:11). The dance, however, was generally left to women (Jdg 21:19-23). It is mentioned as a censure on their looseness that “the people rose up to play” at Aaron’s calf festival (Exo 32:6; 1Co 10:7), also that the Amalekites were “dancing” (1Sa 30:16).
The woman leader usually in the East leads off the dance, and the other women exactly follow her graceful movements. In Son 6:13 allusion possibly is made in the “two armies” to two rows of female dancers vis-avis in performing; but the spiritual sense refers to the two parts of the one church army, the militant and the triumphant. Dancing accompanied festivity of a secular kind (Jer 31:4; Jer 31:13; Lam 5:15; Luk 15:25), especially that of women and children (Job 21:11; Mat 11:17). Dancing by men and women together was unknown; as indeed the oriental seclusion of women from men would alone have sufficed to make it seem indecorous. Maimonides says that in the joyous Feast of Tabernacles the women danced separately in an apartment above, and the men danced below. Herod’s extravagant promise to Herodias’ daughter shows that it was a rare deed in those regions (Mar 6:22-23).
Fuente: Fausset’s Bible Dictionary
Dance
See Dancing
Fuente: The Poor Mans Concordance and Dictionary to the Sacred Scriptures
Dance
The character of the ancient dance was very different from that of ours, as appears from the conduct of Miriam, who ‘took a timbrel in her hand, and all the women went out after her with timbrels and with dances.’ Precisely similar is the Oriental dance of the present day, which, accompanied of course with music, is led by the principal person of the company, the rest imitating the steps. The evolutions, as well as the songs, are extemporaneousnot confined to a fixed rule, but varied at the pleasure of the leading dancer; and yet they are generally executed with so much grace, and the time so well kept with the simple notes of the music, that the group of attendants show wonderful address and propriety in following the variations of the leader’s feet.
At a very early period dancing was enlisted into the service of religion among the heathen; the dance, enlivened by vocal and instrumental music, was a usual accompaniment in all the processions and festivals of the gods; and, indeed, so indispensable was this species of violent merriment, that no ceremonial was considered duly accomplishedno triumph rightly celebrated, without the aid of dancing. The Hebrews, in common with other nations, had their sacred dances, which were performed on their solemn anniversaries, and other occasions of commemorating some special token of the divine goodness and favor, as means of drawing forth, in the liveliest manner, their expressions of joy and thanksgiving. The performers were usually a band of females, who, in cases of public rejoicing, volunteered their services (Exo 15:20; 1Sa 18:6), and who, in the case of religious observances, composed the regular chorus of the temple (Psa 149:3; Psa 150:4), although there are not wanting instances of men also joining in the dance on these seasons of religious festivity. Thus David deemed it no way derogatory to his royal dignity to dance on the auspicious occasion of the ark being brought up to Jerusalem. His conduct was imitated by the later Jews, and the dance incorporated among their favorite usages as an appropriate close of the joyous occasion of the Feast of Tabernacles.
From being exclusively, or at least principally, reserved for occasions of religious worship and festivity, dancing came gradually to be practiced in common life on any remarkable seasons of mirth and rejoicing (Jer 31:4; Psa 30:11). In early times, indeed, those who perverted the exercise from a sacred use to purposes of amusement were considered profane and infamous; and hence Job introduces it as a distinguishing feature in the character of the ungodly rich, that they encouraged a taste for dancing in their families (Job 21:11). During the classic ages of Greece and Rome society underwent a complete revolution of sentiment on this subject; insomuch that not only at Rome, but through all the provinces of the empire, it was a favorite pastime, resorted to not only to enliven feasts, but in the celebration of domestic joy (Luk 15:25; Mat 14:6). Notwithstanding, however, the strong partiality cherished for this inspiriting amusement, it was considered beneath the dignity of persons of rank and character to practice it. The well known words of Cicero, that ‘no one dances unless he is either drunk or mad,’ express the prevailing sense as to the impropriety of respectable individuals taking part in it; and hence the gay circles of Rome and its provinces derived all their entertainment, as is done in the East to this day, from the exhibitions of professional dancers.
Amateur dancing in high life was by no means uncommon in the voluptuous times of the later emperors. But in the age of Herod it was exceedingly rare and almost unheard of; and therefore the condescension of Salome, who volunteered, in honor of the anniversary of that monarch’s birthday, to exhibit her handsome person as she led the mazy dance in the saloons of Machaerusfor though she was a child at this time, as some suppose, she was still a princesswas felt to be a compliment that merited the highest reward. The folly and rashness of Herod in giving her an unlimited promise, great as they were, have been equaled and even surpassed by the munificence which many other Eastern monarchs have lavished upon favorite dancers.
It remains to notice further that the Jewish dance was performed by the sexes separately. There is no evidence from sacred history that the diversion was promiscuously enjoyed, except it might be at the erection of the deified calf, when, in imitation of the Egyptian festival of Apis, all classes of the Hebrews intermingled in the frantic revelry. In the sacred dances, although both sexes seem to have frequently borne a part in the procession or chorus, they remained in distinct and separate companies (Psa 68:25; Jer 31:13).
Fuente: Popular Cyclopedia Biblical Literature
Dance
Dance, Dancing. In Eastern nations the mingling of the sexes in the dance is seldom if ever known, although dancing was common, as a religious act, and also as a voluptuous entertainment. Just as impassioned language became “poetry,” and song broke forth from the lips, so among Oriental peoples the limbs partook of the excitement, Psa 35:10, and joy was exhibited in dancing. We read of dances among the Hebrews at solemn religious festivals. Thus David danced before the Lord at the bringing up of the ark into Jerusalem. 2Sa 6:14. His wife Michal reproached him for dancing. 2Sa 16:20-22. There were also dances of Hebrew women. We have an example of this alter the passage of the Red Sea. There was a responsive song of triumph; the men, however, are not said to have danced, but the women did. Exo 15:20. Similar were the dances that celebrated David’s victory over Goliath, 1Sa 18:6; see also Psa 68:25; the “timbrels” being musical instruments invariably accompanied with dancing. The sexes were not mixed in social dances. Thus it is evident that the daughters of Shiloh were not accompanied by even their male relatives. Jdg 21:21. Theirs would seem to have been a religious festival. There were also dances of mere pleasure and revelry. 1Sa 30:16, R. V. reads “feasting” instead of “dancing;” Job 21:11; Jer 31:4; Jer 31:13; Luk 15:25. Of the modes or figures of the Hebrew dance we know little; whether it was in a ring, or whether the performers were arranged in more than one row. In the East at present a female leads the dance; and others follow, imitating exactly her movements. Possibly, double rows, something similar to the country-dance, may be alluded to in Sol. Son 6:13; where Ginsberg translates “like a dance to double choirs.” The daughter of Herodias danced alone. Mat 14:6. It may be observed that a Hebrew word, mahhol, rendered “dance” in our version, Psa 150:4, and elsewhere, is supposed by some to mean a musical instrument.
Fuente: People’s Dictionary of the Bible
Dance
The art of following musical rhythm with the movement of the human body. It is considered the most elementary art because the product is not detached from the body of the artist. — L.V.
Fuente: The Dictionary of Philosophy
Dance
Dance.
1. The dance is spoken of, in Holy Scripture, universally as symbolical of some rejoicing, and is often coupled for the sake of contrast with mourning, as in Ecc 3:4. Compare Psa 30:11; Mat 11:17. In the earlier period, it is found combined with some song or refrain, Exo 15:20; Exo 32:18-19; 1Sa 21:11 and with the tambourine (Authorized Version, “timbrel”), more especially in those impulsive outbursts of popular feeling which cannot find sufficient vent in voice or in gesture singly. Dancing formed a part of the religious ceremonies of the Egyptians, and was also common in private entertainments.
For the most part, dancing was carried on by the women, the two sexes seldom and not customarily intermingling. The one who happened to be near of kin to the champion of the hour led the dance. In the earlier period of the Judges, the dances of the virgins of Shiloh, Jdg 21:19-23, were certainly part of a religious festivity. Dancing also had its place among merely festive amusements, apart from any religious character. Jer 31:4; Jer 31:13; Mar 6:22.
2. A musical instrument of percussion, supposed to have been used, by the Hebrews, at an early period of their history.
Fuente: Smith’s Bible Dictionary
Dance
(cp. Eng., “orchestra”) probably originally signified “to lift up,” as of the feet; hence, “to leap with regularity of motion.” It is always used in the Middle Voice, Mat 11:17; Mat 14:6; Mar 6:22; Luk 7:32. The performance by the daughter of Herodias is the only clear instance of artistic dancing, a form introduced from Greek customs.
Fuente: Vine’s Dictionary of New Testament Words
Dance
Job 21:11 (b) This is used as a type of the careless, indifferent lives of the ungodly.
Ecc 3:4 (b) By this is indicated that there is a time when cares and burdens should be laid aside and there should be freedom of spirit.
Mat 11:17 (c) By this our Saviour describes the indifference of people to His commands and invitations.