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Some liturgical dance was common in ancient times or non-Western settings, with precedents in Judaism beginning with accounts of dancing in the Old Testament.An example is the episode when King David danced before the Ark of the Covenant (), but this instance is often considered to be outside of Jewish norms and Rabbinic rituals prescribed at the time.
The Balinese Sacred Dance Sanghyang Dedari involves girls being possessed by hyang, Bali, Indonesia. The theologian W. O. E. Oesterley proposed in 1923 that sacred dance had several purposes, the most important being to honour supernatural powers; the other purposes were to "show off" before the powers; to unite the dancer with a supernatural power, as in the dances for the Greek goddesses ...
The shout music tradition originated within the church music of the Black Church, parts of which derive from the ring shout tradition of enslaved people from West Africa.As these enslaved Africans, who were concentrated in the southeastern United States, incorporated West African shout traditions into their newfound Christianity, the Black Christian shout tradition emerged—albeit not in all ...
But plenty of room for Jesus at this Christian nightclub appeared first on TheGrio. Seven Black men are gaining attention for throwing monthly parties in Nashville for young Christians NASHVILLE ...
It is a sacred dance performed to become possessed by the Holy Spirit or ancestral spirits. [20] [21] According to musicologist Robert Palmer, the first written accounts of the ring shout date from the 1840s, during the pinnacle of Christian revivalism. The stamping on the church floor and clapping in a circle was described as a kind of ...
The ecstatic Kouretes dancing around the infant Zeus, depicted by Jane Ellen Harrison, 1912. Little is known directly of ecstatic dance in ancient times. However, Greek mythology does have several stories of the Maenads; the maenads were intoxicated female worshippers of the Greek god of wine, Dionysus, known for their "ecstatic revelations and frenzied dancing".
This included Netotiliztli, which had symbolic, spiritual choreography. Netotiliztli, which loosely translates to "expressed by dance," was a communicative dance of worship and rejoice practiced by the Mexica. [6] It was performed by dancers, who could be any member of society, as all members of Nahua society were educated in song and dance.
Dances and dancing of this kind is seen as opportunity to develop participants' spiritual awareness, hand-eye-body coordination, and competency in harmonizing with others through dance. Many dances are choreographed with movements, steps, and gestures encouraging dancers to explore for deeper mystical meanings of the dance. [6]