II
From the earliest times on dancing has been dependent upon music of some kind. The question whether music is older than dancing has not been answered satisfactorily by academic anthropologists yet. However, all scholars agree that the appearance of these two arts must have been more or less simultaneous, the one influencing the other. But undoubtedly the first dance music was not instrumental but vocal. The savages to-day dance most of their sexual dances to rhythmic recitation of certain words. Music is in every phase of evolution the only true essence of that which forms the subject of the dance.
To the transformation of more or less primitive folk-dances into those of strictly religious character is due the principal idea of the modern ballet. In the Oriental temples dancing underwent a strange transformation. While dancing was made the basis of dramatic and symbolic ideas, yet this very fact became detrimental to the musical influence upon the choreography. The Egyptians, whom we consider the pioneers in religious dances, originated elaborate temple ballets, which were based more upon a dramatic than a musical theme. Though the tradition speaks of rounds, of symbolic and sidereal motions, and the instruments chiefly employed, as the Egyptian guitar, used both by men and women, the single and double pipe, the harp, lyre, and flute, yet essentially this all resembled a pantomime rather than actual dance.
It is very likely that all the ancient sacred dances originated with the subconscious idea of counteracting the sensuous or strictly playful influence of the social dances. The whole pedigree of our Western religions seems to show a remarkable absence of this method of encouraging religious feeling. The reasons why such manifestations were discouraged by Jewish and Christian moralists pertains to physiology rather than theology. As already said, man’s nature is compounded of many diverse elements, and the machinery of emotion at present at work within us dates back to our animal past. Our most refined and exalted feelings spring from the same nervous reservoirs and pass through the very channels which were at one time solely occupied by grosser passions. The Egyptian church that grew directly of the folk-art of the country was a stranger to Greece and Rome, and still more so to our Christian religion. The ethical ideals that actuated the Egyptian priests in introducing dancing at the altar, sprang directly from the soil and meant, in bringing the better part of human nature to the top, to act as a kind of separator. The priests discovered that the higher emotions, with the help of sacred dancing, can be put to excellent service as impulses to improved conduct. The Christian missionaries, coming from the East, found nothing elevating and ennobling in our Western dancing, which did not appeal to them on account of the very differences of the style and racial character. It is due to their opposition that the religious dances have faded out under the Western civilization. The warfare against dancing generally, on the part of the Apostles of Christianity, dates back to the fanatic era of theological and nationalistic differences. In all countries where the religion descends directly from a racial folk-lore, dancing has remained in high esteem at home and in the temples. This we find true in Egypt, Greece, India and China. In the Jewish form of worship there seems to have been no formally recognized dancing, although we have records of several displays of this kind, as in the case of King David, when, ‘clothed in a linen ephod, he danced before the Ark of the Lord with all his might.’
In Greece, cradle of the arts, the Muses manifested themselves to man as a dancing choir, led by Terpsichore. The Romans imitated the Greeks in all their arts and imported with the Greek slaves Greek dances. But Rome was too barbaric to appreciate the full value of Greece’s poetic arts. The solemn religious dance instituted by Numa and practiced by the Salian priests soon degenerated into ceremonial march that was abolished when Rome became Christian, through a papal decree in 744. Darkness of night fell on the development of secular and religious dancing, a darkness that endured for centuries. The influence of the Nile in Egypt and Cadiz in Spain, which for centuries had been the two great centres of the ancient dancing and supplied their dancers to the Roman potentates, faded out slowly in the history of European nations. The folk-dances were labelled as low and undignified amusements of Pagan peasants. Dance in every form remained an outcast, despised and condemned until the court circles of Italy and France distorted it to an amusement at domestic gatherings and masquerades. It is said that the modern ballet had its origin in the spectacular masquerades arranged for the marriage of Galeazzo, Visconti, Duke of Milan, in 1489. The impression of this performance spread to the Court of Florence. Catherine de Medici, the Queen of France, brought the Italian court pantomime to Paris, where the French kings and queens grew to admire dancing and took actual part in it. The attempts of Noverre to elevate the art of dancing to what it had been in ancient Egypt and Greece, were successful only externally. Music, the soul of dancing in the modern sense, was lacking, and without this soul the art of plastic form is incomplete. Though the Russian reformers elevated dancing from a domestic amusement to a serious and lofty stage art, they did not succeed wholly in giving to it the foundation that it deserves among the other arts. All the past and living goddesses of choreography have not had the freedom, the phonetic means and dramatic threads to thrill their audiences as they would, if man had not distorted and hidden the natural meaning of the dance that inspired his barbaric ancestors.
The philosophical conclusion of our historic analysis of dance leads back to the same axioms that actuated the savage in his practice of agility: the sexual selection and primitive sport, both necessary for evolution and the existence of the race. However, there is neither sexual motive nor instinct for ‘physical culture’ in the ‘Heavenly Alchemy’ of evolution that has created the poetic movements of Taglioni and her successors. The ancient racial propensities have developed into more spiritual ideas. Like the tendency of evolution generally, to universalize an individual and individualize the universe, so in dance the racial characteristics are transformed into cosmic motives. In this stage beauty becomes symbolic and concrete emotions take on a more and more abstract form. The survival value of the greatest art of the dance lies in ennobling the intellect and soul, which has necessarily an indirect bearing upon the physical. Ultimately this means perfection of the whole human organism. It inspires the mind and influences the body.
Civilization has brought humanity to a state where the physical needs depend upon the psychical. We have devised a more complicated form of sexual selection and more complicated means of existence than the primitive dances employed in our animal past. Beauty in the long course of evolution has grown more spiritual, accordingly dancing as an art has become an evolutionary medium of the intellect.
CHAPTER II
DANCING IN ANCIENT EGYPT
Earliest Egyptian records of dancing; hieroglyphic evidence; the Astral dance; Egyptian court and temple rituals; festival of the Sacred Bull—Music of the Egyptian dances; Egyptian dance technique; points of similarity between Egyptian and modern dancing; Hawasis and Almeiis; the Graveyard dance; modern imitations.