The sacred dance

by W. O. E. Oesterley

II

Among the Jews (both Ashkenazic and Sephardic) the sacred dance as a burial rite is known to have been in existence during the Christian era. During the Talmudic period (i.e. A.D. 500 and following centuries) it was customary, and is still, on occasion, for a laudatory speech to be made in the case of men either at the burial or afterwards. Such speeches were accompanied by what must be regarded as the remnant of some form of dance; while they were being delivered the mourners kept up a monotonous, but rhythmical, stamping of the feet; this was not applause, being too regular and incessant; it must be regarded as a means of giving vent to the emotions, just as the dance in the ordinary sense was. Its origin may have been, judging from parallels among other peoples, a sacred dance in honour of the deceased, which in course of time took this stereotyped and mechanical form. The word used is raqaʿ which occurs also in the Old Testament for the stamping of feet (2 Sam. xxii. 43, Ezek. vi. 11), though in neither case is there the slightest suggestion of dancing; but, as we have said, it is only to be regarded as a remnant of the earlier custom, not in itself a dance. The fact that it was done collectively by the mourners is a point of significance, for from what we know of funeral dances among other peoples such collective action was usual. Not but that individuals expressed their emotions in their own way, too; for we read, for example, of mourners being often carried away by the intensity of their feelings and acting in an extravagant way, tearing off their sandals and beating themselves with them; women were known during a funeral procession to jump on to the coffin. Compared with such things a dance in honour of a respected relative deceased would be a decorous proceeding. And when we remember that dancing was performed as an act of honour to the deity, a similar means of showing respect to a greatly loved and honoured person at his funeral is not so out of the question as it might seem at first. Krauss says that at funerals, in all probability, both men and women performed dances fitting to the occasion; and they certainly gesticulated with hands and fingers. He gives a concrete instance of a woman dancing before the picture of her dead son; “a proceeding not unheard of during funeral processions[347]”; the word used is rāqad, on which see above, [p. 46].

Again, the Sephardic Jews (i.e. Spanish and Portuguese) have retained some ancient elements in their worship and ritual which have disappeared among the Ashkenazim, who include the bulk of the Jews. A notable instance of this is the procession round the corpse at burials. Circumambulation, a processional march round an object, cannot in its origin be distinguished from the encircling dance, for in many cases the purpose of the rite is the same. Nor can it be doubted that all such circumambulations are modifications of earlier forms, in which the less restrained emotions of men in an earlier and lower stage of civilization required the more exuberant outlet afforded by a dance-step of the more literal kind. It is said that “dancing and procession are sometimes confused terminologically, a result partly due to the existence of processional dances, or the enlivening of a procession by the dance[348]”; but whatever may be the case terminologically, there can be no confusion between the two essentially, for they present two modes of emotional expression, comparable with the ordinary religious dance and the ecstatic dance. Therefore there is justification for regarding the Sephardic processions round the corpse at funerals as the modification or remnant of a ceremony which was originally performed in a less controlled manner. The original meaning of the rite has of course been forgotten long since; but, as so often happens, the rite itself, or some modification of it, is still kept up.

It is the custom at the burial of Sephardic Jews for the mourners to make seven circuits round the bier during which seven short supplications are chanted or monotoned, each supplication concluding with the words: “And continually may he walk in the land of life, and may his soul rest in the bond of life[349].” It is interesting to note that this Sephardic rite can be paralleled by something similar among other peoples. Its purpose will be considered later.

The custom seems to have been well-known as early as the time of Homer; in the Iliad (XXIII. 13) the circumambulation round the corpse of Patroclus is described. Again, we read that five hundred disciples went in procession round the funeral pyre of Buddha, in consequence of which the pyre kindled spontaneously[350]. D’Alviella refers to the Latin poet Statius’s description of the funeral rites celebrated in honour of the son of Lycurgus; among these was included a threefold procession round the funeral pyre[351].

When the Argonauts in the poem of Apollonius Rhodius buried their dead comrade Mopsus, they marched round him thrice in their warrior-gear. So among the populations of India which practise cremation, the son or other relative who lights the pyre walks thrice round it. The custom of walking round the corpse, or the grave, after burial, is recorded of peoples as far apart in space and culture as the Central Eskimo, the Russian Tapps, the Buriats, the Shans, and the Arāwaks of British Guiana[352].

At Chinese burials, after the body has been placed in the tomb, the mourners join hands and perform a sort of merry-go-round about the tomb; they repeat this three days later[353]. The Irish, even at the present day, when burying their dead, move in procession, sometimes three times, but at least once, round the grave-yard, accompanying the coffin[354]. This must, in all probability, be a modification of an earlier form of the rite in which the mourners went round the coffin itself; unless this be regarded as a continuation of the funeral procession itself; but, generally speaking, the particular custom of which we are thinking is quite distinct from the funeral procession.

From these instances of a modification of the sacred dance as a mourning rite we turn now to some in which the dancing is performed in the more literal sense.