[105]. Without attempting to give an exhaustive list, the principal early ceremonies may be divided into classes as follows:
Emotional and Dramatic Ceremonies
[106]. The dances that are so common among savage tribes are in many instances now (and doubtless this has always been the case) simply the expression of animal joyousness.[213] They are like the caperings of young animals—only, the human feeling of rhythm asserts itself, the movements are often measured and graceful. There is naturally an accompaniment of noise—shouting and beating on pieces of wood, bone, or metal, with songs or chants, the beginnings of vocal and instrumental music.
Words and melodies are simple and rude; they are the productions of individual singers, often, of course, made from a stock of material common to all members of the clan or the tribe. In Australia songs are thought to be obtained by bards during sleep from the souls of the dead (sometimes from Bunjil), or the bard is possessed by the soul of a beast; chants are employed in magical ceremonies, and there are lullabies and other children's songs.[214] The Muscogee "Song of the Sabbea" is very sacred.[215] In West Africa minstrels recite song-stories, every story being attached to an object (bone, feather, etc.).[216] Songs are chanted at festivals in Guiana (and at night men tell endless stories).[217]
[107]. The movements of the dance are sometimes in imitation of those of animals,[218] sometimes spontaneous, and sometimes from our point of view indecent. The indecency and obscenity originated and has continued in a period when no moral element entered into such performances—they simply follow animal instincts and impulses, are controlled by them, and appear usually not to affect the customs relating to marriage and chastity (so in the Areoi festivities of Tahiti, and among the Central Australians[219]).
[108]. In accordance with the law by which religion appropriates social customs, the dance is devoted to religious purposes and acquires a sacred character.[220] It is a common ceremony as a preparation for war: the warriors of the tribe jump about with violent gesticulations and shouts, brandishing weapons and mimicking the acts of attacking and slaying enemies.[221] Here, doubtless, the object is partly to excite the men to fury and thus prepare them for combat, but there is also the conviction that the ceremony itself has a sacred potency.[222] A similar occult power is attached to dancing in Timorlaut, where, when a ship is at sea, the girls sing and dance on the beach daily to bring the men back.[223] There are dances in commemoration of the dead[224]—apparently a combination of affection and homage, with the general purpose of conciliating the departed and procuring their aid; the belief being, apparently, that the dead see these demonstrations and are pleased with them. A Ghost Dance formerly performed in California had for its object bringing back the dead.[225]
[109]. At a later time such ceremonies were connected with the worship of gods: sometimes they were of the nature of offerings of homage to the supernatural Powers, as in the Young Dog Dance;[226] sometimes they took on a symbolic and representative or dramatic character. Among the Redmen the dramatic dances are elaborate, often representing the histories of divine persons, these latter frequently appearing in the form of animals.[227] The accompanying songs or chants relate stories that are intended to explain, wholly or in part, the details of the rite.[228]
[110]. Thus combined with other ceremonies, dances become important means of religious culture. In Greece dances were connected with many cults, among others with the Dionysiac ceremonies, out of which grew the Greek drama. Among the Hebrews the ancient ceremonial dance appears as late as the time of David,[229] though it was then, perhaps, falling into desuetude, since his wife, Michal, is disgusted at his procedures. The violent movement of the dance excites not only warlike rage but also religious ecstasy, and has been used abundantly for this purpose by magicians, prophets, and mystics; the performer is regarded as a vehicle of divine revelation, all abnormal excitement being ascribed to possession by a spirit.[230]
[111]. With dances may be classed processions, in which usually a god is invoked or praised. In Ashantiland, in time of war, when the men are with the army, processions of women, wives of the warriors, march through the streets, invoking the gods on behalf of the absent men.[231] Often the performers bear a sacred object, as a stone (sometimes inclosed in a box[232]), a boat, or an image; in early times such objects not only represent the gods but actually embody them, or are themselves superhuman Powers.
[112]. A peculiar form of procession is that in which the worshipers move round a sacred object, perhaps the adoption of a natural form of play. The original design in such movements may have been simply to show respect to the object in question and secure its favor, the circular movement being a natural way of keeping in touch with it. In certain cases the circumambulation is connected with the movement of the sun in the sky—probably a later interpretation of the ceremony. Examples are found in Hindu, Greek, and Roman practices, and in some modern Christian usages (in the Greek and Roman churches). As a magical efficiency was held to attach to the ceremony, its effect was sometimes held to depend on the direction of the movement; if it was to the right—passing from east through south to west (the worshiper facing the east)—it was good, but bad if in the opposite direction. Though traces of solemn circumambulation are found in some lower tribes, it has been, and is, practiced chiefly in the higher cults.[233]