Posted on 06/12/2003 6:57:13 AM PDT by NYer
By Carrie Tomko
The Catholic Bishops are expected to discuss a position paper on liturgical dance when they meet in Dallas this weekend, according to an article in the June 8, 2003 Stow (Ohio) Sentry, which unfortunately is not available online.
The position paper was written by Kathryn Mihelek, a former dance instructor at Kent State University, who runs Leaven Dance Company ( http://faculty-l.slis.kent.edu/~tfroehli/leaven/about.html ) and is a 41-year member of Holy Family Catholic Church in Stow, where she and her small company "act out choreographed movements to express prayers in church services such as...Masses," according to the article. Mihelek's paper has been passed on to the Liturgy Commission by Cleveland Bishop Anthony M. Pilla. Leaven Dance Co. is in residence at the Kent State University Newman Center.
In 1999 Mihelick, with the help of an Ohio Arts Council grant, scheduled an ecumenical concert of sacred dance in the sanctuary of Holy Family Church. The concert would include samplings from various cultures. As a result of objections received, four days before the concert, the diocese asked Holy Family to change the venue. However, because the lighting had been contracted and the dances choreographed for the sanctuary, Mihelick asked to keep the sanctuary location and was given an ok. Two days later, the diocese received a fax from the Vatican's Congregation for Divine Worship objecting to a performance in the sanctuary, and the event was moved to the Holy Family School auditorium.
In searching for the official position of the Vatican on sacred dance in Western culture, it became clear that the primary document touching on this subject is "Dance in the Liturgy" from the Congregation for the Sacraments and Divine Worship--a document called a "qualified and authoritative sketch" intended to be "an authoritative point of reference for every discussion on the matter." The first English translation of this document appeared in The Canon Law Digest, Vol. VIII, pp 78-82. There is controversy over the definition of terms in the document and over whether the document is authoritative. Clearly something more would be helpful. The document says: ( http://www.ewtn.com/library/CURIA/CDWDANCE.HTM )
Quote: Here [in western culture] dancing is tied with love, with diversion, with profaneness, with unbridling of the senses: such dancing, in general, is not pure.
For that reason it cannot be introduced into liturgical celebrations of any kind whatever: that would be to inject into the liturgy one of the most desacralized and desacralizing elements; and so it would be equivalent to creating an atmosphere of profaneness which would easily recall to those present and to the participants in the celebration worldly places and situations.
I trust that the Bishops will not abandon this sensible teaching when they discuss liturgical dance.
For those who have never seen this spectacle in person, there are pictures on the web of the Sisters of the Holy Cross performing liturgical dance in Canada, apparently while Mass is being celebrated. ( http://www.sistersofholycross.org/canada.htm )
At St. Joseph's Parish of the Polish National Catholic Church in Florida, liturgical dance was used at a candle lighting event. ( http://stjosephpncc.org/HTML/mj.htm )
The Sisters of St. Benedict performed a liturgical dance at evening prayer before the entrance ceremony. ( http://www.thedome.org/new/HomeDome/2002/April/ )
The St. Andrew's Benedictine Abbey sponsored a Sacred Arts Festival in collaboration with the Jubilee 2000 Committee of the Archdiocese of Los Angeles. Companies performing at this festival included Omega West Dance Company, a resident dance troupe at the Episcopal Cathedral of St. John the Divine in New York City, ( http://www.stjohndivine.org/arts/arts_title.html ) and the Abbey's own troupe, The Valyermo Dancers. ( http://www.sacredartsfestival.org/dance.htm )
According to their website, Carla de Sola founded Omega Dance Company in 1974 to "express the spiritual, social, and healing dimensions of dance. The company is dedicated to bringing dance into spiritual observances and in concert for all settings." That philosophy is similar to Leaven Dance Company's philosophy which states:
The company believes that dance has a powerful potential to be an agent for self-discovery, spiritual enrichment, positive change and growth, and personal and international peace. The ensemble dwells in the belief that creative authentic movement _expression reflects a universal language of communication; integrates body, mind and spirit; and promotes unity among diverse populations.
What does this person-centered philosophy have to do with formal prayer? The focus is on the person who dances, not on the God we worship. When David danced before the Ark of the Covenant, he was adoring God, not fostering personal or international peace or positive change and self-discovery.
A brief look at liturgical dance in the Protestant churches brought up the Church of God in Christ which has a dance ministry. ( http://www.westa.org/dance.htm ) So does the Prince of Peace Charismatic Episcopal Church. ( http://princeofpeacecec.org/index.html ) It's not quite clear what their dancers are doing with their red scarves in the picture.
The St. Anthony Performing Arts Guild ( http://www.stanthonydance.org/gld_sacred_dance.htm ) is not affiliated with a church. They charge $300 to perform at one service. I wonder how we would feel about a priest charging that much money to say Mass? If liturgical dance is not to be a performance, how can a fee be charged for the service?
Sacred dance is not affiliated exclusively with Christian religions. The book Sacred Woman, Sacred Dance: Awakening Spirituality... by Iris J. Stewart ( http://www.newvision-psychic.com/bookshelf/SacredWomanS.htm ) focuses on women's spirituality and creativity. The book has been reviewed favorably by a Buddhist at the website, and two other reviewers refer to belly dancing as a style of sacred dance. Many of the dancers in these various linked websites were shown using veils. Is that a tradition borrowed from belly dancing?
Stewart founded her own WomanDance troupe which "performs interpretive dances that explore women's spirituality." The New-Vision website which linked the reviews of the book ( http://www.newvision-psychic.com/bookshelf/womenspirit.html ) features a variety of the symbol called the "Eye of Thelema" on the website. That eye is a symbol of those who follow the spiritual teaching of occultist Aleister Crowley who adapted it from the Eye of Horus symbol.
A well-known New Age group offering Sacred Dance is the Findhorn Foundation. ( http://www.findhorn.org/events/workshops/dancefestival.html )
Most of these liturgical or sacred dance groups were formed in the last 35 years. But this artform was in the making much earlier. In 1912 Rosicrucian occultist Rudolf Steiner introduced what he called "Eurythmy" to the world.
The Anthroposophical Society in America, the Theosophical organization Steiner founded, describes Eurythmy this way: ( http://www.anthroposophy.org/arts.php )
Eurythmy translates the sounds, phrases, and rhythms of speech, or the dynamic elements of music into movement and gesture. The result has been described as "visible speech", or "visible song". It could be called the movement language of the soul.
Cynthia Hoven, St. Mary's University, presented a working paper on "Eurythmy as Visible Speech: A Somatic Approach to Language" ( http://www.trismegistos.com/IconicityInLanguage/Articles/Hoven.html ) in which she says:
Eurythmy is a movement art initiated by the Austrian scientist, scholar and philosopher, Dr. Rudolf Steiner, in 1912 as the art of Visible Speech and Visible Song. Originally conceived as a performance art, it bears resemblances to dance and to mime but is also clearly distinct from both. It also bears relationship to the ancient forms of sacred and cultic dance, yet it is wholly secular in its character. Eurythmy is also used in medical, pedagogical, and sociological fields.
Eurythmy has powerful effects on body, mind and spirit. It can be characterized as a modern form of Tai Chi or Yoga as easily as it can be called a dance form. Its medical applications are broad, and it belongs to the field of energetic healing. It calls for quieting and focusing the mind and appeals to people who are seeking a form of movement meditation. It can lead one to explore the nature of speech and language and to find a more vivid experience of what it means to be a human being, living in a world of speech. The last decades of the twentieth century saw the advent and popularization of an enormous number of new and old forms of so-called energy work. The art of Eurythmy, which has its roots in very ancient spiritual and cultural traditions and predates the newer energy techniques by several decades, remains often overlooked.
Consider for a moment the pictures of liturgical dancers in the above-linked websites. Many of them wore flowing clothing or used flowing veils which seem to be a part of the dance process. Most had their arms in the air.
Nineteen pictures of dancers performing Eurythmy are shown at the website for the Eurythmy - European Project, international year. ( http://www.antroposofi.org/rss699/euint/index.htm ) The resemblance between these pictures and the pictures of dancing nuns are striking.
Steiner's Waldorf education uses Eurythmy as this Waldorf homeschool website explains. ( http://www.waldorfhomeschoolers.com/dance.htm )
Quoting Rudolf Steiner from the website:
As men, our purpose is to imitate, to absorb the movement of the world into ourselves through our limbs. What do we do then? We dance. This is true dancing. Other dancing is only fragmentary dancing. All true dancing has arisen from imitating in the limbs the movement carried out by the planets. (sic) by other heavenly bodies or by the earth itself.
The ether body wants to make circular movements, however, and so the person dances. Dancing is usually a matter of someone not wanting to follow his physical body but his ether body. The desire to dance usually exists so that a person may forget his physical body and can feel himself to be a spirit that belongs to the cosmos.
Eurythmy in education is also covered at these school websites which have additional pictures:
Orana School ( http://www.oranaschool.com/articles/2001-may.html )
Rudolf Steiner Institute ( http://www.steinerinstitute.org/courses/3.4.2.htm )
School of Eurythmy ( http://eurythmy.org/abotschl.htm )
Spring Valley ( http://eurythmy.org/bssah.htm )
Association of Eurythmists ( http://www.anthroposophy.org.uk/main/eurythmy.htm )
Eurythmy West Midlands ( http://www.elmfield.com/links.htm ) (click second link on right for an enlarged picture)
Note the "Eye of Thelema" on the logo at the bottom of the website for West Midlands.
http://www.elmfield.com/links.htmFrequently asked questions about Eurythmy are covered at the Eurythmy.org website. ( http://www.eurythmy.org.uk/faq/eurythmy_faq.html )
Two of the websites use a form of Aleister Crowley's "Eye of Thelema." Was Steiner a member of Crowley's occult organization, the Ordo Templi Orientis? The topic is controversial. A respected researcher in the field, Peter R. Koenig says no, but indicates Steiner was not a stranger to occult movements. Both he and his wife were members of the Egyptian Rite of Freemasonry called Memphis-Mizraim. ( http://www.cyberlink.ch/~koenig/steiner.htm )
I have found no indication that Steiner engaged in any immorality. It seems unlikely, then, that he was a member of the Crowleyites. Yet his involvement with Egyptian Freemasonry and Rosicrucianism certainly puts him outside of the Catholic concept of the faith. The material which he taught he obtained through clairvoyance, a type of channeling. The striking resemblance between Eurythmy and the liturgical dance that is being performed in Catholic churches is hard to comprehend considering these roots.
One of the "hot buttons" in discussions of liturgy, sacred dance in Western culture does not have an historical precedent. Were dance to be incorporated into liturgy, it would amount to a foreign element, an innovation. As such it would convey certain meaning. What would that meaning be?
Since nearly always in pictures on the web the dancers are exclusively women, a flavor of goddess worship would be introduced by this practice. These performances also conjure up images of exotic dancers performing before eastern potentates. The sexual overtones which go with this image are inevitable for some if not for all those who witness the spectacle.
There is the question of the exclusion from a part of Mass of half of the population, namely men. With concern being expressed in some circles about the feminization of the faith, this would be an additional element contributing to an imbalance. Vatican II expressly required full and active participation of the laity. How does the male half of the laity fully participate in liturgical dance performed by women? Should a way be found to include male dancers, would the laity then observe and speculate about the orientation of the male dancers as the general public considers the orientation of male ballet dancers? Is this speculation what we want to introduce into our liturgy at this particular time of crisis in the Church?
Even if that problem could be overcome, there is still the issue of most of the congregation sitting in the pews and observing a performance which can hardly be denied considering that some sacred dance troupes charge for their services. Once the liturgical dance is accepted, the idea of performance at liturgy will become an element of ritual which will cause us to see the priest in a different light. He will become not "In Personna Christi" but rather the priest "performing" as the celebrant at Mass. He will also be evaluated by performance criteria just as the dancers will be evaluated.
This is in sharp contrast to the spontaneous exuberant dance of joy performed by David before the Ark of the Covenent--a dance that was unrehearsed, brought him no monetary recompence, and required no contracted lighting or choreography.
There is also the question of Psalm 150 which recommends exuberance in celebration with timbrel and dance, strings and pipe, cymbals. These were the instruments of the temple service according to the footnote to this Psalm in my New American Bible . In other words, once again it is a cultural phenomenon which cannot be applied to Western culture. Additionally, there is the matter of the Crucifixion. Our Mass, as the Holy Father reiterated so strongly in his recent Encyclical on the Eucharist in its Relationship to the Church, re-presents to us the sacrifice of Calvary. Does one dance with cymbals, timbrel, strings and pipe around a death bed? Such cavorting would hardly be appropriate. Temple sacrifice involved the death of animals. Catholic Mass involves the sacrifice of the Son of God. The Catechism of Trent instructs us to assist at the Holy Sacrifice of the Mass with "heartfelt piety and devotion." (p. 405) Dancing, as it is perceived in our culture, would hardly meet this requirement.
With so many obstacles to overcome, with so many irresponsible disruptions in the Church at present, a change that would allow dance in the liturgy would be imprudent at best.
"The one thing truly worthwhile is becoming God's friend." -- Saint Gregory of Nyssa
Do they charge admission?
And the new G. I. R. M. without the Americn Diocese adapatations
Questions and Answers about the General Instructions for the Roman Missal
G. I. R. M. adapatations (American) approved by the Holy See
General Instruction of the Roman Missal [G. I. R. M.]
Bishop: "Let chaos storm! When will it stop, change after change in liturgy? Never!"
Oh, please .... NO!!! Not the bishops! We'll be stuck forever in EEM world here in Albany if Hubbard has any say in this matter.
Reminds me of the line in "O, Brother Where Art Thou?"
"Oh George, not the livestock."
REPLY: After communion they may either kneel, stand, or sit. Accordingly the GIRM no. 21 gives this rule: "The people sit. . .if this seems useful during the period of silence after communion." Thus it is a matter of option, not obligation. The GIRM no. 121, should, therefore, be interpreted to match no. 21: Not 10 (1974) 407.
It has always been the practice in the NY dioceses that one remains kneeling until the Eucharist is returned to the Tabernacle, the door closed, locked and the EEM or priest has returned to their seat before the congregation sits down in the pews.
This is usually followed by a suitable choral piece which allows the congregation to reflect on the gift they have just received. After the piece has ended, the congregation stands for the final prayers.
This is at odds with Ecclesia De Mysterio, which lists among practices "to be avoided and eliminated":
- extraordinary ministers receiving Holy Communion apart from the other faithful as though concelebrants
Concelebrants take the Body in their hands, and the cup in their hands. We don't do that in our parish, even though the ministers are gathered behind the celebrant.
Logistics in a large parish are important, and having the EMs down in the congregation would be time-consuming, plus it would not recognize the unique ministry they perform.
You always ask such excellent questions!
The legislation of the Gode on the tabernacle is contained in the three canons 1268, 1269, and 1271. The first speaks of the place where the Blessed Sacrament should be reserved, or where the tabernacle should be placed; the second, of the tabernacle itself, of its position, of its construction and its ornamentation; and the third, of the lamp before the tabernacle.
To complete this subject, mention must be made of a regulation contained in the Caeremoniale Episcoporum, according to which the Blessed Sacrament is to be removed from the altar at which the bishop solemnly pontificates. The four paragraphs of canon 1269 read as follows:
1. The Blessed Sacrament is to be kept in an immovable tabernacle in the middle of the altar.
2. The tabernacle is to be skillfully constructed and safely locked, fittingly decorated according to the liturgical rules, kept free from other objects, and so carefully guarded that there is no danger of sacriligious profanation.
3. For any reason that seems good to the Ordinary, the Blessed Sacrament may be reserved elsewhere at night, but in a quite safe and fitting place, and always on a corporal.
4. The key to the tabernacle in which the Blessed Sacrament is reserved is to be guarded carefully, and the responsibility for carrying out this law rests with the priest who is in charge of the church or oratory.
The second paragraph of this canon contains five different directions on as many different points. The first matter referred to is the construction of the tabernacle, about which it says that it should be of good craftsmanship, made skillfully and beautifully. Nothing is said about the material out of which the tabernacle should be made. It may be of wood, stone or metal, and the more precious the material is, the more becoming the tabernacle will be. The second point demands that the tabernacle be securely closed all around. This requires that the door should be provided with lock and key. The third point concerns the adornment of the tabernacle. It must be becoming, in accordance with the liturgical laws. The principal prescriptions in this regard, as contained in the Roman Ritual, the decrees of the Sacred Congregation of Bishops and Regulars, and of Rites, and in the works on sacred liturgy, demand that a corporal be laid inside, on which the Blessed Sacrament is to be placed, that the interior walls be lined with silk, silver, gold, or other good material, and that the exterior or door be covered with a veil. This veil may be either white or of the color of the office of the day. However, on All Souls' day, at funerals, and other such occasions, when the Mass is said in black vestments, the veil should be, not black, but purple.
The fourth point prescribes that nothing be kept in the tabernacle except the Blessed Sacrament. This section probably has reference to a former custom of having sacred relics kept in the tabernacle. This was forbidden by a decree of the Sacred Congregation of Bishops and Regulars, 3 May, 1693. The fifth point recommends that the tabernacle be so vigilantly guarded as to exclude all danger of profanation.
Canon 1271, which speaks of the lamp that should burn before the tabernacle, reads as follows:
At least one lamp is to be kept burning day and night before the tabernacle in which the Blessed Sacrament is kept. In this lamp olive oil or beeswax is to be used; but where olive oil is not available, with the sanction of the Ordinary other oils may be used, but they should be vegetable oils, if possible.
This canon prescribes that at least one lamp should burn continually before the tabernacle in which the Blessed Sacrament is contained. This lamp may be right in front of the tabernacle, hanging down from the ceiling or vault of the sanctuary, as is the case in many parish churches; or it may be fastened with a bracket on the side wall; or it may be placed on the altar alongside the tabernacle. The fuel should be either olive oil or beeswax; if oil is used, and olive oil cannot be had, then the Ordinary may permit the use of other oils, of vegetable oils if at all possible. Among these latter may be mentioned linseed oil and sesame oil. The use of electric light, which was permitted during the late war by a decree of the Sacred Congregation of Rites, 23 November, 1916, is excluded now by this canon, and so it should not be used. However, electric or even gas light may be used on the altar as an aid to reading and for ornamental purposes.
All these detailed prescriptions of the Gode show very distinctly the Church's desire to show in all things the profoundest respect to the Holy Eucharist. This desire springs from the abiding faith in the real presence of our Lord in His Holy Sacrament.
FRANCIS J. SCHAEFER
St. Paul, Minnesota.
ENDNOTES
1 Matth. 26:26 ff.; Mark 14:22 ff.; Luke 22:19 f.: I Cor. 11:23 ff.
2 Lib. VIII, cap. I.
2 Rome, 1718.
In a homily I heard last week, the young priest looked towards the Tabernacle and recalled a lesson taught to him in seminary. His instructor explained that inside that small box was God Himself.
Understand, Steve, that no locked box can contain God. As guardians of His greatest gift to us, His Real Presence in the Eucharist, we take whatever measures are necessary to prevent someone from taking these consecrated hosts, to defile them.
I realize that; the point is that extraordinary ministers of the Eucharist are not to receive apart from the other faithful, as if they were concelebrants.
It's not really a matter of logistics. We used to have the EEMs all lined up by the altar, too. Our new priest immediately put an end to that, and now the EEMs stand in a different location, not by the altar. It doesn't take any extra time, and it complies with the wishes expressed in the instruction I cited.
The last thing I would ever want to do, is befuddle you. Perhaps this comparative analysis from a Jewish convert, expresses it better. (befuddle = great word!). As for the image of thousands of Tabernacles all over the world, even catholics recognize the omnipresence of God. It is a great comfort to us, however, knowing that we can ALWAYS walk into a catholic church in any part of the world and be in the (Real) presence of our Lord. This transcends the spiritual notion of omnipresent.
Every Catholic church has a tabernacle, where lives the Word Made Flesh. In the synagogues, the tabernacle holds the Word of God in ancient Torah scrolls. Beside the Catholic tabernacle, and beside the synagogue tabernacle, is a candle. Both go back to the time of Moses. Ex 40:35 "The glory of the LORD filled the tabernacle … For throughout all their journeys the cloud of the LORD was upon the tabernacle by day, and fire was in it by night, in the sight of all the house of Israel." Today we still see that fire, now a steady candle, and know as then that God is inside.
That blood-red tabernacle candle, reminding us that Jesus who died to redeem us is present, reminds Jews as well of the yahrzeit or memorial candles they light each year to remember the departed.
During our Shepherd's time, synagogue worship consisted of prayers, psalms, and Torah readings. The Torah readings were based on a three-year cycle, starting on the Sabbath after the Feast of Tabernacles and reading a portion each week until the end three years later on the last day of the same feast. In that way the entire Torah was read aloud to be sure every Jew was exposed to it. Holy Mother Church continues the Jewish tradition with Sunday Gospel readings on a three year cycle. Year A relies on Matthew's Gospel, Year B on Mark's, and Year C on Luke's Gospel. These readings cover over 7,000 verses, including nearly all of the New Testament, to help us know our sacred Scripture.
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