Excerpts from EWTN based on “Sacrosanctum Concilium”:
ewtn.com/library/Liturgy/zlitur52.htm
Q: Is so-called liturgical dancing allowed in English-speaking countries where traditionally dancing is not regarded as culturally proper? Can it be carried out during solemn occasions such as the celebration of the Mass? — F.Y., Auckland, New Zealand
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On some recent occasions a certain form of dance has been introduced within the context of
papal liturgies on the occasion of regional synods of bishops or canonization ceremonies. But these were usually associated with elements of African or Asian culture and are to be considered as special exceptions in virtue of the Pope’s universal mission.
On recent occasions Cardinal Francis Arinze, prefect of the Congregation for Divine Worship and the Sacraments, has publicly criticized certain forms of introducing dance into **Western liturgy **especially in forms which reduce the sacred rite to a spectacle.
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The 1975 article from The Canon Law Digest follows:
— The Religious Dance, an Expression of Spiritual Joy —
The dance can be an art: a synthesis of the measured arts (music and poetry) and the spatial arts (architecture, sculpture, painting).
As an art which, by means of the body, expresses human feelings, the dance is especially adapted to signify joy.
Thus, among the mystics, we find intervals of dancing as an expression of the fullness of their love of God. Recall the cases of St. Theresa of Avila, St. Philip Neri, St. Gerard Majella.
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Actually, in favor of dance in the liturgy, an argument could be drawn from the passage of the Constitution on the Sacred Liturgy, “Sacrosanctum Concilium,” in which are given the norms for adaptation of the liturgy to the character and the traditions of the various peoples:
“In matters which do not affect the faith or the well-being of an entire community, **the Church does not wish, even in the Liturgy, to impose a rigid uniformity; on the contrary, she respects and fosters the genius and talents of various races and people. **Whatever in their way of life is not indissolubly bound up with superstition and error, she looks upon with benevolence and if possible keeps it intact, and sometimes even admits it into the Liturgy provided it accords with the
genuine and authentic liturgical spirit.” [1]
Theoretically, it could be deduced from that passage that** certain forms of dancing and certain dance patterns could be introduced into Catholic worship. **
Nevertheless, **two conditions **could not be prescinded from.
The first: to the extent in which the body is a reflection of the soul, dancing, with all its manifestations, would have to express sentiments of faith and adoration in order to become a prayer.
The second condition: just as all the gestures and movements found in the liturgy are regulated by the competent ecclesiastical authority, so also dancing as a gesture would have to be under its discipline.
Concretely: there are cultures in which this is possible insofar as dancing is still reflective of religious values and becomes a clear manifestation of them. Such is the case of the Ethiopians. In their culture, even today, there is the religious ritualized dance,
clearly distinct from the martial dance and from the amorous dance. The ritual dance is performed by priests and levites before beginning a ceremony and in the open are in front of the church. The dance accompanies the chanting of psalms during the procession. When the procession enters the church, then the chanting of the psalms is carried out with and accompanied by bodily movement.
The same thing is found in the Syriac liturgy by means of chanting of psalms.
**In the Byzantine Liturgy, there is an extremely simplified dance **on the occasion of a wedding when the crowned spouses make a circular revolution around the lectern together with the celebrant.
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Neither can acceptance be had of the proposal to introduce into the liturgy the so-called artistic ballet because there would be presentation here also of a spectacle at which one would assist, while in the liturgy one of the norms from which one cannot prescind is that of participation.
**Therefore, there is a great difference in cultures: what is well received in one culture cannot be taken on by another culture. **
The traditional reserve of the seriousness of religious worship, and of the Latin worship in particular, must never be forgotten.
If the proposal of the religious dance in the West is really to be made welcome, care will have to be taken that in its regard a place be found outside of the liturgy, in assembly areas which are not strictly liturgical. Moreover, the priests must always be excluded from the dance.
We can recall how much was derived from the presence of the Samoans at Rome for the missionary festival of 1971. ***At the end of the Mass, they carried out their dance in St. Peter’s square: and all were joyful. ***_____________________
My commentary:
In summary, the article says that liturgical dance is permitted in the Latin Rite as long as it is not a spectacle, it expresses sentiments of faith and adoration in order to become a prayer, has been approved by the local ecclesiastical authority, and has meaning to the culture where the ritual is performed. The article specifically mentioned that liturgical dance is not allowed in the Western liturgy because it could be seen as a spectacle. Being that WYD was attended and viewed on television by a large percentage of non-Western people and that even to Westerners, the meaning of the “dance” was clear, the “dance”/procession was permissable. To say that the procession was wrong and only silence and kneeling is reverent is being eurocentric. The Divine Liturgy of the Eastern-Rite Catholics also has different customs because of regional differences.
The Mass today evolved from the Church adapting to different cultures, including Europe. It is true that dance is not originally part of the tradition of the Latin Rite, but the Church has adapted over the centuries. The explosion of Catholicism in Latin America, the Philippines and Africa (now the center of the Church in modern times) when the first missionaries arrived is a good example of how the Church has adapted to regional cultures. The elevating of the Host, is one example of an addition to the Latin Rite.
As Redemptionis Sacramentum states: “the Church does not wish, even in the Liturgy, to impose a rigid uniformity; on the contrary, she respects and fosters the genius and talents of various races and people”.