A) DANCING AS DIVINELY ORDAINED.

B) WHERE AND WHEN TO DANCE.

C) DANCING AS COUPLES.

D) SIX HEBREW WORDS.

E) TWO GREEK WORDS.

 

 

A) DANCING AS DIVINELY ORDAINED

 

 

It is argued, by some, that dancing is a component of Divine worship.  When we study the Scriptures, we find that what it says about dance and dancing is not only not condemnatory, but in some cases positively prescriptive, i.e., “(3) Praise Him with trumpet sound; praise Him with lute and harp! (4) Praise Him with timbrel and dance; praise Him with strings and pipe.”  Psalm 150:3-4.

 

The failure to recognize that of the twenty-eight (28) references to dance, or dancing in the Old Testament, we find that only four refer, without dispute, to religious dancing:  Psalm 149:3; 150:4; Second Samuel 6:14-16 (There are 107references if you use the Hebrew words translated as “dance”).  It must be noted that in none of these 4 references does it refer to worship or have any reference to this form of worship in God’s House.  Rather, it is just used in “praise.”  But never in the Sanctuary.

 

Here is Garen Wolf, in his book, under the chapter heading, “Dance in the Bible,” who reaches this conclusion:  “First, dancing as part of the Temple worship is nowhere traceable in either the first or the second Temple.  Second, of the 107 times these words [Hebrew words translated as “dance”] are used in the Bible, only four times could they be considered to refer to religious dance.  Third, none of these references to religious dance were in conjunction with the regular established public worship of the Hebrews.”  Garen L. Wolf, “Music of the Bible in Christian Perspective” (Salem, OH, 1996), page 153.

 

Some of the Psalms were sung during the pilgrimage to Jerusalem, and thus, they are known as, “ascension Psalms.”  They were sung and danced in the streets, not in the Temple.  In fact, numerous Biblical passages refer to women singing and playing instruments in the social life of ancient Israel (see Exodus 15:20-21; First Samuel 18:6-7; Judges 11:34; Ezra 2:64-65; Nehemiah 7:66-67).  But no references in the Bible mentions women participating in the worship music or dancing in God’s House (or men).

 

 

B) WHERE AND WHEN TO DANCE

 

 

In the Bible, there is no trace of dancing by men or women in the worship services of the Temple, the Synagogue, or in the early Church.  This absence can hardly be attributed to negligence.   In fact, clear instructions are given regarding the ministry of music in the Temple.  The Levitical choir was to be accompanied only by string instruments, the harp and the lyre (see First Chronicles 16:42; Second Chronicles 5:13).  Notice also that percussion instruments, such as drums and tambourines and cymbals, which were commonly used for the making of dance music, were clearly omitted.

 

Thus, women’s music of the Bible was largely based on a rhythmic beat produced by tapping with the hand with the “tabret, toph,” or “timbrel.”  These are the only musical instruments mentioned in the Bible as being played by women, and they are believed to be one and the same, or very similar to the use of a cymbal (to keep time) in today’s music (see Exodus 15:20; Judges 11:34; First Samuel 18:6; Second Samuel 6:5, 14; First Chronicles 13:8; Psalm 68:25; Jeremiah 31:4).  The timbrel is also mentioned in connection with “strong drink” (Isaiah 5:11-12; 24:8-9).  The “tabret,” or “timbrel,” seems to have been a hand drum made up of a wooden frame around which a single skin was stretched.  They were somewhat similar to the modern tambourine.

 

In the Bible, although we find many references to forms of dancing, in four primary different places, it is notable enough for us to learn from.  The first place is in Exodus, Chapter 15, where we find the children of Israel celebrating their miraculous freedom from the Egyptians upon the opposite side of the Red Sea, instituted by Moses (Exodus 15:1).

 

This occasion is very instructive in that in looking at verse 20, “And Miriam the prophetess, the sister of Aaron, took a timbrel in her hand; and all the women went out after her with timbrels and with dances.”  We learn that this happens to be the most common type of dancing identified in Scripture.  And that is, women dancing to celebrate a victory of an army (see also First Samuel 18:6 and Judges 11:34), thus making Miriam the intituter of it.

 

The second, a different form of dancing in the Bible, emerges in Exodus 32:19, during the “golden calf” scandal.  Therefore, right away in the Bible we have two very different types or kinds of dancing, i.e., one that is apparently appropriate, and one that isn’t.  In the first example, Miriam and other women are dancing in a celebration of a type of victory dance, in praise to Who?  The Lord.  Whereas, in the latter, the Jews are caught in the middle of a pagan-like dance that carries with it the insinuations and overtones of sexual immorality, i.e., “Moses saw that the people were naked,” Exodus 32:25.

 

Sadly, if you were to attempt to dance somewhere in today’s society it would hardly carry with it praises to our God.  Most likely, it would rather bear with it the connotations of sexual suggestiveness.  This then, would fall into that category, and bring us to our next Biblical example.

 

Third is that of Herodias’ daughter; who danced for her stepfather Herod, and whose sexual overtones ultimately lead to the murder of John the Baptist (see Mark 6:22); along with drunkenness (see my Bible Study:  “WINE, BIBLICAL”).

 

 

C) DANCING AS COUPLES

 

 

At this point it is important to notice that nowhere in Biblical dancing do we find couples dancing together.  Women danced with women and men danced with men (as with king David, noticed later in this study).  Even today, in Middle Eastern culture, where the Bible is set and comes from, you will find many Jewish and Arabian peoples holding to the custom of having only men dancing with men and women with women.  Some types of their dancing may be resembled to the American “Square Dancing,” with the exception that men and women do not do it together.

 

This brings us to our fourth (4) type of Biblical dancing.  This is the one that is the most abused Scripture to justify any kind of dancing.  The verse of study and consideration is found in Second Samuel 6:14, where King David was found dancing, “before the Lord,” “girded with a linen ephod.”  Notice that David was not dancing with Bathsheba or any other women.  Notice also, that his dancing was not orchestrated or memorized.  Rather, he was leaping for joy and shouting praises to God.

 

Some people may mention that his wife Michael was not happy with his over jubilant expressions.  However, there is no condemnation given in Scripture by our Lord, for even if Michael thought that David was being to sexually expressive by dancing in a priest’s garment (and this would be conjecture as to why she was upset), he was at least dancing Biblically, that being, not with women and dancing in praises to our Lord.

 

Consider, that David was the founder of the music ministry at the Temple.  He gave clear instruction to the 4,000 Levitical musicians regarding when to sing and what instruments to use to accompany their choir (see First Chronicles 23:25-31).  His omission of dancing in the Divine worship circles can hardly be an oversight.  Had David believed that dancing should be a component of the Divine worship service, no doubt he would have given instructions regarding it to the Levitical musicians he chose for the ministry of music at the Temple.

 

The bottom line as to why “dancing” even comes up as questionable in religious circles is the question:  “Is mixed dancing ever appropriate for Christians.”  In this time in history, it would not be appropriate, because hormones are raging already, and most people have been exposed to what is known today as, “Dirty Dancing.”

 

In general terms, we need to stop being defensive when God points out to us that some activity is unacceptable.  It is not fair or safe to hide behind the label, “culture,” in order to justify non-Christian behavior.  We know how hard it is to let go of a cherished activity, but when you learn that God does not approve, put it aside.  If you do so willingly, God will give you something much greater and enjoyable with which to fill your life with.

 

As to king David “dancing” before the Ark of the Covenant, many problems and questions are brought into play, as opposed to helping us find reasons for the right to “dance.”  In the first place, David “was girded with a lined ephod,” Second Samuel 6:14, like a priest, and “offered burnt offerings and peace offerings before the Lord,” Second Samuel 6:17.  At this point we note that the Ephod was a sleeveless, linen waistcoat garment, to be worn only by the priests as an emblem of their sacred office (see First Samuel 2:28).  So why did David choose to exchange his royal robes for those of a priest, ones in which it was not lawful for him to wear?

 

My favorite Bible Commentator gives this plausible explanation, where it is suggested that David revealed a spirit of humility by laying aside his royal robes and attiring “himself in a plain linen ephod.”  Here is the quote:  “He [David] did not by this act signify that he assumed priestly functions, for the ephod was sometimes worn by others besides the priests.  But in this holy service he would take his place as, before God, on an equality with his subjects.  Upon that day Jehovah was to be adored.  He was to be the sole object of reverence.”  PP:706.

 

The problem is, that nowhere does the Bible suggest that someone who was not a priest could legitimately wear the ephod.  The same holds true when it comes to sacrifices.  Only the Levitical priests had been set aside to offer sacrifices (see Numbers 1:50).  King Saul was severely rebuked by Samuel for offering sacrifices (see First Samuel 13:13).  By offering sacrifices dressed like a priest, David was assuming a priestly role in addition to his kingly status.  Such an action cannot be easily defended Biblically, unless it is to show the role of Messiah.

 

David’s act of “uncovering himself” during his ecstatic dance to celebrate the return of the Ark to Jerusalem, was apparently not uncommon.  We are told that Saul also, in an ecstatic dance, “stripped off his clothes also, and prophesied before Samuel in like manner, and lay down naked all that day and all that night,” First Samuel 19:24 (see also First Samuel 10:5-7 & 10-11).  However, as we can see, neither King David, nor King Saul were truly “naked,” but rather, understood to be “naked” in the sense that they were not wearing a full embodiment of normal attire.
 

At this point it is noteworthy to acknowledge that David never instructed the Levites to accompany the Temple’s choir with the percussion instruments associated with “dancing,” such as the timbrel, tambourines, or drums.  Instead, he established that the Levitical choir was to be accompanied by the lyres and the harps.  These were called, “the instruments of song,” Second Chronicles 5:13, or “the instruments of God’s song,” First Chronicles 16:42.  As indicated by their descriptive name, their function was to accompany the songs of praise and thanksgiving to the Lord (see First Chronicles 23:5; Second Chronicles 5:13).  The musicians who played the harps and the lyres would themselves sing the song to their own accompaniment (see First Chronicles 9:33; 15:16, 19, 27; Second Chronicles 5:12-13; 20:21), never with the timbrel, tambourines, or drums.

 

We need to remember and realize that the Bible calls us to “worship the Lord in the beauty of holiness,” First Chronicles 16:29; Psalm 29:2; 96:9, which does not include percussion instruments which promote “dancing.”

 

 

D) SIX HEBREW WORDS

 

 

There are six Hebrew words translated as “dance.”  Our first Hebrew word is “chagag,” translated once as “dance,” in First Samuel 30:16, in conjunction with the “drinking and dancing” of the Amalekites.  Although it was a form of religious dancing before a god, it is evident that this is not a religious form of dancing acceptable to our Lord.  Nor is it accepted as a normal form of dancing suitable in God’s sight.

 

Our second Hebrew word is “chuwl,” and is translated twice as “dance,” in Judges 21:21 & 23.  Its reference is to the daughters of Shiloh who went out to “dance” in the vineyards and were taken as wives by surprise for the men of Benjamin.  Although this form of “dancing” would most likely be acceptable (and we wish we knew more about it), there is no doubt that in this context this word refers to a dance done by women only (no men around or accompanying them), and definitely not done for religious ceremony or services, i.e., secular.
 

Our third Hebrew word is “karar,” and is translated twice as “dance,” in Second Samuel 6:14 & 16, where in this context it suffices to note that these verses do refer to a religious type of dance.  However, it was conducted outside the context of the Temple worship, because the Hebrew word “karar” is only used in Scripture in these two verses, and is never used in conjunction with the Temple worship.  Also, David was not dancing with women, but only with himself.  It is a shame that we do not know more about this form of dancing.

 

Our fourth Hebrew word is “machowal,” and is translated six times as dance.  Psalm 30:11 uses the term poetically:  “Thou has turned for me my mourning into dancing.”  Jeremiah 31:4 speaks of the “virgins of Israel” who “shall go forth in the dance of the merrymakers,” noticing that these “virgins” are never instructed to dance with men, i.e., the importance and stressing of the word “virgins.”  The same thought is expressed in verse 13.  In both instances the references are to social dancing done by women.

 

However, there are two important instances where “machowal” is translated as “dance.”  They are found in Psalms 149:3 and Psalms 150:4.  These two texts are the most important because, in the view of many people, they provide the strongest Biblical support for dancing as part of Church worship.  A closer look at these texts shows that this popular assumption is based on a superficial reading and inaccurate interpretation of the texts.

 

Linguistically, the term “dance,” in these two verses, is the most disputed.  Some scholars believe that “machowl” is derived from “chuwl,” which means, “to make an opening” -- a possible allusion to “a pipe” instrument.  This is the marginal reading given by some “KJV” interpreters.  Psalm 149:3 states: “Let them praise His Name in the dance [or “with a pipe,” “KJV” margin].”  Psalm 150:4 reads:  “Praise Him with the timbrel and dance [or “a pipe,” “KJV”margin].”

 

Thus, the marginal reading of the “KJV” is supported by the context of both, Psalm 149:3 and 150:4, where the term “machowal” occurs in the context of a list of instruments to be used for praising the Lord.  In Psalm 150, the list includes eight instruments:  “trumpet, psaltery, harp, timbrel, string instruments, organs, cymbals, clashing cymbals” (“KJV”).  Since the Psalmist is listing all the possible instruments to be used to praise the Lord, it is very reasonable to assume that “machowal” is not to be translated as “dance,” but as a musical instrument, “a pipe,” or whatever its nature might be.  And remember, king David “made” all of the musical instruments to be used for their ministry service (see First Chronicles 23:5; Second Chronicles 7:6), which were called, “the instruments of David,” Second Chronicles 29:26-27.  You cannot “make” “dance,” but you can “make,” “a pipe.”

 

To now interpret these Psalms as a license to “dance,” or to play drums in God’s Church, is to misinterpret the intent of the Psalm and to contradict the very regulations which David himself gave regarding the use of instruments in God’s House, namely, the eight listed above.

 

Thus, contextually, “machowl” appears to be a reference to a musical instrument, because in both Psalm 149:3 and Psalm 150:4, the term occurs in the context of a list of instruments to be used for the praising of our Lord.

 

Another important consideration is the figurative language of these two Psalms, which hardly allows for a literally interpretation of dancing in God’s House.  For example, Psalm 149:5 encourages people to praise the Lord on the “couches.”  In verse 6, the praising is to be done with, “two-edged swords in the hands.”  In verses 7 and 8, the Lord is to be praised for punishing the heathen with the sword, binding kings in chains, and putting nobles in fetters.  It is evident that the language is figurative, because it is hard to believe that God would expect people to praise Him by standing or jumping on “couches” or while swinging a two-edged sword in His House of worship.

 

The same is true of Psalm 150, which speaks of the praising of God in a highly figurative way.  The Psalmist calls upon the whole creation to praise the Lord with every imaginable musical instrument.  The Psalm only makes sense if we take the language to be highly figurative.  Its purpose is not to provide a catalogue of instruments to be used for Church music, or to give license to dance for the Lord in Church.  Rather, its purpose is to invite anything that breathes or makes sound to praise the Lord.  To interpret the Psalm as a license to dance or to play drums in Church, means to misinterpret the intent of the Psalm and to contradict the very regulation which David himself gave regarding the use of instruments in God’s House.

 

Our fifth Hebrew word is “mechowlah,” and is translated seven times as “dance.”  In five of the seven instances the dance is by women who celebrate a military victory (Exodus 15:20; Judges 11:34; First Samuel 18:6; 21:11; 29:5).  Miriam and the women danced to celebrate the victory over the Egyptian army (Exodus 15:20).  Jephthah’s daughter danced to celebrate her father’s victory over the Ammonites (Judges 11:34).  And women danced to celebrate David’s slaughter of the Philistines (First Samuel 18:6; 21:11: 29:5).

 

In the remaining two instances, “mechowlah” is used to describe the naked dance of Israelites around the golden calf (Exodus 32:19), and the dance of the daughters of Shiloh in the vineyards (Judges 21:21).  In none of these instances is dancing a part of the worship service.  Miriam’s dance may be viewed as religious, but so were the dances done in conjunction with the annual festivals.  None of these dances, however, were seen as a component of a Divine service of worship.  They were social celebrations of questionable events.

 

Our last and sixth Hebrew word is “raquad,” and is translated four times as “dance” (First Chronicles 15:29; Job 21:11; Isaiah 13:21; Ecclesiastes 3:4).  Once it refers to a “children dance,” Job 21:11, another time to a type of “satyr dancing,” Isaiah 13:21, which may refer to a goat or a figure of speech, with a third instance having a poetic reference “to a time to dance,” Ecclesiastes 3:4, as opposed “to a time to mourn;” while the fourth reference is to the classic example of “King David dancing and making merry,” First Chronicles 15:29 (discussed earlier).  Although this is most likely our most accepted form of dancing in God’s Word (and we wish we knew more about it), still, men were not to dance with women, or vice-versa, and it was not done in the Temple service, i.e., in Church.

 

 

E) TWO GREEK WORDS

 

 

There are two Greek words translated as “dance” in the New Testament.  The first is “orcheomai,” which is translated four times as “to dance,” with reference to the dancing of Herodias’ daughter (Matthew 14:6; Mark 6:22), which, as we know, had sexual connotations.  It was also used in conjunction with children’s dance (Matthew 11:17; Luke 7:32).  The Greek word “orcheomai,” means to dance in a “rank-like,” or “regular motion,” and is never used to refer to religious dance in the Bible.

 

The second Greek word translated as “dance,” is “choros.”  It is used only once in Luke 15:25 with reference to the return of the prodigal son.  We are told that when the elder son came close to the house, “he heard music and dancing.”  The translation “dancing” is disputed because the Greek word, “chorus,” occurs only once in this passage and is used in extra-biblical literature with the meaning of “choir,” or “group of singers.”  At any rate, this was a family reunion of a secular nature and does not refer to religious dancing.

 

The conclusion that emerges from the above survey of the 28 references to “dance” in Scripture, is that Biblical dancing was to be done in the streets, or in the open air, and not in the Temple or Synagogue, i.e., Church, and NEVER with mixed (men and women) partners.