Recognized
Norwegian scholar, Sigmund Mowinckel, in what is believed
to be one of the best books written on the Psalms in Israel's
worship, and a standard text in most graduate schools and
seminaries, notes in definition:
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"Together
with song and music goes the dance, which is
a common way of expressing the encounter with
the body. The dance is a spontaneous human expression
of the sense of rapture, _ At a higher religious
level it develops into an expression of the
joy at the encounter with the Holy One, an act
for the glory of God (II Samuel 6:20 ff)). It
behooves one to give such visible and boisterous
expression of the joy before Yahweh."8
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It
is a further necessity to immediately clarify 'professional
performance' as distinct from worship. This does not mean
that professional ability can not worship. Quite the contrary!
Ability is an increase in the service of God. Paul the Apostle
charged Timothy with the responsibility of "striving
for the mastery" (II Timothy 2:5). But a careful distinction
must be made.
Robert
N. Schaper, Associate Professor of Practical Theology, and
Dean of the Chapel at Fuller Theological Seminary, observes
in balance:
"Our
culture is filed with professional performance,
which combines aesthetic beauty and personal
accomplishment. I find no problem with this.
On television or in the concert hall we hear
capable artists who diligently prepare, and
we enjoy the music and appreciate the skill
of the performer. For us it is the pleasure
of an experience of excitement and beauty. For
the performer it is the thrill of performance,
the applause, the reward. It is apparent
how different that is from worship, where the
ultimate concern is the glory of God.
How
tragic, then, if the church becomes a concert
hall and the worshipers, any of them, become
performers. A Greek orthodox priest whom
I know attended a well-known evangelical church
and complimented the preaching. But he characterized
the rest of the service as a "Christian
Lawrence Welk Show."
I
really have no objections to people gathering
to hear someone sing, or a choir sing, and responding
with delighted applause. I just don't want to
call that worship. I would also observe that
since worship is dialogue, the involvement of
the congregation is such a precious and proper
thing that everything else must serve that involvement."
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While
Schaper calls for balance and incites an involvement that
will draw all worshipers into divine encounter, this does
not do away with the preparation required to help those worshipers
magnify the Name of the Lord. In the Old Testament the
temple priest-musician, singers and dancers were:
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"Thoroughly
trained, serving five years of apprenticeship
before being admitted to the regular chorus.
The singing was accompanied by many kinds of
instruments; 'lyres,' 'pipes,' 'harps,' 'trumpets,'
and 'cymbals' and was also associated with
Worship for Israel was serious business.
No irrelevant thoughts or fragmented elements,
no silly asides or unconnected directions in
purpose. Worship was not haphazard music done
poorly or even great music as performance -
worship was preparation and offering - they
offered that which cost them something.
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The great festival
processions of the Old Testament were not amateur in content.
They were breathtaking! And they were meant to be a visual
aid to all who participated, a help to all 'watchers' that
was to aid them in their own involvement and participation.
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"The
original conception of the procession was a power-increasing
and strength-conferring ambulation with holy powerful
objects, as e.g., the Holy Ark of Jahweh."11
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This
concept of 'Procession' as 'power-increasing' and 'strength-conferring'
was a visual stimulant that Israel brought with them from
Egypt.
The
main difference between the activities surrounding Egyptian
temple procession and Israelite temple festivities centered
in the fact that:
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Many
temples (in Egypt) seemed to be tied more closely
to Funerary practices than to worship services
in which personal piety was expressed. - the
festivals that are described have to do mainly
with the death of the old Pharaoh and the enthronement
of the new ruler."12
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This
would have placed 'Procession' as a form of dance in Israel
in stark contrast to that of Egypt. Israel's 'Processions'
would have been filled with the excitement of joy.
Footnotes
8. Sigmund
Mowinckel, translated by D. R. Ap-Thomas, The Psalms
in Israel's Worship (Nashville: Abingdon Press,
1962), p. 10
9. Robert
N. Schaper, In His Presence: Appreciating Your Worship
Tradition (Nashville: Thomas Nelson Publisher, 1984),
pp. 187-188
10. Donald
P. Hustad, Jubilate: Church Music in the Evangelical
Tradition (Carol Stream, Illinois: Hope Publishing
Co., 1981), p. 81
11. Mowinckel,
The Psalms in Israel's Worship op. cit., p. 11
12. G. Herbert
Livingston, The Pentateuch in Its Cultural Environment
(Grand Rapids: Baker Book House, 1974), pp. 119-120
13. H. H.
Rowley, Worship in Ancient Israel: Its' Forms
and Meaning (South Hampton: The Camelot Press Ltd.,
1967), p. 207
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