Introduction

Dance is but one form of visual communication. God highly values visual worship - the expression of our worship through movement, pattern, color, form etc. rather than sound - and non-verbal forms of communication. See Gen. 15:5-6, Is. 59:19, Heb. 9:6-9, Jer. 18, II Chron. 3 & 4, I Pet. 2:9, etc.

Dance itself is a language with a number of dialects. Its rudiments are universally sensible, but more precise communication requires learning the "vocabulary" of dance. To use and understand dance, we must educate our congregations in its place and value.

I. Introducing dance to a Congregation

A. Give Scriptural basis for the use of dance in the church. Ps. 149 & 150.

B. The congregation needs to be given an overview of "policies and procedures" - how is dance going to fit into their church? How will congregational dance be used? What role will appointed dancers have? Will there be production numbers? interpretive dance? processionals?

II. Training the Congregation

A. Not everyone will be an appointed dancer, but everyone can be ministered to by them. Consider giving background instruction in dance appreciation in a Sunday School class or special seminar. Such a class should cover:

1. Basic Elements of dance and a glossary of terms.

a. Space, Time and the human form.

b. Rhythm in space and time, pattern.

c. Form.

d. Symmetry.

e. Asymmetry.

f. Dynamics

g. Distortion.

h. Stylization.

i. Virtuosity, tour de force.

j. Representational.

k. Abstract.

2. Schools of dance and their potential strengths in church application.

a. Folk Dances, ethnic dance.

Mainly useful for communicating broader emotions (celebration, joy,
majesty...). Good for large group and congregational involvement.
Usually limited in design and space elements - one or two lines, circle
or square - so well suited for processionals.

b. Fine art forms.

1) Ballet

Foundational form for excellance in any other form of dance. Skill building. Otherwise, classical ballet has limited use in church. It is most suited to interpreting classical music.

2) Modern

Also Modern Ballet. Much freer than classical ballet. Excellant for all types of production dances and interpretive. Able to express very wide range of feelings and ideas.

3) Jazz

Foundation is rhythm rather than pattern or space. Is more appropriate for contemporary Gospel and Gospel rock types of music. Much more dependant on its music than ballet or modern. Has more emphatic and earthy feel.

4) Tap

Foundation in ryythm. Relitively little application in church, though helps build skill, and may be integrated into productions.

3. Beginning guidelines for interpreting dance.

a. The more familiar you are with the language the more easily and clearly you will understand the message. Expose your congregation to dance in varied forms and settings on a regular basis. Give on-going instructions and encouragement through methods described below (III),

b. Dance involves three types of movement: instinctive actions and expressions, sign language, and dance steps.

c. Sense your spontaneopus feeling response to the dance, not just your analytical interpretation. "Because we are in close physical sympathy with what we are looking at . . . it is through the pattern of steps that emotion is transmitted."

d. Realize this implies the need for anyone choreographing a dance to carefully think through the proper movements to use to express the desired message. Do not be the dancing version of Mrs. Malaprop or the Classic Californian, "Uh, yuh know, like, um, I, ah, man, you know, like, wanna say, um, um, um, o wow,..." Ideally every movement should have a purpose and not clutter or confuse the issue.

III. Practical and Tactical Guidelines

A. The Pastor and Elders.

The Pastor especially is the prime agent in setting an interpretive framework for the dance. As such he must:

1. Educate himself.

2. Model Support and interest.

3. Edify the congregation.

4. Work closely with the dance ministry.

5. Be sure the whole congregation rejoices in dance at times when the theme of the service is appropriate.

B. The Worship Leader.

1. Be familiar with basic dance terminology etc.

2. Be a good model.

3. Clearly direct the congregation as to what will take place, what they should do. Reinforce the message of any dance.

4. Coordinate closely with the Dance Leader. When will the dance take place in a service (if it's a production number)l what cues will be given, what message are the dancers trying to communicate, when will the dance end, etc.?

5. Be prepared to lead the congregation in response to the dance.

C. The Dance Leader

1. Train dancers not only in dance skills, but also to minister in smooth coordination with the worship leader and in submission to the policies of the ruling eldership.

2. Function as prime resource person for the Pastor, Worship Leader and others regarding dance in general and in reference to the dances and programs of your dept.

D. The Congregation.

1. Let the leadership educate and edify you. Attend whatever classes are offered, be open to instruction. Let your tastes be broadened. Follow the directions given by the Worship Leader. Be attentive when dance ministry takes place, and ask God to help you receive and understand. When the dance is complete follow the Worship Leader into the correct response. Be supportive of your brothers and sisters as they work out and apply the restoration of dance ministry to the church. When congregational dance takes place (at the lead of the W.L.) be sure to join in. If health problems literally prevent you from doing so, stand if possible and clap along vigorously...join in as much as you can. Do not break the unity or quench the Spirit. Remember Michal in II Sam. 6:16-23

When the appointed dancers minister, the Worship Leader will normally direct the congregation to be seated. Do not "dance along" in your place or in the aisle any more than you would preach along with the Pastor during the sermon. Be mindful of any interpretive guidelines you have been given through introductory remarks or program notes. Ask God to speak to you through His dancers. Do NOT applaud at the conclusion of a dance. You should be drawn into a higher experience of worship whether in prayer, cpngregatinal praise, or another manisfestation. Follow the lead of the Worship Leader. These basic guidelines apply for processionals, production dances, and interpretive dance as well.

E. Miscellaneous

1. Bulletin

2. Program notes and announcements

3. Visitor's guide

4. Display art and information

5. Advertising

 

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