Dancing between Heaven and Earth: Understanding Sacred Dance from a Mystical-Theological Perspective

This article seeks to address the gap in theological studies on the discordant relationship between dance and the Catholic Church. To understand this relationship, I study two historical cases, analyzing the conceptualization and valorization of sacred and liturgical dances from a mystical-theologic...

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Bibliographic Details
Main Author: Vloebergs, Sander 1992- (Author)
Format: Electronic Article
Language:English
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Published: Peeters 2020
In: Louvain studies
Year: 2020, Volume: 43, Issue: 4, Pages: 352-371
Standardized Subjects / Keyword chains:B Catholic church / Dance / Mysticism
IxTheo Classification:CB Christian life; spirituality
CD Christianity and Culture
KAF Church history 1300-1500; late Middle Ages
KAJ Church history 1914-; recent history
KDB Roman Catholic Church
NCA Ethics
RC Liturgy
Online Access: Volltext (lizenzpflichtig)

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520 |a This article seeks to address the gap in theological studies on the discordant relationship between dance and the Catholic Church. To understand this relationship, I study two historical cases, analyzing the conceptualization and valorization of sacred and liturgical dances from a mystical-theological perspective. The first case study starts with Gerardus van der Leeuw’s theological and appreciative writings on Isadora Duncan’s pioneering dance practice. I then consider Cardinal Ratzinger’s criticism of the sacred and liturgical modern dancers following in Duncan’s footsteps. I argue that the mystical tradition had a remarkable and dominant influence on the twentieth-century language of self-reflection, for modern dance as well as for the Catholic Church. The second case study analyzes the work of the mystic John of Ruusbroec and the writings of Thomas of Cantimpré, hagiographer of the dancing saint, Christina the Astonishing. Seeking conceptual clarity, I turn to the latest developments in the academic field of mystical theology. I identify key concepts of the mystical tradition that could have prevented dissonance between dancers and theologians. Dance, I conclude, deserves a legitimate place on the theological agenda, if we can guarantee genuine collaborations between dancers and (mystical) theologians. 
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