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Dancing in praise of God: Reinterpretation of theology in worship

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Abstract

In many religions, worshipping God whilst moving the body is part of worship. This article aims to explain and defend the position that worshipping God by moving the body in liturgy is biblical and has a theological foundation. The discussion is divided into three. Firstly, the writer traces the origins of objections to bodily movements in liturgy and analyses them. Secondly, it is explained that body movement is a language to God. A biblical argument about body movements, which should not be trapped in appearance and drama, is the third part. The article concludes that worship by gestures is biblically substantiated. The research contribution suggests that the church should be accommodating in its orthodoxy to accept this as truth. The church should deem it important to teach the congregation the concept of true worship and not worship that is trapped in appearances. The key finding is that the meaning of worship lies not in the direction but in the worshippers’ hearts. Each church should have a unique way in their respective cultures. This article performs a theological reconstruction of worship theology and analyses it briefly through a literature review of several literature works such as books, articles and research findings.
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Theologia Viatorum
ISSN: (Online) 2664-2980, (Print) 0378-4142
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Author:
Sonny E. Zaluchu1
Aliaon:
1Department of Religion and
Theology, Faculty of
Theology, Sekolah Tinggi
Teologi Baps Indonesia
(STBI), Semarang, Indonesia
Corresponding author:
Sonny Zaluchu,
sonnyzaluchu@stbi.ac.id
Dates:
Received: 05 Oct. 2020
Accepted: 01 Dec. 2020
Published: 20 Jan. 2021
How to cite this arcle:
Zaluchu, S.E., 2021,
‘Dancing in praise of God:
Reinterpretaon of theology
in worship’, Theologia
Viatorum 45(1), a86. hps://
doi.org/10.4102/tv.v45i1.86
Copyright:
© 2021. The Authors.
Licensee: AOSIS. This work
is licensed under the
Creave Commons
Aribuon License.
Introducon
Worship has a significant role in religious practice (Bayne & Nagasawa 2006). Adherents of
religion find it a way to connect with God. Not only seen in contemporary religious worship,
Durkheim (2011) states that worship is characteristic of human religious power, which can be
traced to primitive worshipping rituals that feature specific body movements (Mustaffa, Awang &
Basir 2017). It can be inferred that worship, like the Dhavamony theory that directs its followers
to join the sanctuary, is an articulated rite of worship (Dhavamony 2016:183).
Christianity is a religion that introduces the concept of expression in worship as part of worship
to God (Merrill 2000). As an expression of worship, Nelson (2007) initially analysed that it was
born from an emotional attitude, as revealed by his research in Christian worship amongst African
Americans. However, this attitude is constructive in building religious identities that lead to an
experience with God. Geraghty’s (2007) explanation, which says that expression should occur in
every Christian’s worship because this action is part of the implementation of Jesus’ command to
worship him in spirit and truth, as revealed in the Gospel of John 4:23 (Wijaya 2017). In other
words, worship and expression are inseparable parts of a Christian rite.
One of the expressive forms of worship in Christian worship is the practice of body movement.
According to Setiawan (2012), complete and comprehensive worship in the full theological
meaning only occurs if the human conscience is fully involved, and includes the body in worship.
Smith (2008) suggested that the body’s participation in worship is as consequential as that of
emotional and intellectual involvement. Therefore, only when there is a connection between
body, mind and spirit in God’s worship is the real spiritual experience created.
The problem is that not all churches have the same understanding of body movement in worship.
Theological reflection on body movement in worship is still strongly influenced by doctrinal
views; whilst some agree, others disagree with this concept. Although body movement has been
a part of the trend in Charismatic-Pentecostal adoration, a psychological fear of being branded
and rejected by the mainstream Protestant churches could be at the source of abstaining. This is
also inspired by thoughts that suggest that it is not necessary for body movement in worship; the
emphasis being more on the role of worship in communion with God. Thus, the church pays more
attention to discuss the meaning of worship and its elements rather than discussing the attitudes
and movements of the congregation’s body in worship, which at times actually focuses more on
In many religions, worshipping God whilst moving the body is part of worship. This article aims
to explain and defend the position that worshipping God by moving the body in liturgy is biblical
and has a theological foundation. The discussion is divided into three. Firstly, the writer traces the
origins of objections to bodily movements in liturgy and analyses them. Secondly, it is explained
that body movement is a language to God. A biblical argument about body movements, which
should not be trapped in appearance and drama, is the third part. The article concludes that
worship by gestures is biblically substantiated. The research contribution suggests that the church
should be accommodating in its orthodoxy to accept this as truth. The church should deem it
important to teach the congregation the concept of true worship and not worship that is trapped
in appearances. The key finding is that the meaning of worship lies not in the direction but in the
worshippers’ hearts. Each church should have a unique way in their respective cultures. This
article performs a theological reconstruction of worship theology and analyses it briefly through
a literature review of several literature works such as books, articles and research findings.
Keywords: The theology of worship; gesture; body movement; the true worshipper;
charismatic; pentecostal; practica.
Dancing in praise of God: Reinterpretaon
of theology in worship
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performance than essence. Only when the congregation has
true ecclesiology is the practice of worship more authentic
(Pruitt 2007).
These differences of opinion divide the church’s attitude
such that the veracity of the biblical interpretation becomes
blurred. This situation poses one fundamental question that
is based on this fact: Does it uplift the body and the biblical
truth, whilst praising God or praying? This can be justified
by David dancing before God. We are asked, with all our
might, to love him. One way is mentioned in Romans 12:1,
which states that offering the body as a living sacrifice strains
the metaphor in order to present the sacrificial lifestyle in
every Christian worship (Keener 2014:448).
For this reason, I first explored the ideas of rejection. It then
provides an analysis to defend the idea that moving the limbs
during worship is a biblical language that emphasises
hysteria and expression. God understands body language as
an integral part of the liturgy of worship that communicates
to him. The concluding section warns that it is far more
essential to take heart and be motivated in worshipping God,
than to indulge in drama for public appearances. The aim of
the study is how to describe gestures in worship from
a theological and biblical viewpoint.
Reasons for rejecon
The following are several reasons and arguments underlying
the rejection of body movements in worship.
The first reason can be traced to Tertullian’s teachings: an
influential Latin Church priest, regarding the human body.
Tertullian teaches that the body is the centre of lust and flesh
causing man to fall into sin (Uzukwu 1997). This view forms
the basis for the Church’s assumption that the portals to
sinfulness will be left wide open when the body is involved
in the worship of God’s holiness. The nature of the body,
considered unclean and dirty, must be suppressed in such a
way. This is a contradictory view of Tertullian’s teachings
regarding the theology of Christ, wherein the ‘flesh’ or
humanity of Christ is a worthy instrument of God’s presence
(Fergusson, Wright & Packer 1988:676). In other words, the
church’s doctrinal interpretation of the body as the centre of
lust in worship needs to be reviewed.
The second argument can be seen in the concept of dualism
in Christian theology, which is heavily influenced by Greek
philosophy (Korak 2012). Human beings are believed to
consist of a spiritual aspect (soul or spirit) and a physical
aspect (body) in the dualism perspective. The soul or spirit
is associated with positive things like purity and goodness,
whilst the body is associated with negative things such as
impurity and defilement (Jacobson, Hall & Anderson 2013;
Vidal 2016). This view firmly draws a line between body
and spirit; the two being unrelated (Fergusson et al.
1988:211). In this view, body movement does not directly
influence the act of worship initiated by the spiritual aspects
(soul and spirit). In view of the dichotomy, body movement
becomes insignificant.
This view is contrary to the psychological approach that
regards human beings as the united entity of spirit and body
(Walach 2007). For example, Paul’s emphasis in his letter to
Rome’s worshipers (Rm 8) is not a dualism between flesh and
spirit. However, it concerns priorities and emphasis that the
Christian life is no longer led by the flesh but by the spirit.
The flesh remains, but the power of the spirit has control over
the body as a whole (Wasserman 2008). The implication
is that when the body moves in spirit-led worship, the body
is being led into the spiritual dimension.
The argument of rationalism developed in the 15th century
helped shape the theological rejection of body movement.
Rationalism emphasises humans as ‘thinking being’, thus the
cognitive aspect is of prime importance. With rationalism,
unrestrained expression of human faith through body
movement in worship is considered unnecessary. Zwingli
supports the idea of rationalism in the extreme in his church.
Various spiritual symbols and icons are revealed so that the
church space becomes empty. The use of musical instruments
is prohibited during worship, including body movement. For
Zwingli, all expressions of faith in material form (art, symbols
and unwarranted movements) do not show faith; rather, it
can be a barrier to faith, and therefore does not need to be
practised (Browne 2005). It is enough to have faith in Jesus
Christ, the King, and Saviour, so all will go well.
Body movement as a language
The body is a medium in the sociology of religious view.
From primitive times to right up to its contemporary form,
religions have ritualised worship in three aspects: continuous
worship, sacraments and ceremonies (Whaling 2002:325).
All aspects involve physical activity. Primitive religious rites
show dance movements, both regular and irregular, in the
way they worship.
Some stories in the Old Testament (OT) can be used as a
reference. During the race ‘fire from heaven’ between the
Prophet Elijah and Baal’s priests, a performance of body
movements was shown. The author of the book of Kings
describes the following:
They take the bull given to them, process it and call the name of
Baal from morning till noon, they said: ‘O Baal, answer us!’ But
there was no voice, no one answered. Meanwhile, they tiptoed
around the altar they had made. (2 Ki 18:26)
One purpose of using the Hebrew word ‘pasach’ there is to
describe a dance involving irregular movements by jumping
around (ed. Renn 2010:584).
Turner (2012:441) states that religious behaviour (one of
which can be observed through body movements in rituals)
is intended as an answer to a human existential problem. In
comparison, religious belief attempts to understand the
world by referring to sacred reality. Turner’s thought
provides a sociological foundation for the emergence of
religious behaviour amongst religious communities. Praying,
singing, dancing, clapping and fasting, are a part of worship.
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Furthermore, in religious life, Turner (2012:363–366) said
there is a transcendent reality, an awareness that can only be
humanly owned. This view explains that through the
expression of body movement human consciousness seeks to
reach and enter a transcendent reality. Manifestations such
as dancing, raising hands, clapping, crying, or trance in
worship, become an immanent personal experience of a
transcendent God. In addition to immanent expressions, it
can be concluded that gestures can guide human efforts to
develop supernatural communication to a transcendent God
(Russell 2001). Facial expressions and body movements
represent the condition of the human heart to God in a non-
verbal way (Chomaria 2018:110).
In his book on Body Sociology, Raditya sees the body as part
of social conventions. The body can ‘talk’ unfettered by its
physical limitations, expressing itself in social relations
through signs, meanings, symbols, or semiotics (Raditya
2014:xvi). Therefore it can be concluded that bodily activities
in worship are not merely movements without meaning but
are expressions of the human desire to build supernatural
(non-verbal) communication with God.
Biblical view of the body movement
in worship
The Declaration of Faith addressed to Israel in Deuteronomy
6:5 states the law of love towards God (Pawson 2015:188).
‘Love the Lord God, with all your heart and with all your
soul and with all your strength’. The manuscripts in Mark
12:30 and Luke 10:27 add the phrase ‘mind’. The text shows
the absolute unity between body, soul, spirit and mind to
the love of God. The word ‘strength’ in that sentence comes
from the Greek word ἰσχύς which refers to physical strength
or power (Strong 1986:49). Worship as a way of loving God
provides space not only as an expression of spirit, soul
and mind, but encompasses the involvement of the body
as a language.
Jewish liturgies that involve the movement of bodies are a
part of worship (Idelsohn 1932; Mackie 2017; Olson &
Weinfeld 2006).
A complementary view of the Bible with regard to Israeli
worship rituals during OT times can be an additional
reference, wherein a body dedicated to the Lord is constituent
of the liturgy. For example: an act of kneeling (Is 45:23),
standing (Ps 122:2; Ps 135:2), raising hands (Ps 63:4), or
raising hands and making gestures with the hands (Ps 143:6).
A momentous thing happened when David moved the Ark
of God from Obed-Edom to Jerusalem. The Bible reports,
David danced with joy (2 Sm 6:14) in the holy procession and
did it with all his might. Several verses in the NT narrate how
he prostrated himself in order to worship God. One of the
most powerful narratives can be found in the Book of
Revelations, wherein it describes the worship of God by
prostrating the body (Rv 15:4). Even in his epistle to the
church at Ephesus, the Apostle Paul enlivened his prostration
in worship (Eph 3:14).
Mitchell supports the opinion that the synergy of body
movements within the church liturgy is biblical. The
manifestation of human actions to worship God can be seen
through a person’s liturgical movements and goes on to
explain how body worship becomes more important than
churches, holy places, books or other items (Mitchell 2006).
It is through worship involving the body that awareness of
God is built up. Sheil said movements as simple as opening a
hand and raising it can increase one’s awareness of God’s
presence. Sheil (2006) realised that visual gestures are more
important than verbal explanations.
Thus it can be concluded that body movements and the
liturgy form a complementary relationship. Where there
is liturgy, body movements occur, and vice versa. Mattes
(2016) elaborates that it is almost impossible to imagine a
liturgy without body movements because it shows the
symbiotic movement between God and man. Zephaniah
3:17 states God sings to his people and alludes to movement
to save sinful people, and human beings respond to God’s
work of salvation with rejoicing (Chrisholm 2002:450). This
dialogue underlies the overall liturgical view that there is
indeed a real correspondence between the body and
theology (Jacobson et al. 2013; Ross 2008). Keeping this in
mind, let us now analyse how drama fits in this pattern of
body movements.
Beware of drama
As a movement integrated with the liturgy, there needs to
be a principle of harmony that is not excessive in its
expression. Horne and Davies (2006) warned that the danger
of exaggerated movements in worship would have a direct
impact by altering the form of worship into one
of entertainment, hollow rituals, eroticism and the loss of its
transcendent aspects. Vondey (2010:117), a modern
Pentecostal theologian, agrees with the above statement.
Although a theology of body movement can be accepted as
something biblical in church liturgy, the drama trap is all
too real.
Indications of worship movements that only emphasise
performance has made worship in the services lose
its essence.
Vondey’s fears and warnings from Davies and Horne exist
for good reasons. Many church liturgies are trapped in
actions and attractions that only emphasise emotion and
psychology. Whilst on the other hand, the actions
and attractions’ main essence become vague, and even
disappear. As an immanent reflection on a transcendent God,
the body’s movement is replaced by a strong desire to be
seen spiritually in public. Perhaps, a very wide and deep gap
between the two schools of theology (Protestant and
Charismatic-Pentecostal) appears because of instances like
this. Hence, both have opposing beliefs with regard to body
movements in worship.
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Conclusion
Body movements in worship are biblical and have substantial
theological grounds. The problem is not only in the aspect of
theological values but also with the church’s decisions and
attitudes: whether to accept or reject this theology as a part
of the liturgy. This is not a goal, but the means to a human
endeavour to express his love of God. Acknowledging that
gestures are neither prohibited nor misleading should
encourage the church to be more liberal than to adhere to
a strictly orthodox view. It is essential to provide the
congregation with education about the spiritual significance
of body movements in worship. This education offers
a spiritual view of the Bible so that the culture is not hindered
by adding value to public appearances. Although culture
and orthodoxy also influence the congregation’s attitudes in
worship, the worshipping style prevalent in Africa of
praising God can be used as an inspiration: that such a
model of practice is a reality in the contemporary church.
The church is said to grow when the services held in the
church inspire. Schwarz (1996:31), a church growth expert,
said that inspiring worship occurs through the presence of
the Holy Spirit. Its presence has a significant effect on how
worship is carried out, including the entire atmosphere of
worship: when people living in such an atmosphere show
enthusiasm and profess that worship is fun. In other words,
the involvement of all human elements, namely spirit, soul,
mind and strength (body) in worshipping God in harmony
is the goal of loving God and the actual practice of worship.
Acknowledgements
Special thanks to Dr. Robinson Rimun, M.Th, president of the
Indonesia Baptist Theological Seminary, for extending his
moral support to this research.
Compeng interests
The author declares that no competing interest exists and no
financial or personal relationships that may have
inappropriately influenced him in writing this article.
Author’s contribuons
The author declares that he is the sole author of this research
article.
Ethical consideraon
This article followed all ethical standards for research
without direct contact with human or animal subjects.
Funding informaon
This research funding came from the Sekolah Tinggi Teologi
Baptis Indonesia (STBI) Semarang as my institution. Derived
from lecturer research budgets and are independent, not
for commercial interests. There is no conflict of interest
between the institution and me in terms of funding and
research material.
Data availability statement
Data sharing is not applicable to this article as no new data
were created or analysed in this study.
Disclaimer
The views and opinions expressed in this article are those of
the author and do not necessarily reflect the official policy or
position of any affiliated agency of the author.
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Of all the capacities of the human brain, the acquisition, retention, and recall of information are undeniably among the most marvelous and myste-rious. Experts in intelligence declare that every impression experienced by an individual, verbal or otherwise, is stored away in the cognitive memory bank, waiting there to be retrieved and brought to the consciousness of those who wish and are able to recover it. 1 Such capacity, though not under-stood scienti˜cally by the ancients (or even fully by moderns for that mat-ter), has been celebrated and pressed into the service of the intellectual, cultural, and religious life of all people. Human beings have always had the desire and the ability to bring the past into the present by way of memory and in so doing to perpetuate tradition by repristination and reenactment. 2 This was true, of course, of OT Israel as well, as her sacred texts, canonical and otherwise, abundantly attest. But to the natural proclivity to remember as a cultural necessity is added, in Israel's case, the remarkable assertion that Yahweh, her God, also remembers and demands of his people that they too remember. And the thing that Israel is most of all mandated to remember is God himself, namely, his person and his acts in history and experience. To remember presupposes something memorable, a word or event that has taken place and become part of the perception. For Israel to remember God, then, is to suggest that the ultimately unknowable has become at least partially knowable through revelation, that is, through Scripture and other means, and to remember his redemptive acts is to become aware of those events of history that truly are the substance of Heilsgeschichte. 3 The meaning of these events was not left to the random guesswork of historical observers to decipher but was identi˜ed as meaningful theological events 1Ù Irwin Goldstein, "Information Processing," International Encyclopedia of Psychiatry, Psychol-ogy, Psychoanalysis, and Neurology (ed. Benjamin B. Wolman; New York: Aesculapius, 1977) 6:50. 2Ù Reenactment, in fact, is seen by the famous philosopher of history, R. G. Collingwood, to be the very basis for historical knowledge. But reenactment, he also argues, is based on memory, both that of the historian and that of others whom or about whom he knows. See his The Idea of History (Oxford: Clarendon, 1946) esp. pp. 282, 296. 3Ù Many scholars see these creedalized in such passages as Deut 26:5b–9 and Josh 24:2–13 which, in eˆect, are brief recitals of the historical turning points of Yahweh's election and guid-ance of his people. See e.g. Gerhard von Rad, "The Form-Critical Problem of the Hexateuch," in The Problem of the Hexateuch and Other Essays (London: SCM, 1966) 3–8.