CHURCH DANCING.

Auckland Star, Volume LV, Issue 116, 17 May 1924, Page 11

CHURCH DANCING.

AN AMERICAN SENSATION. DIGNITARIES DEFIED. (Prom Cur 0-.vn Correspondent.) RAN FRANCISCO, April 7. The recrudescence of dancing in some of the New York churches has again forced a heated controversy on the subject, and the storm centre again pivots around the doors of old St. Mark'B-in-the-Bouwcrie, in New York, doors which had been closed by firemen and guarded by police reserves, but which have again creaked on their hinges under pressure of disappointed throngs eager to witness "the ritual dance of the Delia Kobbit Annunciation," given for the llrst time since Bishop Manning peremptorily ordered its discontinuance as a violation of Protestant Episcopal Church rules. Among those who crowded the interior of America's most historic church to the limit o. the lire laws were at least seventy-live members of the clergy, present by invitation of the Rev. Dr. William Norman Outline, rector of St. Mark's, autnor of the libretto of the ritualistic dance, whose action in having it performed twice on this Sunday was generally accepted as an open defiance to Bishop "-Manning. "But not so," said Dr. Guthrie. "I offered to let the bishop appoint twentyfive of a jury of fifty to judge the dance and he ignored the offer. What then ? I invited the clergy and the public to witness it and judge for themselves. The bishop's stand is autocratic. I take the democratic view, and on this dance I will stand or fall." Whatever favour or disfavour the dance may have found in the minds of those who saw it, clergy and laity paid it the tribute of that rare, pin-fall silence always indicative of an almost breathless attention. And after the performance groups ol clergymen and laymen gathered about Dr. Guthrie and told him they enjoyed md approved it all, while others remarked that, after witnessing the ritual they could not see "What all the row is about." Atmosphere Aided Dance. Tiie dance did not burst upon th. Rpectator in a blaze of glory. The lights, the music, the service that preceded it, all led up to it, and aided ir the creation of an atmosphere that put the mind of the spectator in a condition of utmost receptivity. The persor, pazing upon the spectacle was splendidly prepared by all that went before to credit the dance with all the gocx] motives claimed for it. One witness of the dance afterwards said: "Picture an ancient church where lights burn dim, with stained glass win lows that make a golden afternoon with out seem like the twilight hour, sur pliced figures in pulpit, and in choii loft, minor strains of a great orgar and the odour of incense all about Then a voice, which seems to awe bul does not quite subdue the organ whicl plays a soft accompaniment, readinj in impressive style Dante Gabriel Ros setti's 'Aye.' Even then the audience seemed prepared, almost eager for the one thing it came for—the dance. But there followed a short address by Dr. Guthrie, in which he declared dances of to-day arc so 'hopelessly degraded that one seldom sees anything worthy of the name.' " "Dancing," the rector said, "is using the body to speak. But what we ordinarily see is mere offensive display. Today the religious dance is an innovation, and a difficult one. In this dance one le mistake—rose light instead of blue, instance—would destroy everything. ' must be absolutely impersonal. You should not be able to recognise the features of your own daughter were Bhe one of the dancers. Mother Of Arts. "I have been asked: 'But why have i< at all ? Why claim the dance is included in religion?' I answer: Deny the normal forces of life, and they will break loose in abnormal expression. Disbelieve in the body, and the body becomes the devil's property. What we crave is an ideal body, an adequate instrument oi an ideal spirit. Why try to pretend we have no bodies? I think we should have passed beyond the idea that the health and beauty of the body are nc concern of the spirit. The arts, when they use the body, use the finest instrument there is, one that can do more than violin or organ. The dance is the verj mother of all the arts. "If you are merely 'civilised' people then you are just spooks. Real people carry the dinosaur in them, and manage him. . My dream is of the whole mar consecrate. Our religious life should nol be a mere upper story affair." Apd then the lights grew dim, and thi "Hymn to the Madonna" sounded like i farewell to day. With almost funerea strides two black-gowned men drey great curtains that shut off the churcl sanctuary back of the pulpit, and witl reverent hands carried to the front _ great "Banner of the Annunciation." 1 harp had joined its softness to thi organ's flutelike noteß. Even the twi light had faded now, and a pale mooi seemed to have drifted slowly from be hind a cloud. Slowly four white-robet female figures appeared. They were bare foot, and their flowing robes were o: white silk, devoid of rustle. They re presented Birth, Death, Pain, am Pleasure. They crossed and recrossee slowly to soft music. A fifth figure appeared—an angel representing the awakening of self-con-sciousness. Then the four who entered first became more alive. A sixth figure—the Virgin Spirit of Earth — entered and won, symbolically, them all. Birth, Death, Pain, and Pleasure, even the Angel of Consciousness paid her homage, and presented her with gifts. The Virgin Spirit, however, turning to the Banner of the Annunciation, cast off her gift mantle, and offered her other gifts to the Virgin Mother of Christ. The dance was ended, and the figures slowly walked away. The audience seemed to take its first deep breath since the dance started. Many left the old church before the closing hymn and prayer.