W. O. E. Oesterley

Summary

W. O. E. Oesterley The sacred dance (1923)

The close, one may almost say the inseparable, connexion between the dance and music is as marked in its sacred as in its secular character. In the first instance it is the rhythmic instinct which demands this, so that among many savages the “music” which accompanies the dance is the mere clapping of hands, or the striking together of pieces of wood, or the beating of the tom-tom, all in rhythmical time.
Source: Gutenberg

W. O. E. Oesterley The sacred dance (1923)

True, it was among some of these very prophets that the most interesting kind of sacred dance—the ecstatic dance—was in vogue, with its wildness and extravagances; in this they, or at least the earliest of them, did not differ from certain classes of “holy men” all the world over; where they did differ was in their development of the conception which underlay the purpose of the ecstatic dance, i.e. union with the deity; and it is just here that they stand out in such bold relief from all others.
Source: Gutenberg

W. O. E. Oesterley The sacred dance (1923)

In Tinnevelly evil spirits have no regular priests; but when it becomes necessary, in consequence of some pressing need, to resort to the aid of these spirits, some one is chosen, or offers himself, to be the priest for the occasion, and is dressed up in the insignia of the spirit. As blood is the sacrifice to a god, so in the dance with which the evil spirits, like the tribal god, are worshipped, the dancer in an ecstasy draws his own blood and drinks that of the victim, a goat, say, and thus the spirit passes into him, and he has the power of prophecy.
Source: Gutenberg

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