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Dancing in silence in premodern Europe

postmedieval volume 14, pages 371–391 (2023)Cite this article

Abstract

In contemporary scholarship, emphasis on music and dance as intertwined art forms drives the popularity of terms such as choreomusicology. Premodern dance and music practices, however, are difficult to link together in the absence of evidence aligning music and choreography, calling into question the very categories of ‘music’ and ‘dance.’ This essay interrogates the relationship between dance and music in premodern Europe by focusing on moments when bodies move seemingly unaccompanied or unmotivated by audible music. Through case studies on choreomania and mystical dance I ask what is heard versus what is unheard, and who hears what when dance happens. I explore the interplay between embodied, corporeal, ‘real’ dance practices and inaudible, incorporeal, ‘virtual’ music. What happens to dance when music is inaudible to listeners or participants? What does imagined versus sounded music do to the perception of the cultural and theological meanings of movement practices in premodern Europe?

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Notes

  1. https://www.nolightsnolycra.com/blog/choreomania–a–performance–by–no–lights–no–lycra/. Accessed March 28, 2023. For two additional re-creations see Strasbourg 1518 directed/choreographed by Lucy Marinkovich, scripted/composed by Lucien Johnson (premiered 12 March 2020) and the short film Strasbourg 1518 by Jonathan Glazer.

  2. Music credited to Nick Browning: https://www.nolightsnolycra.com/blog/choreomania–a–performance–by–no–lights–no–lycra/. Accessed March 28, 2023.

  3. Although Kélina Gotman notes the emergence of ‘choreomania’ in nineteenth-century medical texts, I retain its use here in keeping with a historiographical tradition in dance studies employing the term for a range of involuntary dance practices.

  4. See, for instance, the examples described in Backman (1977).

  5. For many dance studies scholars, music is not a definitional part of dance; see the classic definition in Hanna (1979, 19).

  6. In focusing on living bodies, I am excluding the danse macabre phenomenon, which further complicates definitions of dance and music.

  7. On virtual dance, by contrast, see Chaganti (2012).

  8. See, for example, the emphasis on the symbolic meanings of dance explored in McGrath (1977); Alexander (1996).

  9. Mullally (2011) cites many textual sources generically linking song and dance. Manuscript paratexts also link song and dance, as in the fourteenth-century Llibre vermell: ‘sometimes pilgrims want to sing and dance [cantare et trepudiare] while they keep vigil in the church’ (MS 1, Monasterio de Santa Maria, Montserrat, fol. 22r).

  10. See, for instance, Cruse, Parussa, and Ragnard (2004); Beck (2011).

  11. See, for instance, Godwin (1987, 46–78).

  12. Human-made music as opposed to music made by other animals or things is explored in relation to birds in Leach (2007). On the harmony of the spheres and celestial music, see Hicks (2017); Bude (2022).

  13. As Gotman notes, the question of whether choreomania was dance ‘may also dissolve…in favour of a more open-ended approach to kinetic activity, hovering on a spectrum between voluntary and involuntary motion, pleasure and pain, recreation and types of unrest’ (2011, 96).

  14. See, for instance, the descriptions throughout Backman (1977).

  15. To my knowledge, no account includes choreomaniacs playing instruments.

  16. The role of music as a curative is the chief feature of tarantism; see Bartholomew (1994); De Martino (2005); Gotman (2018).

  17. Although rare, music produced by the devil could cause possession (Arcangeli 1992, 38).

  18. On theological discomfort with song and dance, see Arcangeli (2008).

  19. For example, the year-long dancing of carolers in Kölbigk is (depending on the version) due to a curse; see Miller Renberg and Phillis (2021).

  20. See Gotman (2018, 75). Paracelsus’s treatise on ‘The Diseases that Deprive Man of his Reason…and their Correct Treatment’ is edited and translated in Paracelsus (1996, 135–212), with the section on St. Vitus’s dance at 157–161. See also Midelfort (1999, 32–49); Miller [Renberg] (2017).

  21. As Gotman writes, Paracelsus shifted ‘the discourse on the dancing disease: no longer primarily demonic, foreign, or strange, it had natural and human causes’ (2018, 77).

  22. See also Bodin (1593, 529), cited in Midelfort (1999, 41).

  23. See also Paré (1840–1841, 1: 52).

  24. On the 1518 epidemic, see Hecker (1885, 60–62); Martin (1914); Backman (1977); Russell (1978, 170–172); Midelfort (1999, 32–49); Waller (2009); Miller [Renberg] (2017).

  25. For the only discussion of the Strasbourg epidemic that deals with music in a sustained way, see Midelfort (1999, 32–49).

  26. As John Waller begins his history of the epidemic, ‘so far as we can tell no music was playing and she showed no signs of joy as her skirts flew up around her rapidly moving legs’ (2009, 1).

  27. German and English translation cited in Hecker (1885, 60); see also Backman (1977, 237).

  28. Cited in Midelfort (1999, 35). Citizens also played for choreomaniacs in their homes; see Backman (1977, 236–237).

  29. See also Hecker (1885, 69); Waller (2009, 119–120, 141).

  30. Hecker observes in the nineteenth century ‘that patients should be violently affected by music, and their paroxysms brought on and increased by it, is natural with such nervous disorders’ (1885, 68).

  31. Dickason observes that ‘[m]ystical choreography challenges modern assumptions about what constitutes dance. For medieval practitioners, mystical dance was both imagined and physical, private and performed, ineffable and transferable’ (2021, 142).

  32. See, for instance, on the theological differentiation between earthly and angelic dances, Knäble (2014).

  33. The music of the spheres, or musica mundana, is also associated with movement and dance; see Knäble (2014).

  34. In Jacobus of Liege’s Speculum musicae, one species of musica caelestis is the ‘harmony between the heavenly spheres and the angels that move them,’ cited in Desmond (2009, 279).

  35. Beyond the scope of this article, gender is a factor in all accounts of mystical dance, Passenier (2001, 172).

  36. Her life is edited in Cantimpré (1868, 637–660). Translations from Margot H. King and Barbara Newman in Cantimpré (2008, 127–157). Edited from Middle English in Brown (2008, 51–84).

  37. Latin in Cantimpré (1868, 657).

  38. Latin in Cantimpré (1868, 657).

  39. On the jubilus in conjunction with mystical visions and dance in the fourteenth-century German Sister-books, see Lewis (1996); Dickason (2021, 158–160).

  40. Latin in Cantimpré (1868, 656).

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Acknowledgments

I am grateful to Kathryn Dickason for thoughtfully organizing and editing this issue. Many thanks to Karen Silen, Luo Wang, and Mariusz Kozak for sharing insights on various matters. The anonymous readers for the journal provided generous critical feedback, for which I am exceedingly grateful. All errors remain my own.

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    Mary Channen Caldwell

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Caldwell, M.C. Dancing in silence in premodern Europe. Postmedieval 14, 371–391 (2023). https://doi.org/10.1057/s41280-023-00268-0

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