There is something uncanny about the subgenre of electronica broadly called “dance music”. In sample after sample, whether it is Ellie Goulding’s “Burn“, Juventa’s “Move Into Light“, Armin van Buuren’s “Waiting for the Night“, Koven’s “Eternal and You” or Seven Lions’ “World’s Apart“, the listener will notice that this musical genre better epitomises the postsecular than any other, for it is the most upfront in bringing in the vocabulary of soul, redemption, transcendence, eternity, light and darkness familiar to many believers, including many Christians.
Indeed, many Christians number amongst the devotees of the dance music scene, and possibly because of the overlap between the vocabulary of their faith and the lyrics blasted from the speakers, backed up by the aesthetic statements built into the music videos and live concerts, be they the enhanced strings in the harmonics, flashes of light breaking the monotony of the dark, the streaks of cloud drawing our gaze into the heavens, or the technologically enhanced superimpositions on temporality, modulating voices into multiple inflections, expanding bodies beyond natural capacities or making nature itself portray realities beyond what is physically possible.
Is the allure of the dance subgenre to a critical mass of young adults and the supposed ties to transcendence speaking to something built into our makeup as persons?
Scripture offers an obscure clue in 2 Samuel 6, when the Ark of the Covenant is brought into the holy city of Jerusalem after the defeat of the Philistines and David, the man after the heart of God, dances half naked in front of the crowd, but more importantly in the intimate closeness to the God who dwelt in the Ark.
The ancient Church would seem to build on this and offer a more heavenly parallel via the Cappadocian Fathers, in particular St. Gregory Nazianzen. In the course of talking about how the three persons in the transcendent Godhead related to one another, Gregory used the term perichoresis. While nowadays used to denote the very technical process of “circumincession” or the “creation of space for another”, it is interesting that the original usage of the term related to a form of dancing. The persons of the Trinity, in whose image we are made, to which all were drawn and in whom all find their eternal home, were thus depicted as engaged in a transcendent and eternal dance. The natural act of dancing, therefore, was used as to echo the transformed state of creation – indeed creation in its redeemed form – in their participation in the Godhead.
There is plenty that would set apart the reciprocal self-giving of the Trinity’s perichoresis from the isolating gyrations and simulated liturgies of the dance floor. Nevertheless, one cannot in the name of rejecting the blasphemous within dance music, dismiss also the important overlaps between the two sets of practices and logics, and in so doing understand the allure – dare one say salvific appeal? – and organisational power of music in postmodern culture, in its interface with the spiritual dimension in the human person.
The Divine Wedgie 