Abstract

This article sets the dancing of religious and saints and their role models in the perspective of imitation in terms of an essential cultural technique of the Middle Ages. Since the religious were compelled in their search for God by the imitation of Christ and the saints, their dancing was also to be integrated into the symbolic order of the monastery. Given that dance and religious practice are both governed equally by two fundamental categories – regularity and ritualization on the one hand, and ecstasy, unboundedness from all being and in result ascension to God on the other – this heterogeneous phenomenon could not be seamlessly integrated into another phenomenon. Here, it clashed with the symbolic ordering of the monastery; the ambiguities contained in this dualism could be reinforced or cancelled out. With the individual and his or her conscience becoming more appreciated, and the ushering-in of a more plural society, as well as the rearrangement of old role models which had been typical of mysticism towards Christ, had clear consequences for the image of God, which in the Late Middle Ages received a new more human face with the ‘playing’ God. As a result, believers re-anchored dance and all its facets in the order-oriented thinking of the European-Christian Middle Ages. Christ had become the best of all dancers, someone every believer had to imitate, at least in his or her soul.