• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

“Young girls with quite non-liturgical notions”

Jeff Ostrowski · September 2, 2013

“In North America and Europe, dance should not enter the liturgy at all. And the people discussing liturgical dance should spend that time praying the rosary. We already have enough problems. Why banalize more?” — Francis Cardinal Arinze [source]


HAVE OFTEN REMARKED: “A major problem with the Novus Ordo is that they abandoned liturgical dance.” Saying this gets people’s attention, because they think I’m referring to the “goofy type” of liturgical dance mentioned by Fr. Shereghy below. If you click on the video, you’ll see a dance performed at the Benedictine Abbey of St. John’s in Collegeville, MN. That’s what most people think of when they hear “liturgical dance.” Collegeville was one of the chief centers promoting harmful liturgical abuses after the Second Vatican Council.

However, I’m not talking about the “goofy” type of liturgical dance. I’m talking about the true, authentic liturgical dance that exists in the Extraordinary Form, but was largely eliminated in the Ordinary Form.

The movements and ceremonies of the Traditional Mass are highly choreographed, ancient, and extremely beautiful (yet subtle). I’m not sure we can appreciate such things in this day and age, when so many of us grew up playing video games and watching television. After hours and hours of those activities, one starts to becomes less “human” and it becomes difficult to appreciate notions like “ordered movement.” (When I was little, we learned that some football players took ballet lessons. We thought that was hilarious.)

FOR A LONG TIME, I BELIEVED myself to be the only person who noticed this “authentic liturgical dance.” However, as usual, it turns out clever people were ahead of me. For instance, Fr. Deryck Hanshell wrote in 1992:

To express in human cultic terms the Eucharistic mystery—this is the glory of the historic Mass. Maritain once described the Mass as a “slow dance.” Such a “dance,” having form and meaning, is not to be had without the equivalent of choreography and those trained in its movements.

Dr. William Mahrt wrote in 1976:

The relationships among the ministers at a solemn Mass is one which is projected and clarified by movement. It has been fashionable recently to claim a role for dance as a liturgical art, on the scanty precedent of David’s dance before the Ark or certain extinct customs of the Mozarabic rite, and then to experiment with expressionistic para-liturgical dancing, either at the gradual or the offertory. Now dance is an art which orders bodily movement to a purpose; but the liturgy already has its arts of movement. These are the orderly movements of the ministers and the acolytes; they involve certain fixed formations, configurations which differ for each part and differentiate it from the others. The motions are largely those of moving from position to position, though some are purposeful motions in themselves.

IT IS IMPORTANT FOR US to realize the scandalous effect which comes from the implementation of the “goofy type” of liturgical dance. Just think about the reaction from Eastern Catholics! For instance, a Byzantine Rite Catholic named Fr. Basil Shereghy wrote in 1975:

I attended a Roman rite Mass recently which begain with a dance. Young girls, with quite non-liturgical notions, performed more or less acrobatic dances in front of the altar. I was stunned to disbelief. What does dancing of this kind add to the mystery of the divine liturgy? What is the purpose of this cheap exhibitionism?

Msgr. Richard J. Schuler always used to talk about the piccoluomini. These were the unqualified, arrogant liturgisti who thought they knew more than everybody else, but in reality knew very little. My mother’s generation would have called them “philistines.” They don’t appreciate the subtlety or beauty of anything, yet never doubt their own superiority.

It was the piccoluomini who invented the “goofy type” of liturgical dance, based on their misunderstanding of 2nd Samuel 6:14. I need to stop now, because my blog is already too long, but we’ll return to this subject at a later date. It’s crucial, because many of the piccoluomini ideas are still with us. For instance, the idea that the ancient Mass Propers should be replaced if they don’t correspond to what each man, woman, or child decides is the “theme” of the Mass.


UPDATE:

It is worth noting that Msgr. Ronald Knox also referred to the Mass as “dance.”

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    “Music List” • 23rd in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 7 September 2025, which is the 23rd Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin. My singers really enjoy singing the resplendent COMMUNION ANTIPHON with its Fauxbourdon verses.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Saint John Vianney, several centuries ago, taught clearly that canonizations are not infallible.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed
    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed

Random Quote

“All those who take part in sacred music, as composers, organists, choir directors, singers, or musicians should above all give good example of Christian life to the rest of the faithful because they directly or indirectly participate in the sacred liturgy.”

— Directive issued under Pope Pius XII on 3 Sept. 1958

Recent Posts

  • PDF Download • Croft’s “Canonic Kyrie” (SATB)
  • Karl Keating • “Canonization Questions”
  • “Music List” • 23rd in Ordinary Time (Year C)
  • PDF Download • Draft Copy (Pamphlet)
  • “Entrance Chant” • 23rd (Ordinary Time)

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.