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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.”

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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

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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).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “14 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —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. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —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

Random Quote

The Princess of the Palatinate once described German Protestantism to Louis XIV with this formula: “In our country, everyone makes up his own little religion.” Every priest, or almost every priest, is at this point today. All the faithful have to say is “Amen.” They are still blessed when the pastor’s religion does not change every Sunday, at the whim of his reading, the foolery he has seen others at, or at his own pure fancy.

— Professor Louis Bouyer (1968)

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  • “Music List” • 23rd in Ordinary Time (Year C)

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