Abstract
Abstract This article critically explores the question of how the image and metaphor of the Trinitarian divine dance could enhance the dialogue between theology and dance. Could this metaphor actually be a source of said dialogue? Does this idea of the Trinitarian dance really do justice either to the divine mystery of the Trinity or to dance itself? If we would like to go beyond metaphor, what further approach would be necessary? This article examines how different authors (e.g., C. S. Lewis, Paul S. Fiddes, and Catherine M. LaCugna) have used the image or metaphor of dance to describe the perichōrēsis within the Trinity as well as the creation’s perichoretic participation. This article concludes the survey by pointing out that contemporary usages of the Trinitarian dance metaphor are participating in European Christianity’s longstanding bias against dance, no matter how much they appear to appreciate it on the surface. The bias is related to Christianity’s ambivalent attitude toward the human body, despite its foundational belief that the Word became flesh. Therefore, a call to bring the lens of dance into Christian theology should be taken as nothing less than a call to eliminate this bias against the human body itself.
Highlights
LaCugna) have used the image or metaphor of dance to describe the perichōrēsis within the Trinity as well as the creation’s perichoretic participation
One bizarre trend in contemporary Christian theology and spirituality over the past few decades has been to use a metaphor of dance to refer to the inner life of the Trinity, especially what is expressed by the concept of perichōrēsis
We have critically examined how different authors have used the image or metaphor of dance to describe the perichōrēsis within the Trinity as well as creation’s perichoretic participation
Summary
One bizarre trend in contemporary Christian theology and spirituality over the past few decades has been to use a metaphor of dance to refer to the inner life of the Trinity, especially what is expressed by the concept of perichōrēsis It is bizarre because there is no etymological ground for it (as some are quick to point out) and because dance is the most explicitly physical and corporeal form of art (as well as spiritual), whereas the inner life of the Trinity is the least physical and least corporeal thing possible. A few attempts have been made to invigorate a dialogue between dance and Christianity (or Christian theology), partially motivated by an increasing emphasis on the body/bodies as well as by feminist and postcolonial critiques.7 Against such a background, this article will critically explore the question of how the image and metaphor of the Trinitarian dance could enhance the dialogue between theology and dance. Could this metaphor be a source of said dialogue? Does this idea of the Trinitarian dance really do justice either to the divine mystery of the Trinity or to dance itself? If we would like to go beyond metaphor, what further approach would be necessary? In order to explore these questions critically, we will start with a brief overview of the word and concept of perichōrēsis and examine how some authors have contributed to circulating the image and metaphor of the Trinity as dance
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