Sydney Carter’s insightful words reveal the inspiration and depth behind the beloved hymn, “Lord of the Dance”. She envisioned Christ not just as a religious figure, but as the embodiment of a cosmic dancer, “the piper who is calling us.” This “Lord of the Dance,” as Carter explains, isn’t limited to Jesus alone; it’s a universal concept, suggesting that across different times, places, and even “other planets,” there might be other such figures. However, for Carter, Jesus remained the primary and most profound example of this dancing archetype. Her hymn, therefore, becomes a song “of the dancing pattern in the life and words of Jesus.”
Carter openly acknowledges the speculative nature of whether Jesus himself physically danced. Referencing the biblical figure of David, who danced as “an act of worship,” she suggests it’s not improbable. She gently critiques the historical Christian reservations about dance within religious contexts, implying that such views might not align with Jesus’s own perspective, had he expressed one.
To further illustrate the spiritual significance of dance, Carter brings in the example of the Shakers. This unique religious sect, originating from Manchester, England, and later flourishing in 19th century America, embraced dance as a core spiritual practice. Known for their communal living and the stark yet elegant simplicity of their furniture and attire, the Shakers, or “Shaking Quakers,” saw dancing as a form of worship and spiritual expression.
The hymn’s melody itself is a tribute to the Shakers. Carter reveals that the tune of “Lord of the Dance” is adapted from a Shaker hymn, “Simple Gifts.” While acknowledging she could have composed an original melody, Carter felt the existing Shaker tune was exceptionally fitting, making a new composition seem unnecessary. This melodic borrowing was also a conscious homage to the Shakers and their spiritual traditions.
In a final personal note, Carter shares a variation in her performance: sometimes singing the entire song in the present tense, starting with “I dance in the morning when the world is begun…”. This simple shift in tense, she suggests, is “worth a try,” offering a slightly different perspective and perhaps a more immediate connection to the hymn’s message of universal dance and spiritual awakening.
This exploration into Sydney Carter’s reflections provides a rich understanding of “Lord Of The Dance Song Hymn,” revealing its theological depth, historical context, and the joyful spirit of movement at its heart.
