A few weeks ago, I explored the roots of “Praise Dancing” and found myself wondering about its place in contemporary worship. Growing up, this practice was not something I encountered. It seemed to emerge more prominently when performance elements began to feature in events like beauty pageants, where interpretive dance filled the talent portion for some contestants. This style of interpretive movement has now permeated many churches, often under the banner of “Praise Dancing.”
I must confess, I have mixed feelings about praise dancing. It sometimes reminds me of the distinction between cheerleading and pom-pom squads. Both are present at the game, offering spirited movement. However, while one commands attention with athletic prowess, the other can feel somewhat ancillary, its absence barely noticed.
My previous column sparked a conversation, and one email in particular resonated deeply. The sender questioned church presentations where women, in body-hugging leotards beneath flowing, sometimes sheer, dresses, executed kicks, turns, and hip thrusts to music. Conversely, I also heard from proponents of praise dancing. One individual shared that it “adds beauty and deep emotionalism to the service.” Scriptural references to dance in worship, involving both men and women, were also brought to my attention.
This led to a moment of personal reflection during a service at Divine Tree of Light Church for Garfield Major. As Pastor T.C. Raven sang “Just Put it in Jesus’ Hands,” a favorite hymn of mine, I found myself standing, clapping, and moving rhythmically. Could this be considered “dancing”? Did this make my critique of praise dancing hypocritical? I had to consider my own actions.
Upon further contemplation, my reservations about praise dancing persist. My core concern lies in the element of spontaneity in true spiritual expression. When moved by the Holy Spirit, the response is often unplanned and unrehearsed. It simply happens. This is akin to the spontaneous phenomenon of “speaking in tongues.” It’s not a scheduled performance; it’s an unbidden outpouring.
The biblical instances of dancing often cited seem to echo this spontaneity. Those who danced in scripture didn’t schedule rehearsals or choreograph steps for a bulletin announcement. Their dance was an impromptu outpouring of praise to God, unique and unrepeatable, even if similar expressions occurred repeatedly. It might arise at the service’s beginning, end, or any point in between, lasting moments or extending longer. The key is its unplanned nature, which, for me, is the defining characteristic of genuine dance in worship. When dance requires rehearsals to learn steps and sequences, is it truly praise to God, or has it become a performance for the congregation’s enjoyment?
Singing in church is an offering of a God-given talent, often refined and practiced. But where does “talent” fit into praise dancing as it’s often presented? Choirs hold auditions to ensure a level of skill. Are there auditions for praise dance teams? Furthermore, the interpretation of “dance” in biblical times might have been simpler – perhaps a hop or skip – quite different from the elaborate leg thrusts and arm waves seen in contemporary praise dance videos online. Is the repetition of hand movements in many praise dances truly choreography, or simply a set of repeated gestures? I also wonder how many of the young women, who are predominantly involved in praise dancing, would commit to rigorous formal ballet training, with its demanding physicality, demanding precision, and pursuit of perfection?
Finally, another form of performance emerging in some churches raises further questions: the practice of black individuals performing as “mimes” in whiteface. Is it only me who sees a jarring contradiction in our community’s outrage over white performers in blackface, yet seemingly accepting the reverse in our own churches as a form of ministry or entertainment?
