DANCE IN ANCIENT ROME
Dances in the Roman era described in texts and pictured in art appear to have been performed primarily for entertainment. They often emphasized burlesque, overtly erotic, comic and frightening elements. In Roman times dancers became professionals of low status, rather than respected artist and participants in religious events as was the case in Greece and dance lost is sacred public function and degenerated into more of spectacle and low-brow entertainment. In the colonies country people danced for their own amusement.
Wealthy Romans generally did not dance themselves. They hired dancers to perform for them. Many of the dance performers were slaves from Greece or Spain. Under Nero, dancing became erotic and suggestive and even explicit, Theatrical dancing was banned when the Christian church gained control.
Roman dance was influenced by Etruscan and Greek dance. Pyrrhic dances, for example, were invented by Greeks but popularized by Romans (See Ancient Greece). Dancing priests that were members of the noble class did war dances in full armor with a sacred shield in their left hand and a staff in the right hand. They also did a fertility dance to honor Pan.
On the entertainment and the behavior of Emperor Nero at a show in A.D. 58, Suetonius wrote: “The pyrrhic dances represented various scenes. In one, a bull mounted Pasiphae, who was concealed in a wooden image of a heifer; at least many of the spectators thought so. Icarus at his very first attempt fell close by the imperial couch and bespattered the emperor with his blood.”
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Websites on Ancient Rome: Internet Ancient History Sourcebook: Rome sourcebooks.fordham.edu ; Internet Ancient History Sourcebook: Late Antiquity sourcebooks.fordham.edu ; Forum Romanum forumromanum.org ;
“Outlines of Roman History” forumromanum.org; “The Private Life of the Romans” forumromanum.org|; BBC Ancient Rome bbc.co.uk/history; Perseus Project - Tufts University; perseus.tufts.edu ; Lacus Curtius penelope.uchicago.edu;
The Roman Empire in the 1st Century pbs.org/empires/romans;
The Internet Classics Archive classics.mit.edu ;
Bryn Mawr Classical Review bmcr.brynmawr.edu;
De Imperatoribus Romanis: An Online Encyclopedia of Roman Emperors roman-emperors.org;
British Museum ancientgreece.co.uk; Oxford Classical Art Research Center: The Beazley Archive beazley.ox.ac.uk ;
Metropolitan Museum of Art metmuseum.org/about-the-met/curatorial-departments/greek-and-roman-art;
The Internet Classics Archive kchanson.com ;
Cambridge Classics External Gateway to Humanities Resources web.archive.org/web; Internet Encyclopedia of Philosophy iep.utm.edu;
Stanford Encyclopedia of Philosophy plato.stanford.edu; Ancient Rome resources for students from the Courtenay Middle School Library web.archive.org ; History of ancient Rome OpenCourseWare from the University of Notre Dame /web.archive.org ; United Nations of Roma Victrix (UNRV) History unrv.com
Roman-Era Dionysus Festivals
Lucian De Salt wrote (c. A.D. 160): “The Bacchic dance is taken especially seriously in Ionia and Pontus, although it belongs to Satyric drama, and has so taken hold of people there that, in the festival time, they put aside everything else and sit the day through, watching corybants, satyrs, and shepherds; and people of the best lineage and foremost in every city dance, not in the least embarrassed but proud of it
Each town or region celebrates the festivals of the gods with its own rites; thus, to Egyptian deities generally by lament, to the Hellenic for the most part by choruses, but to the non-Hellenic by the clangor of cymbalists, drummers, and flutists....At Delos not even the sacrifices are offered without dancing. Boy choruses assembled and, to the pipe and kithara, some moved about, singing, while the best performed a dance in accompaniment; and hymns written for such choirs are called dances-for-accompaniment."
In a letter to Aureleus Theon, expressing the business side of the festival, Aurelius Asclepiades wrote (c. A.D. 295): “I desire to hire from you Tisaïs, the dancing girl, and another, to dance for us at our festival of Bacchias, for fifteen days from the 13th Phaophi by the old calendar. You shall receive as pay 36 drachmai a day, and for the whole period 3 artabai of wheat, and 15 loaves; also, three donkeys to fetch them and take them back.”
Livy on Etruscan Dancing and Entertainment
The Roman historian Livy wrote in “History of Rome” (A.D. 10): “Book 5.1: “The Veientines, on the other hand, tired of the annual canvassing for office, elected a king. This gave great offence to the Etruscan cantons, owing to their hatred of monarchy and their personal aversion to the one who was elected. He was already obnoxious to the nation through his pride of wealth and overbearing temper, for he had put a violent stop to the festival of the Games, the interruption of which is an act of impiety. The Etruscans as a nation were distinguished above all others by their devotion to religious observances, because they excelled in the knowledge and conduct of them.... [Source: Livy, “The History of Rome, by Titus Livius,” 4 vols., translated by D. Spillan and Cyrus Edmonds (New York: G. Bell & Sons, 1892).
“Book 7.2. But the violence of the epidemic was not alleviated by any aid from either men or gods, and it is asserted that as men's minds were completely overcome by superstitious terrors they introduced, amongst other attempts to placate the wrath of heaven, scenic representations, a novelty to a nation of warriors who had hitherto only had the games of the Circus. They began, however, in a small way, as nearly everything does, and small as they were, they were borrowed from abroad. The players were sent for from Etruria; there were no words, no mimetic action; they danced to the measures of the flute and practiced graceful movements in Etruscan fashion. Afterwards the young men began to imitate them, exercising their wit on each other in burlesque verses, and suiting their action to their words. This became an established diversion, and was kept up by frequent practice. The Etruscan word for an actor is istrio, and so the native performers were called histriones. These did not, as in former times, throw out rough extempore effusions like the Fescennine verse, but they chanted satyrical verses quite metrically arranged and adapted to the notes of the flute, and these they accompanied with appropriate movements.
“Several years later Livius for the first time abandoned the loose satyrical verses and ventured to compose a play with a coherent plot. Like all his contemporaries, he acted in his own plays, and it is said that when he had worn out his voice by repeated recalls he begged leave to place a second player in front of the flutist to sing the monologue while he did the acting, with all the more energy because his voice no longer embarrassed him. Then the practice commenced of the chanter following the movements of the actors, the dialogue alone being left to their voices. When, by adopting this method in the presentation of pieces, the old farce and loose jesting was given up and the play became a work of art, the young people left the regular acting to the professional players and began to improvise comic verses. These were subsequently known as exodia [after-pieces], and were mostly worked up into the Atellane Plays. These farces were of Oscan origin, and were kept by the young men in their own hands; they would not allow them to be polluted by the regular actors.”
Did Erotic, Roman-Era Spanish Dancing Girls Do the Fandango?
Juvenal wrote in in Satire 11: “You may look perhaps for a troop of Spanish maidens to win applause by immodest dance and song, sinking down with quivering thighs to the floor----such sights as brides behold seated beside their husbands, though it were a shame to speak of such things in their presence. . . . My humble home has no place for follies such as these. The clatter of castanets, words too foul for the strumpet that stands naked in a reeking archway, with all the arts and language of lust, may be left to him who spits wine upon floors of Lacedaemonian marble; such men we pardon because of their high station. In men of moderate position gaming and adultery are shameful; but when those others do these same things, they are called gay fellows and fine gentlemen. My feast to-day will provide other performances than these. The bard of the Iliad will be sung, and the lays of the lofty-toned Maro that contest the palm with his. What matters it with what voice strains like these are read?
“Leonard C. Smithers and Sir Richard Burton wrote in the notes of “Sportive Epigrams on Priapus”: “Gifford, commenting on the passage in Juvenal, remarks that the dance alluded to is neither more nor less than the Fandango, which still forms the delight of all ranks in Spain, and which, though somewhat chastised in the neighbourhood of the capital, exhibits at this day, in the remote provinces, a perfect counterpart (actors and spectators) of the too free but faithful representation before us. In a subsequent line, Juvenal mentions the testarum crepitus, the clicking of the castanets, which accompanies this dance. The testae were small oblong pieces of polished wood or bone which the dancers held between their fingers and clashed in measure, with inconceivable agility and address. The Spaniards of the present day are very curious in the choice of their castanets; some have been shown to me that cost five-and-twenty or thirty dollars a pair; these were made of the beautifully variegated woods of South America. [Source: “Sportive Epigrams on Priapus” translation by Leonard C. Smithers and Sir Richard Burton, 1890, sacred-texts.com]
“Pollux notes, 'The ekláktismata were dances for women: they had to throw their feet higher than their shoulders.' This kind of dance is not unknown in more modern times. J. C. Scaliger writes, 'Still, nowadays, the Spaniards touch the occiput and other parts of the body with their feet.' Bulenger mentions the Bactriasmus, a lascivious dance, with undulations of the loins.
“Julius Caesar Scaliger says, 'One of the infamous dances was the díknpma or díknoûothai, meaning wriggling the haunches and thighs, the crissare of the Romans. In Spain this abominable practice is still performed in public.' Martial also states that these dances were sometimes accompanied by the cymbal--'For my page wantons with Lampsacian [Priapeian] verse, and strikes the cymbal with the hand of a Spanish dancer.' Again he speaks of the wanton dancers from Cadiz who were skilled in the art of licentiously undulating their loins; and of Telethusa's lascivious gestures and agile posturing in the Gaditanian fashion to the sound of the castanets.1 Vergil also alludes to this kind of dancing with castanets. The Thesaurus Eroticus, under 'comessationes', describes them as naked dancing-girls who with tremulous loins and obscene movements provoked the lust of their spectators, whilst the tractatrices were softly kneading and pressing the limbs of their masters and soliciting an erection with their apt touches. Martial and Juvenal make copious reference to this subject. These tractatrices were female slaves whose business was to knead and make supple by manual pressure all the joints of their master's body after his bath. The effeminate refinement of the Roman voluptuaries is well shown by the fist of attendants given in the Erotika Biblion, which includes as 'toilet accessories' jatraliptae (youths who wiped the bather with swansdown); unctares (perfumers); fricatores (rubbers); fractatrices (massage-girls); dropacistae (corn extractors); alipilarii (those who plucked the hair from the armpits and other parts of the body); paratiltriae (children entrusted with the cleansing of all the orifices of the body, the ears, anus, vulva, &c.); :and picatrices (young girls who attended to the symmetrical arrangement of the pubic hair). [1. Joan Baptista Suarez de Salazar mentions the fashion amongst the Roman nobles of obtaining harlots from Cadiz for their guests' entertainment.]
Tamborine Dancing at Sacred Cybele Orgy
Catullus (c.84-c.54 B.C.) wrote in Carmina 63: “Over the vast main borne by swift-sailing ship, Attis, as with hasty hurried foot he reached the Phrygian wood and gained the tree-girt gloomy sanctuary of the Goddess, there roused by rabid rage and mind astray, with sharp-edged flint downwards dashed his burden of virility. Then as he felt his limbs were left without their manhood, and the fresh-spilt blood staining the soil, with bloodless hand she hastily took a tambour light to hold, your taborine, Cybele, your initiate rite, and with feeble fingers beating the hollowed bullock's back, she rose up quivering thus to chant to her companions. [Source: Catullus, “The Carmina of Gaius Valerius Catullus,” translated by. Leonard C. Smithers. London. Smithers. 1894]
““Haste you together, she-priests, to Cybele's dense woods, together haste, you vagrant herd of the dame Dindymene, you who inclining towards strange places as exiles, following in my footsteps, led by me, comrades, you who have faced the ravening sea and truculent main, and have castrated your bodies in your utmost hate of Venus, make glad our mistress speedily with your minds' mad wanderings. Let dull delay depart from your thoughts, together haste you, follow to the Phrygian home of Cybele, to the Phrygian woods of the Goddess, where sounds the cymbal's voice, where the tambour resounds, where the Phrygian flutist pipes deep notes on the curved reed, where the ivy-clad Maenades furiously toss their heads, where they enact their sacred orgies with shrill-sounding ululations, where that wandering band of the Goddess flits about: there it is meet to hasten with hurried mystic dance.”
“When Attis, spurious woman, had thus chanted to her comity, the chorus straightway shrills with trembling tongues, the light tambour booms, the concave cymbals clang, and the troop swiftly hastes with rapid feet to verdurous Ida. Then raging wildly, breathless, wandering, with brain distraught, hurries Attis with her tambour, their leader through dense woods, like an untamed heifer shunning the burden of the yoke: and the swift Gallae press behind their speedy-footed leader. So when the home of Cybele they reach, wearied out with excess of toil and lack of food they fall in slumber. Sluggish sleep shrouds their eyes drooping with faintness, and raging fury leaves their minds to quiet ease.
“But when the sun with radiant eyes from face of gold glanced over the white heavens, the firm soil, and the savage sea, and drove away the glooms of night with his brisk and clamorous team, then sleep fast-flying quickly sped away from wakening Attis, and goddess Pasithea received Somnus in her panting bosom. Then when from quiet rest torn, her delirium over, Attis at once recalled to mind her deed, and with lucid thought saw what she had lost, and where she stood, with heaving heart she backwards traced her steps to the landing-place. There, gazing over the vast main with tear-filled eyes, with saddened voice in tristful soliloquy thus did she lament her land:
““Mother-land, my creatress, mother-land, my begetter, which full sadly I'm forsaking, as runaway serfs do from their lords, to the woods of Ida I have hasted on foot, to stay amid snow and icy dens of beasts, and to wander through their hidden lurking-places full of fury. Where, or in what part, mother-land, may I imagine that you are? My very eyeball craves to fix its glance towards you, while for a brief space my mind is freed from wild ravings. And must I wander over these woods far from my home? From country, goods, friends, and parents, must I be parted? Leave the forum, the palaestra, the race-course, and gymnasium? Wretched, wretched soul, it is yours to grieve for ever and ever. For what shape is there, whose kind I have not worn? I (now a woman), I a man, a stripling, and a lad; I was the gymnasium's flower, I was the pride of the oiled wrestlers: my gates, my friendly threshold, were crowded, my home was decked with floral garlands, when I used to leave my couch at sunrise. Now will I live a ministrant of gods and slave to Cybele? I a Maenad, I a part of me, I a sterile trunk! Must I range over the snow-clad spots of verdurous Ida, and wear out my life beneath lofty Phrygian peaks, where stay the sylvan-seeking stag and woodland-wandering boar? Now, now, I grieve the deed I've done; now, now, do I repent!”
“As the swift sound left those rosy lips, borne by new messenger to gods' twinned ears, Cybele, unloosing her lions from their joined yoke, and goading, the left-hand foe of the herd, thus speaks: “Come,” she says, “to work, you fierce one, cause a madness urge him on, let a fury prick him onwards till he returns through our woods, he who over-rashly seeks to fly from my empire. On! thrash your flanks with your tail, endure your strokes; make the whole place re-echo with roar of your bellowings; wildly toss your tawny mane about your nervous neck.” Thus ireful Cybele spoke and loosed the yoke with her hand. The monster, self-exciting, to rapid wrath spurs his heart, he rushes, he roars, he bursts through the brake with heedless tread. But when he gained the humid verge of the foam-flecked shore, and spied the womanish Attis near the opal sea, he made a bound: the witless wretch fled into the wild wood: there throughout the space of her whole life a bondsmaid did she stay. Great Goddess, Goddess Cybele, Goddess Dame of Dindymus, far from my home may all your anger be, 0 mistress: urge others to such actions, to madness others hound.”
Blood-Thirsty Dancing Women at the Bacchae
Euripides wrote in “The Bacchae,” 677-775: The Messenger said: “The herds of grazing cattle were just climbing up the hill, at the time when the sun sends forth its rays, warming the earth. I saw three companies of dancing women, one of which Autonoe led, the second your mother Agave, and the third Ino. All were asleep, their bodies relaxed, some resting their backs against pine foliage, others laying their heads at random on the oak leaves, modestly, not as you say drunk with the goblet and the sound of the flute, hunting out Aphrodite through the woods in solitude. [Source: Euripides. “The Tragedies of Euripides,” translated by T. A. Buckley. Bacchae. London. Henry G. Bohn. 1850.
“Your mother raised a cry, standing up in the midst of the Bacchae, to wake their bodies from sleep, when she heard the lowing of the horned cattle. And they, casting off refreshing sleep from their eyes, sprang upright, a marvel of orderliness to behold, old, young, and still unmarried virgins. First they let their hair loose over their shoulders, and secured their fawn-skins, as many of them as had released the fastenings of their knots, girding the dappled hides with serpents licking their jaws. And some, holding in their arms a gazelle or wild wolf-pup, gave them white milk, as many as had abandoned their new-born infants and had their breasts still swollen. They put on garlands of ivy, and oak, and flowering yew. One took her thyrsos and struck it against a rock, from which a dewy stream of water sprang forth. Another let her thyrsos strike the ground, and there the god sent forth a fountain of wine. All who desired the white drink scratched the earth with the tips of their fingers and obtained streams of milk; and a sweet flow of honey dripped from their ivy thyrsoi; so that, had you been present and seen this, you would have approached with prayers the god whom you now blame.
“We herdsmen and shepherds gathered in order to debate with one another concerning what strange and amazing things they were doing. Some one, a wanderer about the city and practised in speaking, said to us all: “You who inhabit the holy plains of the mountains, do you wish to hunt Pentheus' mother Agave out from the Bacchic revelry and do the king a favor?” We thought he spoke well, and lay down in ambush, hiding ourselves in the foliage of bushes. They, at the appointed hour, began to wave the thyrsos in their revelries, calling on Iacchus, the son of Zeus, Bromius, with united voice. The whole mountain revelled along with them and the beasts, and nothing was unmoved by their running.
“Agave happened to be leaping near me, and I sprang forth, wanting to snatch her, abandoning the ambush where I had hidden myself. But she cried out: “O my fleet hounds, we are hunted by these men; but follow me! follow armed with your thyrsoi in your hands!” We fled and escaped from being torn apart by the Bacchae, but they, with unarmed hands, sprang on the heifers browsing the grass. and you might see one rending asunder a fatted lowing calf, while others tore apart cows. You might see ribs or cloven hooves tossed here and there; caught in the trees they dripped, dabbled in gore. Bulls who before were fierce, and showed their fury with their horns, stumbled to the ground, dragged down by countless young hands.
“The garment of flesh was torn apart faster then you could blink your royal eyes. And like birds raised in their course, they proceeded along the level plains, which by the streams of the Asopus produce the bountiful Theban crop. And falling like soldiers upon Hysiae and Erythrae, towns situated below the rock of Kithairon, they turned everything upside down. They were snatching children from their homes; and whatever they put on their shoulders, whether bronze or iron, was not held on by bonds, nor did it fall to the ground. They carried fire on their locks, but it did not burn them. Some people in rage took up arms, being plundered by the Bacchae, and the sight of this was terrible to behold, lord. For their pointed spears drew no blood, but the women, hurling the thyrsoi from their hands, kept wounding them and turned them to flight—women did this to men, not without the help of some god. And they returned where they had come from, to the very fountains which the god had sent forth for them, and washed off the blood, and snakes cleaned the drops from the women's cheeks with their tongues.
“Receive this god then, whoever he is, into this city, master. For he is great in other respects, and they say this too of him, as I hear, that he gives to mortals the vine that puts an end to grief. Without wine there is no longer Aphrodite or any other pleasant thing for men. I fear to speak freely to the king, but I will speak nevertheless: Dionysus is inferior to none of the gods.”
Pentheus said: “Already like fire does this insolence of the Bacchae blaze up, a great reproach for the Hellenes. But we must not hesitate. Go to the Electran gates, bid all the shield-bearers and riders of swift-footed horses to assemble, as well as all who brandish the light shield and pluck bowstrings with their hands, so that we can make an assault against the Bacchae. For it is indeed too much if we suffer what we are suffering at the hands of women.”
Dionysus said: “Pentheus, though you hear my words, you obey not at all. Though I suffer ill at your hands, still I say that it is not right for you to raise arms against a god, but to remain calm. Bromius will not allow you to remove the Bacchae from the joyful mountains.”
Crazed Nymphs Dance Around the Phallus at the Wild Dionysus Festival
The Dionysus (Bacchus) Cult was very much alive in the Roman Empire as it was in ancient Greece. To pay their respect to Dionysus, according to ancient sources, the citizens of Athens and other places, held a winter-time festival in which a large phallus was erected and displayed. After competitions were held to see who could empty their jug of wine the quickest, a procession from the sea to the city was held with flute players, garland bearers and honored citizens dressed as satyrs and maenads (nymphs), which were often paired together. At the end of the procession a bull was sacrificed symbolizing the fertility god's marriage to the queen of the city. [Source: "The Creators" by Daniel Boorstin,"]
The word “maenad” is derived from the same root that gave us the words “manic” and “madness”. Maenads were subjects of numerous vase paintings. Like Dionysus himself they often depicted with a crown of ivy and fawn skins draped over one shoulder. To express the speed and wildness of their movement the figures in the vase images had flying tresses and cocked back head. Their limbs were often in awkward positions, suggesting drunkenness.
The main purveyors of the Dionysus fertility cult "These drunken devotees of Dionysus," wrote Boorstin, "filled with their god, felt no pain or fatigue, for they possessed the powers of the god himself. And they enjoyed one another to the rhythm of drum and pipe. At the climax of their mad dances the maenads, with their bare hands would tear apart some little animal that they had nourished at their breast. Then, as Euripides observed, they would enjoy 'the banquet of raw flesh.' On some occasions, it was said, they tore apart a tender child as if it were a fawn'"μ
One time the maenads got so involved in what they were doing they had to be rescued from a snow storm in which they were found dancing in clothes frozen solid. On another occasion a government official that forbade the worship of Dionysus was bewitched into dressing up like a maenad and enticed into one of their orgies. When the maenads discovered him, he was torn to pieces until only a severed head remained."
It is not totally clear whether the maenad dances were based purely on mythology and were acted out by festival goers or whether there were really episodes of mass hysteria, triggered perhaps by disease and pent up frustration by women living in a male'dominate society. On at least one occasion these dances were banned and an effort was made to chancel the energy into something else such as poetry reading contests.
Image Sources: Wikimedia Commons
Text Sources: Internet Ancient History Sourcebook: Rome sourcebooks.fordham.edu ; Internet Ancient History Sourcebook: Late Antiquity sourcebooks.fordham.edu ; Forum Romanum forumromanum.org ; “Outlines of Roman History” by William C. Morey, Ph.D., D.C.L. New York, American Book Company (1901), forumromanum.org \~\; “The Private Life of the Romans” by Harold Whetstone Johnston, Revised by Mary Johnston, Scott, Foresman and Company (1903, 1932) forumromanum.org |+|; BBC Ancient Rome bbc.co.uk/history/ ; Perseus Project - Tufts University; perseus.tufts.edu ; MIT, Online Library of Liberty, oll.libertyfund.org ; Gutenberg.org gutenberg.org Metropolitan Museum of Art, National Geographic, Smithsonian magazine, New York Times, Washington Post, Los Angeles Times, Live Science, Discover magazine, Times of London, Natural History magazine, Archaeology magazine, The New Yorker, Encyclopædia Britannica, "The Discoverers" [∞] and "The Creators" [μ]" by Daniel Boorstin. "Greek and Roman Life" by Ian Jenkins from the British Museum.Time, Newsweek, Wikipedia, Reuters, Associated Press, The Guardian, AFP and various books and other publications.
Last updated October 2018