I.

Statement of the Purpose: This Paper will try to prove that Liturgical Dance is beneficial not onl y to the dancer, but also to the liturgy, and to the whole Catholic Church. II. Statement of the Scope: This research will cover Liturgical Dance and its benefits on the dancer, on the liturgy, and on the Catholic Church. III. Introduction: Dancing in whatever formjazz, ballet, pop, or folk, is natural to man for expressing his feelings and emotions. It is used to communicate with others by a series of steps accompanied by music. Dance communication and interaction is n ever ignored by the dancer and the audience. Dance is also used to interpret mus ic to deliver a message to an audience. Liturgy is common in all Churches. It is a series of formulae for public worship. Liturgy, such as the Holy Mass, is used as a form of communication to the Holy One. Liturgy and dancing, when combined, forms a great instrument for communi cation with man and with God. It uses Liturgical Music and songs, especially lyr ical music, to help interpret and deliver a message from the Bible to the people . This research will be focusing on Liturgical Dance and its Benefits on the da ncer, on the liturgy, and on the Catholic Church. IV. Discussion and Analysis: A. Liturgical Dance Liturgical dance is dance that is incorporated into liturgies or worship service s. Liturgical dance is a physical expression of our desire to worship God. It is an effort to engage others to express themselves to God through praising and mo vement. Furthermore, to quote from The Encyclopedia of Religion, Liturgical dance is part of religious worship, often taking place in the Church or in the Sanctuary. It is believed to be devotion incarnate, more than just a s ymbol or gesture of piety. In performance, the dancer seeks reverence and to int eract directly with the Divine. 1. Liturgical Dance movements Liturgical dance movements rely more on hand movements rather than on footwork, sa ys a co-seminarian, Paulo Sambile. Some dance styles, such as ballet or jazz, a re defined by a particular set of movements that focuses on hand movements, used as the basic unit for Liturgical dance. In these dance styles, the dancer can use his or her own interpretative movement s to tell a story. It is danced to express celebration, good news, praise, and e ven sorrow or mourning, but always as an offering of praise to God, and not as a n entertainment production. Many dances use props to exaggerate dance movements. Liturgical dance also uses this method to elaborate dance interpretations. According to an article of Geigl , Props may be added like flags (which represents the glory of God and the movemen t of the Holy Spirit throughout the world), and scarves (which represents the to il of a hard life and the promise of freedom). Waving of these props extend the dancers own interpretative movements. Another recent but effective prop is dowel rods or Gods rods. These are dowel sticks, used in pairs to create picture ideas. 2. Liturgical Music and Songs Liturgical music and songs, especially lyrical music, are important to h elp interpret Gods word to an audience. Geigl states: Words add meaning to a liturgical dance. Songs with words are far more meaningfu l than instrumental music. A song with words brings a Bible study element to eac h dance. In an interview of Fr. Ariel Tecson, RCJ, he stated that the message of the song is usually supported by the Sacred Scriptures. He added, If an instrumental musi c is to be used, it may need to be preceded by an explanation of what is about t o happen.

3. The Dancers Costumes and Make-up Liturgical dancers highlight their participation by exaggerating the prayer pres ented through dance. Therefore, Costumes of a dancer are considered. Simple outfits work best; that is, one fitt ed inner coat, either black or white, and not too colourful and an outer layer o f flowing fabric. These help in the emphasis of the dancers movements. Make-up is light. A dancer is beautiful with her movements and facial expression. Liturgical dancers are not entertainment performers. They are prayer lea ders who get the attention, and enhance the participation of an audience. Theref ore, a Liturgical dance is best when a liturgical dancer expressed these purpose s. He is knowledgeable not only in dancing, but also in the liturgy and its litu rgical insights. To quote Fr. Ariel Tecson, RCJ, A liturgical dancer does not exp ect a round of applause after executing a dance, for the dance truly is a prayer . B. The Benefits of Liturgical dance The researcher believes that God gave each of us a gift, some many. It is our pr ivilege and His plan for us to give back those gifts to Him in the form of worsh ip. Liturgical dance, helps us to worship God with our complete being, and is a great proclamation of praise to God. An internet blog stated: It raises everyones heart to see God in this manner, passionately expressing their hearts to their D eliverer. Liturgical dance is an expression of our charism, thoughts, words, and emotions. Dance is so powerful that it speaks even without words, says Fr. Ariel Tecson, RC J. Through dancing we can freely express our emotions. It also helps us to enha nce our internalization of things for the better expression of a dance. 1. On the Dancer Liturgical dance has three (3) major benefits that a dancer could getphysical, em otional, and spiritual. Dance is not only fun, but it also keeps the dancer in sh ape. This has also been proven through the researchers personal experience of bei ng a dancer. Liturgical dance helps us in self-improvement; that is, self-esteem, self-discip line, and self-appreciation. It also helps us in our spiritual-upliftment. By i ts theatrical manner, which means performance in public, our self-esteem is rais ed. This is preceded by self-esteem needed for a public performance, that is, th e art of dancing together with the discipline in the liturgy. Self-appreciation is realized in that the performer has danced artistically and in a form of praye r. 2. On the Liturgy Dancing is fun; and when applied in the liturgy, together with the discipline, i t has the capability of getting the attention of the audience. Liturgy becomes mo re alive, says Fr. Ariel Tecson, RCJ. The participation and devotion is enhanced . Though Catholics are not shakers, says a Jesuit dancer-teacher , Filipinos appre ciate more the essentials of the dance than the dance itself. Dancing in the Lit urgy makes the audience, especially the youth, to have a positive connection bet ween the body, movement and spirit rather than just going in a disco. Many Promot ers of Liturgical dance have more good intentions than discretions, prudence or training, added Fr. VeEeke. Moreover, Liturgical dance helps us feel the presenc e of the Lord. 3. On the Church Most People have bowed their heads or knelt in prayer. When the Bible taught us to love God with our complete being, it also permitted us to worship God in a ne w way. God created us as moving beings. He created our bodies to benefit from mo vements and has called us to worship Him with our bodies, in movement. Liturgical dance helps us to worship God with all ourselvesbody, mind, an d spirit. Many feel a close connection to God when using all of these to worship . When individuals are spiritually healthy, it benefits and strengthens the enti

re Church community.

V. Conclusion Dance itself is already beneficial to the dancer, but liturgically, it b enefits the Liturgy and the whole Catholic Church. It does not exercise only our bodies, but also our spirits. When our spirits are healthy, we are more likely t o take care of our bodies. When our bodies are healthy, our spirits are lifted, s ays Geigl. Dancing lets God deliver His grace to you, and ministers His grace t hrough you to others. Dance before God and before you know it, He will start to u se you to set others free in public, says Ezine Articles. Liturgical dance sends Gods message of love through the language of dance. It is a physical manifestatio n of Gods message, seeing it as an emotionally powerful way to inspire church goe rs, which strengthens the whole congregation.

VI Bibliography 1. Jess Stein, ed., The Random House Dictionary, Random House ed.,(N.Y.: Random House Inc., c1971). 2. Sharon Geigl, Liturgical Dance in Public Worship, (http://www.presbyterian.ca/r esources/online/5065, March 2, 2010) 3. Mircea Eliade, ed., Popular and Folk dance, The Encyclopedia of Religion, Vol.4 , (N.Y.: Macmillan Publishing Company, c1987). 4. Interview of Sem. Paulo Sambile, January 11, 2012 5. Interview of Fr. Ariel Tecson, RCJ, January 11, 2012. 6. http://EzineArticles.com/4286973, May 13, 2010 7. http://chreader.org/contentpage.aspx?resource_id=699, c2010. 8. Interview of Fr. VerEeke, SJ by David Murray, Adoremus Bulletin, Vol. VI, No. 1 : March 2, 2010