At Dan Jeroboam set up one of the calves of gold (1 K 12*'). Dan di-sajipears from Scripture after the invasion of Benliadad (I K \S^, 2 Ch 16*). It is referred to by Josephus, Eusebius, and .ferome in terms that identify it with the present Tell el-^^adi (although G. A. Smith prefers to locate Dan at Banias). The mound rises out of a close jungle of tall bushes and rank reeds, with larger trees on the higher slopes, until an irregular oblong plateau is reached, about 40 ft. high on the N. side and 80 ft. on the S., and resting upon one of the broad fringe- like terraces with wliicli the skirts of Herinon sweep down towards the i>lain of Huleh (L. Merora). On the W. side, amid the rough boulders and blocks of ancient masonry that cover the ground, there gushes out the immense fountain (Leddan) that forms by far the largest source of the Jordan current, where 6 miles down it meets the waters from the upper springs of Hiusteya and Banias.
I^iTKitATv'RR.— Uobinson, BfiP; Thomson, Latid a}ut Book; Smith, IKlllL 473, 48Uf.; Moore, Jvulijft, .filil; see also art.
Cau7 (001-UB.N). G. M. Mack IB.
DANCING is, in its origin, an expression of the feelings by movements of the botfy more or less controlled by a sense of rhythm. It was practised, therefore, long before it was raised to the dignity of an art, being aimplv a natural development of the tendency to employ gesture, either as an accompaniment to, or a substitute for, speech. We may dislinguisli three stages in the early his- tory of dancing, as exemplified in the practice of ancient nations: (1) Us rudest ami most unstudied form, the outward e.yprcssion of exuberant feel- ing; (2) the pantoiiiimic dance, in which, e.g., the movements of hostile armies were represented ; (3) the dance pure and simple, the exhibition of
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the poetry of motion, of all the grace of attitude and all the flexibility of which the body is capable. Social dancing, as we now understand it, was almost, if not altogether, unknown in ancient times.
Whatever view we may hold of the presence or position of Israel in Egypt, we have no evidence to show that the Hebrews borrowed thence their love or their methods of dancing. They never seem, in ancient times, to have reached the third of the stages which we have enumerated. We hear nothing of performances by professional artists, similar to those representea on the Egyp. monu- ments, and supposed by Lane to have been the direct ancestors of the modem Ghawazee. There is no mention of solo or figure dancing, of contra- dances (unless we attach this meaning to the n'jino c"j"~n, Ca 6"), or of anything approaching in elaboration the performances associated with the Feast of Eternity. Still less can we expect a reasoned appreciation of the exercise as a means of developing the mind and body, such as we have in Plato's Laws. All the allusions point to spon- taneous movements ; in processions these would be impromptu on the part of the leaders, and more or less closely imitated by the others. Three ideas are represented in the vocabulary : leaping, circ- ling, and making merry. Thus i:r>, ^Pl (Ec 3*, 1 Ch 15^), to leap ; iriD, to circle (2 S 6"- '") ; SVin (Jg 21^, Ps 87'), to twist oneself ; pnif, p-v (Jg 16^, 1 S 18', 1 Ch 152»), lit. to laugh. It is self-evident that these words might be used in a looser and in a more technical sense. They were applied to the artless play of the children (Job 21'"), as well as to the dancing of the adults.
Few as are the references in the Bible, they show that almost any occurrence might be associated with dancing : the return of the prodigal, the commemoration of an hist, event, the welcoming of a hero on his return from battle, the ingather- ing of the vintage, — whatever called for an expres- sion of joy or excited the heart to gladness. Of dancing for its own sake, of its practice as an art, there is no trace. Leyrer sees a possible exception to this in Ca 6", but the passage is too obscure to admit positively of such an explanation. Whether we should look on Mahanaim as the name of a place, or as descriptive of a dancing in which two rows of performers took part, or whether, with Delitzsch, we should understand an allusion to the angels, must remain a matter of doubt. The only unmistakable instance of artistic dancing is that mentioned in Mt 14", the performance of Herodias' daughter 'in the midst' of the guests assembled on Herod's birthday. This was due, however, to the introduction of Greek fashions, through contact with the Romans, who had adopted them, and hardly belongs to our subject.
It is with dancing in connexion with the religions rites and ceremonies of the Hebrews tliat we are mainly concerned in this article. Their religion was, esp. in preexilic times, predominantly social and joyful. It found its proper ^.sthetic expres- sion in a merry sacrificial feast, which was the public ceremony of a township or clan. Then the crowds streamed into the sanctuary from all sides, dressed in their gayest attire, marching joyfully to the sound of music. Universal hilarity pre- vailed ; men ate and drank and made merry to- gether, rejoicing before their god (W. R. Smith, lis 2.36 fT. ). To such a religion dancing would be a natural adjunct. The cultus was not a system of rites, artificially contrived to express and maintain theological doctrines, but the free outcome of the religious feelings, which found vent in the way suggested by, and in harmony with, the disposi- tion and genius of the people. It is not surprising.