middle voice from (a row or ring); to dance (from the ranklike or regular motion):--dance.
Transliteration:orchéomai
Pronunciation:or-kheh'-om-ahee
Detailed Word Study
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### Core Meaning & Semantic Range
The Greek lemma ὀρχέομαι (transliterated as *orchéomai*, Strong's number `{{G3738}}`) carries the primary meaning "to dance." The base definition provided indicates its origin from a word signifying "a row or ring," suggesting an ordered, rhythmic movement, perhaps in a circular or linear formation. This implies a structured and deliberate form of physical expression, rather than chaotic or spontaneous motion. The use of the middle voice further emphasizes that the action of dancing is performed by the subject for its own benefit or with a particular interest in the outcome for itself, indicating a self-initiated and often expressive act. Its semantic range is thus confined to the physical act of dancing, with nuances of performance and rhythm.
### Biblical Occurrences & Contextual Analysis
The word ὀρχέομαι (`{{G3738}}`) appears in the New Testament exclusively in two parallel passages, both describing the same event:
* **[[Matthew 14:6]]**: "But when Herod’s birthday came, the daughter of Herodias **danced** before them and pleased Herod."
* **[[Mark 6:22]]**: "when the daughter of Herodias herself came in and **danced**, she pleased Herod and his dinner guests."
In both instances, the context is Herod Antipas's birthday feast. The dance is performed by the unnamed daughter of Herodias (traditionally known as Salome) as a public spectacle for Herod and his guests. The text explicitly states that her performance "pleased Herod" and his dinner guests, underscoring its role as entertainment. This act directly precipitates Herod's rash oath to grant her any request, which, at her mother's instigation, leads to the demand for John the Baptist's head.
The specific nature of the dance is not detailed, but its profound effect on Herod, leading him to make an extravagant and ultimately tragic promise, suggests it was highly captivating, perhaps sensual or alluring, and certainly performative. It is distinct from any form of sacred or communal dance of worship; rather, it is situated within a context of worldly revelry, political intrigue, and personal gratification. The dance serves as a pivotal, albeit morally problematic, moment in the narrative, directly leading to the martyrdom of a prophet.
### Related Words & Concepts
While ὀρχέομαι (`{{G3738}}`) is the specific Greek term for "to dance" in these New Testament passages, the broader concept of dancing appears in various forms and contexts throughout Scripture, particularly in the Old Testament.
In the Hebrew Bible, dancing is often associated with:
* **Celebration and Joy:** Miriam leading the women in dance after the crossing of the Red Sea ([[Exodus 15:20]]) using `{{H4234}}` (*mâchôl*).
* **Worship and Praise:** David dancing with all his might before the Lord as the Ark of the Covenant was brought into Jerusalem ([[2 Samuel 6:14]]) using `{{H3769}}` (*kârar*). The Psalms also mention dancing as an act of praise ([[Psalm 149:3]], [[Psalm 150:4]]).
* **Victory:** Women coming out to meet Saul and David with timbrels and dances ([[1 Samuel 18:6]]).
* **Lament or Mourning:** Though less frequent, some contexts imply dancing as part of a ritual of mourning or a turning from it ([[Jeremiah 31:4]], [[Lamentations 5:15]]).
Other Hebrew terms for dancing include `{{H7540}}` (*râqad*), meaning "to stamp, leap, dance" (e.g., [[1 Chronicles 15:29]]), and `{{H2342}}` (*chûl*), meaning "to whirl, dance" (e.g., [[Judges 21:21]]).
In the New Testament, while ὀρχέομαι (`{{G3738}}`) is confined to a negative context, the concept of joyous celebration is present through other means, such as singing, feasting, and general rejoicing. The dance of Salome stands in stark contrast to the Spirit-led expressions of joy or worship found elsewhere in the biblical narrative, serving as a cautionary example of worldly entertainment devoid of spiritual purpose.
### Theological Significance
The theological significance of ὀρχέομαι (`{{G3738}}`) in the New Testament is profoundly shaped by its singular, tragic context. It is not presented as an inherently evil act, but rather as an act within a morally compromised setting that leads to catastrophic consequences.
1. **A Cautionary Tale of Decadence and Rashness:** The dance performed by Herodias's daughter serves as a vivid illustration of the dangers inherent in worldly entertainment, sensuality, and the perilous combination of unbridled power with impulsive oaths. It underscores how seemingly innocuous or pleasing acts, when detached from moral discernment and spiritual grounding, can precipitate grave sins and profound injustice. The scene highlights the corrupting influence of a court steeped in self-indulgence and disregard for divine law.
2. **Contrast with God-Honoring Expression:** Unlike the numerous Old Testament instances where dancing is depicted as a legitimate and often joyous expression of worship, praise, or national celebration before God, the New Testament portrayal of ὀρχέομαι (`{{G3738}}`) is entirely secular and ethically problematic. It stands as a stark contrast to any form of movement or expression that is spiritually motivated or directed towards God's glory. This specific usage does not condemn all forms of dance, but rather the spirit, context, and outcome of this particular act.
3. **The Sovereignty of God Amidst Human Sin:** Even within this dark narrative of human depravity and injustice, the broader theological framework reminds us that God's overarching purposes are ultimately fulfilled. The martyrdom of John the Baptist, though resulting from a sinful human act initiated by this dance, was part of the divine plan, paving the way for the ministry of Jesus Christ. The event, while a testament to human sinfulness, does not negate God's ultimate control and redemptive purposes.
### Summary
The Greek word ὀρχέομαι (`{{G3738}}`), meaning "to dance," appears exclusively in the New Testament in the accounts of Herod's birthday feast ([[Matthew 14:6]]; [[Mark 6:22]]). It describes the dance performed by the daughter of Herodias, which pleased Herod and led to his rash oath, ultimately resulting in the beheading of John the Baptist. While the word's etymology suggests ordered, rhythmic movement, its New Testament context is one of public performance for entertainment and personal gratification within a decadent royal court. Unlike many Old Testament instances where dancing signified worship or celebration (e.g., `{{H4234}}`, `{{H3769}}`), ὀρχέομαι (`{{G3738}}`) in the New Testament is depicted in a morally compromised setting. Theologically, this specific use serves as a potent cautionary tale against worldly sensuality, the dangers of rash oaths, and the tragic consequences that can arise from acts disconnected from spiritual and moral grounding. It stands in stark contrast to God-honoring expressions of joy and points to the grave implications of human sin, even as God's sovereign plan unfolds.
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