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Drums and dance in worship

The use of drums and dance in human (child) sacrifice and sun-worship

"So new to the world, so unaware of the danger, the tiny newborn is secure, nestled in the warm cradle of his mother's arms. Yet now he senses a strange tenseness in her body. Tightly, ever so tightly she clasps him to her breast as they approach the sacred grounds. He has never heard the rumble of so many voices or the mystical sounds of the chants. His mother's arms have begun trembling and drops of tears mixed with sweat are dampening the swaddling cloth that covers him. Wild sounds of flutes and timbrels begin to echo down the mountain into the valley below. His mother's grasp weakens and suddenly the large, strong hands of a man garbed in white lift him into the night air and lay him high upon a hard, metallic surface. Insecure, the baby whimpers, seeking the comfort of his mother's arms. His eyes are not yet strong enough to focus upon the large, bronze calf's head above him. His whimpers turn into cries as smoke stings his eyes and the sculpted bronze hands supporting him become unbearably hot. His mother's cries join his but are soon muffled by thundering of drums and the rhythmic shuffling of ten thousand feet. Suddenly he is pushed, and slides down the sloping arms into the fire below. He gives a painful shriek. His mother's hysterical cries only add to the discordant shrillness of the flute and timbrels as the dance becomes more frenzied. When only the crackling of the fire and the mournful, lonely cries of the mother can be heard, the priest announces that the sun-god is pleased.

"Throughout history the practice and horrors of sun worship have reached every region of the world. The Babylonians called the sun-god Shamash; the Egyptians, Ra; the Assyrians, Baal; the Canaanites, Moloch; the Persians, Mithras; the Greeks, Helios; the Druids, Hu; and the Romans, Sol Invictus-the Unconquerable Sun. The list continues down through history and encompasses cultures as diverse as the Hindus, the Japanese, and the Aztecs and comes as close to home as virtually every Indian tribe in North America. Most scholars trace the beginnings of sun worship to Babylon." --"Baptized Paganism", by Dennis Crews, Amazing Facts

Biblical references regarding child sacrifice and the use of drums

“And they built the high places of Baal, which are in the valley of the son of Hinnom, to cause their sons and their daughters to pass through the fire unto Molech; which I commanded them not, neither came it into my mind, that they should do this abomination…” (Jeremiah 32:35).

Notice that God Himself says that such horrible abominations never even entered his mind: “They have built also the high places of Baal, to burn their sons with fire for burnt offerings unto Baal, which I commanded not, nor spoke it, neither came it into my mind: Therefore, behold, the days come, says the Lord, that this place shall no more be called Tophet, nor The valley of the son of Hinnom, but the valley of slaughter” (Jeremiah 19:5). Verse 6 ties the valley of Tophet or Hinnom to this practice. Jeremiah 7:31 connects Tophet and Hinnom to child sacrifice. Tophet means “the drum.” Drums were played to drown the screams of victims in the flames.

Notice this quote from Paradise Lost, by John Milton, about the terrible god Molech: “First Moloch, horrid king besmear’d with blood Of human sacrifice, and parents tears, Though, for the noyse of Drums and Timbrels loud Their children’s cries unheard, that passed through fire To his grim Idol.” --"The True Origin of Christmas", by David C. Pack

Victory celebrations

Common to all victory celebrations in the Bible are women, percussion instruments and dancing.

  • Exodus crossing and victory over Egyptian army (Exodus 15:20-21). Miriam, timbrel and dancing.
  • David victory over Philistines (1 Samuel 18:6-7). Women, tambourines and dancing.
  • Jephthah victory over Ammon (Judges 11:34). Jephthah's daughter, timbrel and dancing.
  • Jeremiah's prediction of resettlement (Jeremiah 31:4). Virgin of Israel, tambourines and dancing.

The arguments against their use in worship are:

  • These were outdoor celebrations that were never used in the tabernacle, temple, or synagogue.
  • There is no Biblical authorization to have women dance and play instruments in the tabernacle.
  • These celebrations were led by women, yet the tabernacle music was led by men.
  • Useless pattern to follow, since only women are mentioned singing, playing and dancing.

If percussion instruments were allowed in the worship service on the basis of the above Biblical references, then it follows that women dancing and leaping in the aisles should too. Such a practice may be acceptable in a charismatic rock concert, but not in a conservative Christian church.