The Mystic Dance of Jesus - Zoe

The literature surrounding Sophia (Wisdom) and Zoe (Life) has ever been a pagan attempt to triumph over Christ and His Word through theatrical performance. The Mystic Dance of Jesus is False: Scripture denies that Jesus Danced to the Pipes. Neo-Gnosticism teaches people dance and drama.

Max Lucado the Holy Spirit is the Song and Dance Master?

ZOE in Phoenix: The Gold is not in the superstition hills but He is the God Who made the Hills. Zoe takes a question and turns it into a direct command: "Shall I look to the hills? No. I will look to the God who made the hills." Restoration of the most ancient pagan belief about God.

We have looked at some of the writers supporting literal or spiritual dancing with God HERE.

Sophia-Zoe or Eve-Zoe was the Gnostic feminist view that the true agents of God were women. Men kept in step by becoming the musical worship teams. Zoe is related to Lucifer, the light giver, and was called "the beast."

And we have looked at the Sophia - Zoe connection HERE and the quite similar commecial Zoe group HERE.

A fuller ancient resource is the Hypostasis of the Archons

The Mystic Dance of Jesus reveals he source to be Gnosticism not unlike Dionysus religion:

Jesus Sang:

Glory to Thee, Father!

(and they moving around in a circle anwered him) Amen!

 

Glory to Thee, Charis!

Glory to Thee, Spirit!

Glory to Thee, Holy One!

Glory to Thy Glory! Amen!

 

We praise Thee, O Father;

We give thanks to Thee, O Light;

In Whom Darkness dwells not! Amen!

For what we would give thanks,

 

I say: I would be saved;

and I would save. Amen!

I would be loosed;

and I would loose. Amen!

I would be broken;

and I would break. Amen!

I would be born;

and I wish to give birth. Amen!

 

I would eat;

and I would be eaten. Amen!

I would hear;

and I would be heard. Amen!

I would understand;

and I would be understood. Amen!

I would be washed;

and I would wash. Amen!

 

Now Charis is dancing.

 

I would play on the pipes;

dance all of you, Amen!

I would play a song of mourning

lament all of you, Amen!

I would flee;

and I would stay. Amen!

 

I would be adorned;

and I would adorn. Amen!

I would be at-oned;

and I would at-one. Amen!

I have no house;

and I would have houses. Amen!

 

I have no temple;

and I have temples. Amen!

I am a lamp

to thee who seest me. Amen!

I am a mirror

to thee who understandest me. Amen!

I am a door

to thee who knockest at me. Amen!

I am a way

for thee a wayfarer. Amen!

Now answer to my dancing!

See thyself in me who speak;

And seeing what I do,

keep silence on my mysteries.

 

Understand by dancing,

What I do;

For thine is the passion of man

That I am to suffer.

Thou couldst not all be aware

of that thou does suffer.

If I were not sent

as the Logos by the Father.

 

Seeing what I suffer;

thou sawest me suffering;

And seeing,

thou didst not stand still,

But wast moved greatly,

thou wast moved to be wise.

Thou hast me for a couch;

rest thou upon me.

What I am thou shalt know

when I depart.

What now I am seen to be,

I am not.

 

But what I am

thou shalt see whan thou comest

If thou hadst known how to suffer,

Thou wouldst have power not to suffer.

Know then how to suffer,

then thou wilt have power not to suffer.

That which thou knowest not,

I myself will instruct thee.

 

I am thy God,

not the betrayers´.

I would be kept in time

with holy souls.

In me know thou

the Logos of Sophia.

Say thou to me again:

Glory to Thee, Father!

Glory to Thee, Logos!

Glory to Thee, Holy Spirit!

 

But as for me,

if thou wouldst know who I was:

In a word I am the Logos

who did dance all things,

and who was not ashamed at all.

It was I who danced.

But do thou understand all,

and understanding, say:

Glory to Thee, Father!

Amen! Amen! Amen!

 

The modern musicians and dancers truly believe that they are THE mediators between man and God. This is the ZOE concept where ZOE is the feminine instructing principle known as Lucifer (he/she) and she was called THE BEAST.

The Testimony of the Dead Sea Scrolls

 

The Thanksgiving Hymns (1QH), Hymn 1 reads in part:

It is Thou who hast created breath (spirit) for the tongue

and Thou knowest its words;

Thou didst establish the fruit of the lips

before ever they were.

Thou dost set words to measure

and the flow of breath from the lips to metre.

Thou bringest forth sounds

according to their mysteries,

and the flow of breath from the lips

according to its reckoning,

that they may tell of Thy glory

and recount Thy wonders

in all Thy works of truth.

 

Hymn 9, interprets Psalm 41 which was the prophecy that Judas would not triumph
over Jesus where triumph meant "musical rejoicing" (Numbers 10:7):

 

All who have eaten by bread

have lifted their heel against me,

and all those joined to my Council

have mocked me with wicked lips...

They have overtaken me in a narrow pass without escape

And there is no rest for me in my trial.

They sound my censure upon a harp

and their murmuring and storming upon a zither." Ps.41:11

 

However, in hymn 11, Jesus triumphs in the Spirit

 

They enter my heart and reach into my bones to...

and to meditate in sorrowful meditation.

I will groan with the zither of lamentation

in all grief-stricken mourning and bitter complaint

until iniquity and wickedness are consumed

and the disease-bringing scourge is no more.

Then will I play on the zither of deliverance

and the harp of joy,

on the tabors of prayer and the pipe of praise

without end

 

The Community Rule (1QS) reads in part:

 

And at the beginning of their weeks

for the season of Jubilee.

All my life the engraved Precept shall be on my tongue

as the fruit of praise

and the portion of my lips.

I will sing with knowledge and all my music

shall be for the glory of God.

(My) lyre (and) my harp shall sound

for His holy order

and I will tune the pipe of my lips

to His right measure.

Such allegorizing passages contain the nucleuses of the later substance, and perhaps the presage of the future trends of Christian music. The first three centuries of the church witnessed many controversies; some of them concerned themselves directly with music. The most important of these issues were: (a) organized versus spontaneous praying and singing; (b) scriptural versus extrascriptural poems; (c) fusion with Hellenistic music; (d) vocal versus instrumental music; (e) the rise of monasticism and its influence upon ecclesiastical chant." (Interpreter's Dict of the Bible, Music, p. 467)

Jeff Walling: Daring to Dance with God:

Part One --- Part Two --- Part Three

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