The Black Death and Dancing Mania. A large-scale possession phenomenon?

The Black Death and Dancing Mania. A large-scale possession phenomenon?
Dancing mania (or choreomania, from the Greek: χορεία (khoreia = 'dance') + μανία (mania = 'madness’)) was a social phenomenon that occurred primarily in mainland Europe between the 14th and 18th centuries; it involved groups of people, sometimes thousands at a time, who danced uncontrollably and bizarrely, seemingly possessed by the devil. Men, women, and children would dance through the streets of towns or cities, sometimes foaming at the mouth until they collapsed from fatigue.

One of the first major outbreaks was in Aachen, Germany, on June 24, 1374; the populace danced wildly through the streets, screaming of visions and hallucinations, and even continued to writhe and twist after they were too exhausted to stand. The dancing mania quickly spread throughout Europe, said to be "propagated in epidemic fashion by sight" by Dr. Justus Hecker.

St. John's Dance

St. John's Dance (known as Johannistanz or Johannestanz in Germany) was the medieval name for a phenomenon which emerged during the time of the Black Death. The medical term is chorea imagnativa aestimative. Basically, it is a form of apraxia expressing itself as "dancing rage," as uncontrolled ecstatic body movements. In the eyes of the church, those suffering from St. John's Dance were possessed by the devil.

Contemporary cures

During the initial outbreaks of the mania, religious ceremonies were held in an attempt to exorcise the demons thought to be causing the mania. People commonly prayed to St. Vitus for aid, and he soon became the patron saint of the dancers. The phrase "St. Vitus' Dance", however, is in fact a name given to a syndrome known as Sydenham's chorea, which is totally unrelated to manic dancing.

Dancers would often also be accompanied by musicians. It was believed at the time that the order of music could heal both body and soul. Scholars such as Adam Milligan touted music as a cure for the ailments of society as well, imbuing it with the power to restrain social vices. Dancing mania would often thus be "treated" by playing music in an attempt to control the erratic spasms and gyrations of the dancers. Epileptic seizures were treated in a similar way at the time.

Justus Hecker (1795-1850), whose work Epidemics of the Middle Ages compiled many accounts, describes:

A convulsion infuriated the human frame....Entire communities of people would join hands, dance, leap, scream, and shake for hours....Music appeared to be the only means of combating the strange epidemic...lively, shrill tunes, played on trumpets and fifes, excited the dancers; soft, calm harmonies, graduated from fast to slow, high to low, prove efficacious for the cure.

Scientific explanations


Although no real consensus exists as to what caused the mania, some cases, especially the one in Aachen (Aix-la-Chapelle), may have had an explainable physical cause. The symptoms of the sufferers can be attributed to ergot poisoning, or ergotism, known in the Middle Ages as "St. Anthony's Fire". It is caused by eating rye infected with Claviceps purpurea, a small fungus that contains toxic and psychoactive chemicals (alkaloids), including lysergic acid (used in modern times to synthesize the non-toxic chemical LSD). Symptoms of ergot poisoning include nervous spasms, psychotic delusions, spontaneous abortion, convulsions and gangrene; some dancers claimed to have experienced visions of a religious nature.

Ergotism can easily be fatal; indeed fatalities amongst dancers are described in the early 17th century Strasbourg Chronicle of Kleinkawel. Ironically, if this was the cause of the dancing mania, then the contemporary cure of playing music to the dancers would only have prolonged their mania by stimulating further convulsions and hallucinations.

However, ergotism causes its victims to have visions -- not to dance. The fact that large numbers of people were afflicted in mass outbursts that lasted for a few days or weeks at a time suggests that the cause of the dancing-mania phenomenon is more likely to be social than physical; that these events were episodes of mass psychogenic illness, more popularly known as mass hysteria. A similar incident in the 20th century was the Tanganyika Laughter Epidemic.


Cultural impact:

* The Tarantella, an Italian dance.

* The Pied Piper of Hamelin.


Having occurred to thousands of people across several centuries, dancing mania was not a local event, and was, therefore, well-documented in contemporary writings. More outbreaks were reported in the Netherlands, Cologne, Metz, and later Strasburg (Dancing Plague of 1518), apparently following pilgrimage routes.[3]


source: _http://en.wikipedia.org/wiki/Dancing_mania

Justus F.C. Hecker (1888): The Black Death and The Dancing Mania (translated by Benjamin Guy Babington), first published in German 1832:

The effects of the Black Death had not yet subsided, and the graves of
millions of its victims were scarcely closed, when a strange delusion
arose in Germany, which took possession of the minds of men, and, in
spite of the divinity of our nature, hurried away body and soul into the
magic circle of hellish superstition. It was a convulsion which in the most
extraordinary manner infuriated the human frame, and excited the
astonishment of contemporaries for more than two centuries, since which
time it has never reappeared. It was called the dance of St. John or of St.
Vitus, on account of the Bacchantic leaps by which it was characterised,
and which gave to those affected, whilst performing their wild dance, and
screaming and foaming with fury, all the appearance of persons
possessed. It did not remain confined to particular localities, but was
propagated by the sight of the sufferers, like a demoniacal epidemic, over
the whole of Germany and the neighbouring countries to the north-west,
which were already prepared for its reception by the prevailing opinions
of the time.

So early as the year 1374, assemblages of men and women were seen at
Aix-la-Chapelle, who had come out of Germany, and who, united by one
common delusion, exhibited to the public both in the streets and in the
churches the following strange spectacle. They formed circles hand in
hand, and appearing to have lost all control over their senses, continued
dancing, regardless of the bystanders, for hours together, in wild
delirium, until at length they fell to the ground in a state of exhaustion.
They then complained of extreme oppression, and groaned as if in the
agonies of death, until they were swathed in cloths bound tightly round
their waists, upon which they again recovered, and remained free from
complaint until the next attack. This practice of swathing was resorted to
on account of the tympany which followed these spasmodic ravings, but
the bystanders frequently relieved patients in a less artificial manner, by
thumping and trampling upon the parts affected. While dancing they
neither saw nor heard, being insensible to external impressions through
the senses, but were haunted by visions, their fancies conjuring up spirits
whose names they shrieked out; and some of them afterwards asserted
that they felt as if they had been immersed in a stream of blood, which
obliged them to leap so high. Others, during the paroxysm, saw the
heavens open and the Saviour enthroned with the Virgin Mary, according
as the religious notions of the age were strangely and variously reflected
in their imaginations.

Where the disease was completely developed, the attack commenced with
epileptic convulsions. Those affected fell to the ground senseless,
panting and labouring for breath. They foamed at the mouth, and
suddenly springing up began their dance amidst strange contortions. Yet
the malady doubtless made its appearance very variously, and was
modified by temporary or local circumstances, whereof non-medical
contemporaries but imperfectly noted the essential particulars,
accustomed as they were to confound their observation of natural events
with their notions of the world of spirits.

It was but a few months ere this demoniacal disease had spread from
Aix-la-Chapelle, where it appeared in July, over the neighbouring
Netherlands. In Liege, Utrecht, Tongres, and many other towns of
Belgium, the dancers appeared with garlands in their hair, and their
waists girt with cloths, that they might, as soon as the paroxysm was
over, receive immediate relief on the attack of the tympany. This
bandage was, by the insertion of a stick, easily twisted tight: many,
however, obtained more relief from kicks and blows, which they found
numbers of persons ready to administer: for, wherever the dancers
appeared, the people assembled in crowds to gratify their curiosity with
the frightful spectacle. At length the increasing number of the affected
excited no less anxiety than the attention that was paid to them. In
towns and villages they took possession of the religious houses,
processions were everywhere instituted on their account, and masses
were said and hymns were sung, while the disease itself, of the
demoniacal origin of which no one entertained the least doubt, excited
everywhere astonishment and horror. In Liege the priests had recourse
to exorcisms, and endeavoured by every means in their power to allay an
evil which threatened so much danger to themselves; for the possessed
assembling in multitudes, frequently poured forth imprecations against
them, and menaced their destruction. They intimidated the people also
to such a degree that there was an express ordinance issued that no one
should make any but square-toed shoes, because these fanatics had
manifested a morbid dislike to the pointed shoes which had come into
fashion immediately after the “Great Mortality” in 1350. They were still
more irritated at the sight of red colours, the influence of which on the
disordered nerves might lead us to imagine an extraordinary accordance
between this spasmodic malady and the condition of infuriated animals;
but in the St. John’s dancers this excitement was probably connected with
apparitions consequent upon their convulsions. There were likewise
some of them who were unable to endure the sight of persons weeping.

The clergy seemed to become daily more and more confirmed in their
belief that those who were affected were a kind of sectarians, and on this
account they hastened their exorcisms as much as possible, in order that
the evil might not spread amongst the higher classes, for hitherto
scarcely any but the poor had been attacked, and the few people of
respectability among the laity and clergy who were to be found among
them, were persons whose natural frivolity was unable to withstand the
excitement of novelty, even though it proceeded from a demoniacal
influence. Some of the affected had indeed themselves declared, when
under the influence of priestly forms of exorcism, that if the demons had
been allowed only a few weeks’ more time, they would have entered the
bodies of the nobility and princes, and through these have destroyed the
clergy. Assertions of this sort, which those possessed uttered whilst in a
state which may be compared with that of magnetic sleep, obtained
general belief, and passed from mouth to mouth with wonderful
additions. The priesthood were, on this account, so much the more
zealous in their endeavours to anticipate every dangerous excitement of
the people, as if the existing order of things could have been seriously
threatened by such incoherent ravings. Their exertions were effectual,
for exorcism was a powerful remedy in the fourteenth century; or it might
perhaps be that this wild infatuation terminated in consequence of the
exhaustion which naturally ensued from it; at all events, in the course of
ten or eleven months the St. John’s dancers were no longer to be found in
any of the cities of Belgium. The evil, however, was too deeply rooted to
give way altogether to such feeble attacks.

A few months after this dancing malady had made its appearance at Aixla-
Chapelle, it broke out at Cologne, where the number of those
possessed amounted to more than five hundred, and about the same
time at Metz, the streets of which place are said to have been filled with
eleven hundred dancers. Peasants left their ploughs, mechanics their
workshops, housewives their domestic duties, to join the wild revels, and
this rich commercial city became the scene of the most ruinous disorder.
Secret desires were excited, and but too often found opportunities for
wild enjoyment; and numerous beggars, stimulated by vice and misery,
availed themselves of this new complaint to gain a temporary livelihood.
Girls and boys quitted their parents, and servants their masters, to amuse
themselves at the dances of those possessed, and greedily imbibed the
poison of mental infection. Above a hundred unmarried women were
seen raving about in consecrated and unconsecrated places, and the
consequences were soon perceived. Gangs of idle vagabonds, who
understood how to imitate to the life the gestures and convulsions of
those really affected, roved from place to place seeking maintenance and
adventures, and thus, wherever they went, spreading this disgusting
spasmodic disease like a plague; for in maladies of this kind the
susceptible are infected as easily by the appearance as by the reality. At
last it was found necessary to drive away these mischievous guests, who
were equally inaccessible to the exorcisms of the priests and the
remedies of the physicians. It was not, however, until after four months
that the Rhenish cities were able to suppress these impostures, which
had so alarmingly increased the original evil. In the meantime, when
once called into existence, the plague crept on, and found abundant food
in the tone of thought which prevailed in the fourteenth and fifteenth
centuries, and even, though in a minor degree, throughout the sixteenth
and seventeenth, causing a permanent disorder of the mind, and
exhibiting in those cities to whose inhabitants it was a novelty, scenes as
strange as they were detestable.

[...]

Strasburg was visited by the “Dancing Plague” in the year 1418, and the
same infatuation existed among the people there, as in the towns of
Belgium and the Lower Rhine. Many who were seized at the sight of
those affected, excited attention at first by their confused and absurd
behaviour, and then by their constantly following swarms of dancers.
These were seen day and night passing through the streets, accompanied
by musicians playing on bagpipes, and by innumerable spectators
attracted by curiosity, to which were added anxious parents and
relations, who came to look after those among the misguided multitude
who belonged to their respective families. Imposture and profligacy
played their part in this city also, but the morbid delusion itself seems to
have predominated. On this account religion could only bring provisional
aid, and therefore the town council benevolently took an interest in the
afflicted. They divided them into separate parties, to each of which they
appointed responsible superintendents to protect them from harm, and
perhaps also to restrain their turbulence. They were thus conducted on
foot and in carriages to the chapels of St. Vitus, near Zabern and
Rotestein, where priests were in attendance to work upon their misguided
minds by masses and other religious ceremonies. After divine worship
was completed, they were led in solemn procession to the altar, where
they made some small offering of alms, and where it is probable that
many were, through the influence of devotion and the sanctity of the
place, cured of this lamentable aberration. It is worthy of observation, at
all events, that the Dancing Mania did not recommence at the altars of
the saint, and that from him alone assistance was implored, and through
his miraculous interposition a cure was expected, which was beyond the
reach of human skill. The personal history of St. Vitus is by no means
important in this matter. He was a Sicilian youth, who, together with
Modestus and Crescentia, suffered martyrdom at the time of the
persecution of the Christians, under Diocletian, in the year 303. The
legends respecting him are obscure, and he would certainly have been
passed over without notice among the innumerable apocryphal martyrs of
the first centuries, had not the transfer of his body to St. Denys, and
thence, in the year 836, to Corvey, raised him to a higher rank. From this
time forth it may be supposed that many miracles were manifested at his
new sepulchre, which were of essential service in confirming the Roman
faith among the Germans, and St. Vitus was soon ranked among the
fourteen saintly helpers (Nothhelfer or Apotheker). His altars were
multiplied, and the people had recourse to them in all kinds of distresses,
and revered him as a powerful intercessor. As the worship of these saints
was, however, at that time stripped of all historical connections, which
were purposely obliterated by the priesthood, a legend was invented at
the beginning of the fifteenth century, or perhaps even so early as the
fourteenth, that St. Vitus had, just before he bent his neck to the sword,
prayed to God that he might protect from the Dancing Mania all those
who should solemnise the day of his commemoration, and fast upon its
eve, and that thereupon a voice from heaven was heard, saying, “Vitus,
thy prayer is accepted.” Thus St. Vitus became the patron saint of those
afflicted with the Dancing Plague.

[...]

The Dancing Mania of the year 1374 was, in fact, no new disease, but a
phenomenon well known in the Middle Ages, of which many wondrous
stories were traditionally current among the people. In the year 1237
upwards of a hundred children were said to have been suddenly seized
with this disease at Erfurt, and to have proceeded dancing and jumping
along the road to Arnstadt. When they arrived at that place they fell
exhausted to the ground, and, according to an account of an old
chronicle, many of them, after they were taken home by their parents,
died, and the rest remained affected, to the end of their lives, with a
permanent tremor.

[...]

It was of the utmost advantage to the St. Vitus’s dancers that they made
choice of a favourite patron saint; for, not to mention that people were
inclined to compare them to the possessed with evil spirits described in
the Bible, and thence to consider them as innocent victims to the power
of Satan, the name of their great intercessor recommended them to
general commiseration, and a magic boundary was thus set to every
harsh feeling, which might otherwise have proved hostile to their safety.
Other fanatics were not so fortunate, being often treated with the most
relentless cruelty, whenever the notions of the middle ages either
excused or commanded it as a religious duty.

[...]

The learned Nicholas Perotti gives the earliest account of this strange
disorder. Nobody had the least doubt that it was caused by the bite of
the tarantula, a ground-spider common in Apulia: and the fear of this
insect was so general that its bite was in all probability much oftener
imagined, or the sting of some other kind of insect mistaken for it, than
actually received. The word tarantula is apparently the same as
terrantola, a name given by the Italians to the stellio of the old Romans,
which was a kind of lizard, said to be poisonous, and invested by
credulity with such extraordinary qualities, that, like the serpent of the
Mosaic account of the Creation, it personified, in the imaginations of the
vulgar, the notion of cunning, so that even the jurists designated a
cunning fraud by the appellation of a “stellionatus.” Perotti expressly
assures us that this reptile was called by the Romans tarantula; and since
he himself, who was one of the most distinguished authors of his time,
strangely confounds spiders and lizards together, so that he considers
the Apulian tarantula, which he ranks among the class of spiders, to have
the same meaning as the kind of lizard called ασκαλ βωτης, it is the less
extraordinary that the unlearned country people of Apulia should
confound the much-dreaded ground-spider with the fabulous starlizard,
and appropriate to the one the name of the other. The derivation
of the word tarantula, from the city of Tarentum, or the river Thara, in
Apulia, on the banks of which this insect is said to have been most
frequently found, or, at least, its bite to have had the most venomous
effect, seems not to be supported by authority. So much for the name of
this famous spider, which, unless we are greatly mistaken, throws no
light whatever upon the nature of the disease in question. Naturalists
who, possessing a knowledge of the past, should not misapply their
talents by employing them in establishing the dry distinction of forms,
would find here much that calls for research, and their efforts would clear
up many a perplexing obscurity.

Perotti states that the tarantula—that is, the spider so called—was not
met with in Italy in former times, but that in his day it had become
common, especially in Apulia, as well as in some other districts. He
deserves, however, no great confidence as a naturalist, notwithstanding
his having delivered lectures in Bologna on medicine and other sciences.
He at least has neglected to prove his assertion, which is not borne out
by any analogous phenomenon observed in modern times with regard to
the history of the spider species. It is by no means to be admitted that
the tarantula did not make its appearance in Italy before the disease
ascribed to its bite became remarkable, even though tempests more
violent than those unexampled storms which arose at the time of the
Black Death in the middle of the fourteenth century had set the insect
world in motion; for the spider is little if at all susceptible of those
cosmical influences which at times multiply locusts and other winged
insects to a wonderful extent, and compel them to migrate.
The symptoms which Perotti enumerates as consequent on the bite of the
tarantula agree very exactly with those described by later writers. Those
who were bitten, generally fell into a state of melancholy, and appeared
to be stupefied, and scarcely in possession of their senses. This
condition was, in many cases, united with so great a sensibility to music,
that at the very first tones of their favourite melodies they sprang up,
shouting for joy, and danced on without intermission, until they sank to
the ground exhausted and almost lifeless. In others, the disease did not
take this cheerful turn. They wept constantly, and as if pining away with
some unsatisfied desire, spent their days in the greatest misery and
anxiety. Others, again, in morbid fits of love, cast their longing looks on
women, and instances of death are recorded, which are said to have
occurred under a paroxysm of either laughing or weeping.
From this description, incomplete as it is, we may easily gather that
tarantism, the essential symptoms of which are mentioned in it, could not
have originated in the fifteenth century, to which Perotti’s account refers;
for that author speaks of it as a well-known malady, and states that the
omission to notice it by older writers was to be ascribed solely to the
want of education in Apulia, the only province probably where the disease
at that time prevailed. A nervous disorder that had arrived at so high a
degree of development must have been long in existence, and doubtless
had required an elaborate preparation by the concurrence of general
causes.

The symptoms which followed the bite of venomous spiders were well
known to the ancients, and had excited the attention of their best
observers, who agree in their descriptions of them. It is probable that
among the numerous species of their phalangium, the Apulian tarantula
is included, but it is difficult to determine this point with certainty, more
especially because in Italy the tarantula was not the only insect which
caused this nervous affection, similar results being likewise attributed to
the bite of the scorpion. Lividity of the whole body, as well as of the
countenance, difficulty of speech, tremor of the limbs, icy coldness, pale
urine, depression of spirits, headache, a flow of tears, nausea, vomiting,
sexual excitement, flatulence, syncope, dysuria, watchfulness, lethargy,
even death itself, were cited by them as the consequences of being bitten
by venomous spiders, and they made little distinction as to their kinds.
To these symptoms we may add the strange rumour, repeated
throughout the middle ages, that persons who were bitten, ejected by the
bowels and kidneys, and even by vomiting, substances resembling a
spider’s web.

Nowhere, however, do we find any mention made that those affected felt
an irresistible propensity to dancing, or that they were accidentally cured
by it. Even Constantine of Africa, who lived 500 years after Aëtius, and,
as the most learned physician of the school of Salerno, would certainly
not have passed over so acceptable a subject of remark, knows nothing
of such a memorable course of this disease arising from poison, and
merely repeats the observations of his Greek predecessors. Gariopontus,
a Salernian physician of the eleventh century, was the first to describe a
kind of insanity, the remote affinity of which to the tarantula disease is
rendered apparent by a very striking symptom. The patients in their
sudden attacks behaved like maniacs, sprang up, throwing their arms
about with wild movements, and, if perchance a sword was at hand, they
wounded themselves and others, so that it became necessary carefully to
secure them. They imagined that they heard voices and various kinds of
sounds, and if, during this state of illusion, the tones of a favourite
instrument happened to catch their ear, they commenced a spasmodic
dance, or ran with the utmost energy which they could muster until they
were totally exhausted. These dangerous maniacs, who, it would seem,
appeared in considerable numbers, were looked upon as a legion of
devils, but on the causes of their malady this obscure writer adds nothing
further than that he believes (oddly enough) that it may sometimes be
excited by the bite of a mad dog. He calls the disease Anteneasmus, by
which is meant no doubt the Enthusiasmus of the Greek physicians. We
cite this phenomenon as an important forerunner of tarantism, under the
conviction that we have thus added to the evidence that the development
of this latter must have been founded on circumstances which existed
from the twelfth to the end of the fourteenth century; for the origin of
tarantism itself is referable, with the utmost probability, to a period
between the middle and the end of this century, and is consequently
contemporaneous with that of the St. Vitus’s dance (1374). The influence
of the Roman Catholic religion, connected as this was, in the middle ages,
with the pomp of processions, with public exercises of penance, and with
innumerable practices which strongly excited the imaginations of its
votaries, certainly brought the mind to a very favourable state for the
reception of a nervous disorder. Accordingly, so long as the doctrines of
Christianity were blended with so much mysticism, these unhallowed
disorders prevailed to an important extent, and even in our own days we
find them propagated with the greatest facility where the existence of
superstition produces the same effect, in more limited districts, as it once
did among whole nations. But this is not all. Every country in Europe,
and Italy perhaps more than any other, was visited during the middle
ages by frightful plagues, which followed each other in such quick
succession that they gave the exhausted people scarcely any time for
recovery. The Oriental bubo-plague ravaged Italy sixteen times between
the years 1119 and 1340. Small-pox and measles were still more
destructive than in modern times, and recurred as frequently. St.
Anthony’s fire was the dread of town and country; and that disgusting
disease, the leprosy, which, in consequence of the Crusades, spread its
insinuating poison in all directions, snatched from the paternal hearth
innumerable victims who, banished from human society, pined away in
lonely huts, whither they were accompanied only by the pity of the
benevolent and their own despair. All these calamities, of which the
moderns have scarcely retained any recollection, were heightened to an
incredible degree by the Black Death, which spread boundless
devastation and misery over Italy. Men’s minds were everywhere
morbidly sensitive; and as it happened with individuals whose senses,
when they are suffering under anxiety, become more irritable, so that
trifles are magnified into objects of great alarm, and slight shocks, which
would scarcely affect the spirits when in health, gave rise in them to
severe diseases, so was it with this whole nation, at all times so alive to
emotions, and at that period so sorely oppressed with the horrors of
death.

The bite of venomous spiders, or rather the unreasonable fear of its
consequences, excited at such a juncture, though it could not have done
so at an earlier period, a violent nervous disorder, which, like St. Vitus’s
dance in Germany, spread by sympathy, increasing in severity as it took a
wider range, and still further extending its ravages from its long
continuance. Thus, from the middle of the fourteenth century, the furies
of the Dance brandished their scourge over afflicted mortals; and music,
for which the inhabitants of Italy, now probably for the first time,
manifested susceptibility and talent, became capable of exciting ecstatic
attacks in those affected, and then furnished the magical means of
exorcising their melancholy.

At the close of the fifteenth century we find that tarantism had spread
beyond the boundaries of Apulia, and that the fear of being bitten by
venomous spiders had increased. Nothing short of death itself was
expected from the wound which these insects inflicted, and if those who
were bitten escaped with their lives, they were said to be seen pining
away in a desponding state of lassitude. Many became weak-sighted or
hard of hearing, some lost the power of speech, and all were insensible
to ordinary causes of excitement. Nothing but the flute or the cithern
afforded them relief. At the sound of these instruments they awoke as it
were by enchantment, opened their eyes, and moving slowly at first,
according to the measure of the music, were, as the time quickened,
gradually hurried on to the most passionate dance. It was generally
observable that country people, who were rude, and ignorant of music,
evinced on these occasions an unusual degree of grace, as if they had
been well practised in elegant movements of the body; for it is a
peculiarity in nervous disorders of this kind, that the organs of motion
are in an altered condition, and are completely under the control of the
over-strained spirits. Cities and villages alike resounded throughout the
summer season with the notes of fifes, clarinets, and Turkish drums; and
patients were everywhere to be met with who looked to dancing as their
only remedy. Alexander ab Alexandro, who gives this account, saw a
young man in a remote village who was seized with a violent attack of
tarantism. He listened with eagerness and a fixed stare to the sound of a
drum, and his graceful movements gradually became more and more
violent, until his dancing was converted into a succession of frantic leaps,
which required the utmost exertion of his whole strength. In the midst of
this over-strained exertion of mind and body the music suddenly ceased,
and he immediately fell powerless to the ground, where he lay senseless
and motionless until its magical effect again aroused him to a renewal of
his impassioned performances.

At the period of which we are treating there was a general conviction,
that by music and dancing the poison of the tarantula was distributed
over the whole body, and expelled through the skin, but that if there
remained the slightest vestige of it in the vessels, this became a
permanent germ of the disorder, so that the dancing fits might again and
again be excited ad infinitum by music. This belief, which resembled the
delusion of those insane persons who, being by artful management freed
from the imagined causes of their sufferings, are but for a short time
released from their false notions, was attended with the most injurious
effects: for in consequence of it those affected necessarily became by
degrees convinced of the incurable nature of their disorder. They
expected relief, indeed, but not a cure, from music; and when the heat of
summer awakened a recollection of the dances of the preceding year,
they, like the St. Vitus’s dancers of the same period before St. Vitus’s day,
again grew dejected and misanthropic, until, by music and dancing, they
dispelled the melancholy which had become with them a kind of sensual
enjoyment.

Under such favourable circumstances, it is clear that tarantism must every
year have made further progress. The number of those affected by it
increased beyond all belief, for whoever had either actually been, or even
fancied that he had been, once bitten by a poisonous spider or scorpion,
made his appearance annually wherever the merry notes of the tarantella
resounded. Inquisitive females joined the throng and caught the disease,
not indeed from the poison of the spider, but from the mental poison
which they eagerly received through the eye; and thus the cure of the
tarantati gradually became established as a regular festival of the
populace, which was anticipated with impatient delight.
Without attributing more to deception and fraud than to the peculiar
nature of a progressive mental malady, it may readily be conceived that
the cases of this strange disorder now grew more frequent. The
celebrated Matthioli, who is worthy of entire confidence, gives his
account as an eye-witness. He saw the same extraordinary effects
produced by music as Alexandro, for, however tortured with pain,
however hopeless of relief the patients appeared, as they lay stretched on
the couch of sickness, at the very first sounds of those melodies which
made an impression on them—but this was the case only with the
tarantellas composed expressly for the purpose—they sprang up as if
inspired with new life and spirit, and, unmindful of their disorder, began
to move in measured gestures, dancing for hour together without fatigue,
until, covered with a kindly perspiration, they felt a salutary degree of
lassitude, which relieved them for a time at least, perhaps even for a
whole year, from their defection and oppressive feeling of general
indisposition. Alexandro’s experience of the injurious effects resulting
from a sudden cessation of the music was generally confirmed by
Matthioli. If the clarinets and drums ceased for a single moment, which,
as the most skilful payers were tired out by the patients, could not but
happen occasionally, they suffered their limbs to fall listless, again sank
exhausted to the ground, and could find no solace but in a renewal of the
dance. On this account care was taken to continue the music until
exhaustion was produced; for it was better to pay a few extra musicians,
who might relieve each other, than to permit the patient, in the midst of
this curative exercise, to relapse into so deplorable a state of suffering.
The attack consequent upon the bite of the tarantula, Matthioli describes
as varying much in its manner. Some became morbidly exhilarated, so
that they remained for a long while without sleep, laughing, dancing, and
singing in a state of the greatest excitement. Others, on the contrary,
were drowsy. The generality felt nausea and suffered from vomiting, and
some had constant tremors. Complete mania was no uncommon
occurrence, not to mention the usual dejection of spirits and other
subordinate symptoms.

[...]

Finally, tarantism has declined more and more in modern times, and is
now limited to single cases. How could it possibly have maintained itself
unchanged in the eighteenth century, when all the links which connected
it with the Middle Ages had long since been snapped asunder? Imposture
grew more frequent, and wherever the disease still appeared in its
genuine form, its chief cause, namely, a peculiar cast of melancholy,
which formerly had been the temperament of thousands, was now
possessed only occasionally by unfortunate individuals. It might,
therefore, not unreasonably be maintained that the tarantism of modern
times bears nearly the same relation to the original malady as the St.
Vitus’s dance which still exists, and certainly has all along existed, bears,
in certain cases, to the original dancing mania of the dancers of St. John.
To conclude. Tarantism, as a real disease, has been denied in toto, and
stigmatised as an imposition by most physicians and naturalists, who in
this controversy have shown the narrowness of their views and their utter
ignorance of history. In order to support their opinion they have
instituted some experiments apparently favourable to it, but under
circumstances altogether inapplicable, since, for the most part, they
selected as the subjects of them none but healthy men, who were totally
uninfluenced by a belief in this once so dreaded disease. From individual
instances of fraud and dissimulation, such as are found in connection
with most nervous affections without rendering their reality a matter of
any doubt, they drew a too hasty conclusion respecting the general
phenomenon, of which they appeared not to know that it had continued
for nearly four hundred years, having originated in the remotest periods
of the Middle Ages. The most learned and the most acute among these
sceptics is Serao the Neapolitan. His reasonings amount to this, that he
considers the disease to be a very marked form of melancholia, and
compares the effect of the tarantula bite upon it to stimulating with spurs
a horse which is already running. The reality of that effect he thus
admits, and, therefore, directly confirms what in appearance only he
denies. By shaking the already vacillating belief in this disorder he is said
to have actually succeeded in rendering it less frequent, and in setting
bounds to imposture; but this no more disproves the reality of its
existence than the oft repeated detection of imposition has been able in
modern times to banish magnetic sleep from the circle of natural
phenomena, though such detection has, on its side, rendered more rare
the incontestable effects of animal magnetism. Other physicians and
naturalists have delivered their sentiments on tarantism, but as they have
not possessed an enlarged knowledge of its history their views do not
merit particular exposition. It is sufficient for the comprehension of
everyone that we have presented the facts from all extraneous
speculation.

[...]

CHAPTER III—THE DANCING MANIA IN ABYSSINIA
SECT. 1—TIGRETIER

Both the St. Vitus’s dance and tarantism belonged to the ages in which
they appeared. They could not have existed under the same latitude at
any other epoch, for at no other period were the circumstances which
prepared the way for them combined in a similar relation to each other,
and the mental as well as corporeal temperaments of nations, which
depend on causes such as have been stated, are as little capable of
renewal as the different stages of life in individuals. This gives so much
the more importance to a disease but cursorily alluded to in the
foregoing pages, which exists in Abyssinia, and which nearly resembles
the original mania of the St. John’s dancers, inasmuch as it exhibits a
perfectly similar ecstasy, with the same violent effect on the nerves of
motion. It occurs most frequently in the Tigre country, being thence call
Tigretier, and is probably the same malady which is called in Ethiopian
language Astaragaza. On this subject we will introduce the testimony of
Nathaniel Pearce, an eye-witness, who resided nine years in Abyssinia.
“The Tigretier,” he says he, “is more common among the women than
among the men. It seizes the body as if with a violent fever, and from
that turns to a lingering sickness, which reduces the patients to
skeletons, and often kills them if the relations cannot procure the proper
remedy. During this sickness their speech is changed to a kind of
stuttering, which no one can understand but those afflicted with the same
disorder. When the relations find the malady to be the real tigretier, they
join together to defray the expense of curing it; the first remedy they in
general attempt is to procure the assistance of a learned Dofter, who
reads the Gospel of St. John, and drenches the patient with cold water
daily for the space of seven days, an application that very often proves
fatal. The most effectual cure, though far more expensive than the
former, is as follows:—The relations hire for a certain sum of money a
band of trumpeters, drummers, and fifers, and buy a quantity of liquor;
then all the young men and women of the place assemble at the patient’s
house to perform the following most extraordinary ceremony.
“I was once called in by a neighbour to see his wife, a very young woman,
who had the misfortune to be afflicted with this disorder; and the man
being an old acquaintance of mine, and always a close comrade in the
camp, I went every day, when at home, to see her, but I could not be of
any service to her, though she never refused my medicines. At this time I
could not understand a word she said, although she talked very freely,
nor could any of her relations understand her. She could not bear the
sight of a book or a priest, for at the sight of either she struggled, and
was apparently seized with acute agony, and a flood of tears, like blood
mingled with water, would pour down her face from her eyes. She had
lain three months in this lingering state, living upon so little that it
seemed not enough to keep a human body alive; at last her husband
agreed to employ the usual remedy, and, after preparing for the
maintenance of the band during the time it would take to effect the cure,
he borrowed from all his neighbours their silver ornaments, and loaded
her legs, arms and neck with them.

“The evening that the band began to play I seated myself close by her
side as she lay upon the couch, and about two minutes after the trumpets
had begun to sound I observed her shoulders begin to move, and soon
afterwards her head and breast, and in less than a quarter of an hour she
sat upon her couch. The wild look she had, though sometimes she
smiled, made me draw off to a greater distance, being almost alarmed to
see one nearly a skeleton move with such strength; her head, neck,
shoulders, hands and feet all made a strong motion to the sound of the
music, and in this manner she went on by degrees, until she stood up on
her legs upon the floor. Afterwards she began to dance, and at times to
jump about, and at last, as the music and noise of the singers increased,
she often sprang three feet from the ground. When the music slackened
she would appear quite out of temper, but when it became louder she
would smile and be delighted. During this exercise she never showed the
least symptom of being tired, though the musicians were thoroughly
exhausted; and when they stopped to refresh themselves by drinking and
resting a little she would discover signs of discontent.
“Next day, according to the custom in the cure of this disorder, she was
taken into the market-place, where several jars of maize or tsug were set
in order by the relations, to give drink to the musicians and dancers.
When the crowd had assembled, and the music was ready, she was
brought forth and began to dance and throw herself into the maddest
postures imaginable, and in this manner she kept on the whole day.
Towards evening she began to let fall her silver ornaments from her neck,
arms, and legs, one at a time, so that in the course of three hours she
was stripped of every article. A relation continually kept going after her
as she danced, to pick up the ornaments, and afterwards delivered them
to the owners from whom they were borrowed. As the sun went down
she made a start with such swiftness that the fastest runner could not
come up with her, and when at the distance of about two hundred yards
she dropped on a sudden as if shot. Soon afterwards a young man, on
coming up with her, fired a matchlock over her body, and struck her upon
the back with the broad side of his large knife, and asked her name, to
which she answered as when in her common senses—a sure proof of her
being cured; for during the time of this malady those afflicted with it
never answer to their Christian names. She was now taken up in a very
weak condition and carried home, and a priest came and baptised her
again in the name of the Father, Son, and Holy Ghost, which ceremony
concluded her cure. Some are taken in this manner to the market-place
for many days before they can be cured, and it sometimes happens that
they cannot be cured at all. I have seen them in these fits dance with a
bruly, or bottle of maize, upon their heads without spilling the liquor, or
letting the bottle fall, although they have put themselves into the most
extravagant postures.

“I could not have ventured to write this from hearsay, nor could I conceive
it possible, until I was obliged to put this remedy in practice upon my
own wife, who was seized with the same disorder, and then I was
compelled to have a still nearer view of this strange disorder. I at first
thought that a whip would be of some service, and one day attempted a
few strokes when unnoticed by any person, we being by ourselves, and I
having a strong suspicion that this ailment sprang from the weak minds
of women, who were encouraged in it for the sake of the grandeur, rich
dress, and music which accompany the cure. But how much was I
surprised, the moment I struck a light blow, thinking to do good, to find
that she became like a corpse, and even the joints of her fingers became
so stiff that I could not straighten them; indeed, I really thought that she
was dead, and immediately made it known to the people in the house
that she had fainted, but did not tell them the cause, upon which they
immediately brought music, which I had for many days denied them, and
which soon revived her; and I then left the house to her relations to cure
her at my expense, in the manner I have before mentioned, though it
took a much longer time to cure my wife than the woman I have just
given an account of. One day I went privately, with a companion, to see
my wife dance, and kept at a short distance, as I was ashamed to go near
the crowd. On looking steadfastly upon her, while dancing or jumping,
more like a deer than a human being, I said that it certainly was not my
wife; at which my companion burst into a fit of laughter, from which he
could scarcely refrain all the way home. Men are sometimes afflicted with
this dreadful disorder, but not frequently. Among the Amhara and Galla
it is not so common.”

Such is the account of Pearce, who is every way worthy of credit, and
whose lively description renders the traditions of former times respecting
the St. Vitus’s dance and tarantism intelligible, even to those who are
sceptical respecting the existence of a morbid state of the mind and body
of the kind described, because, in the present advanced state of
civilisation among the nations of Europe, opportunities for its
development no longer occur. The credibility of this energetic but by no
means ambitious man is not liable to the slightest suspicion, for, owing
to his want of education, he had no knowledge of the phenomena in
question, and his work evinces throughout his attractive and
unpretending impartiality.

online source: _http://www.gutenberg.org/files/1739/1739-h/1739-h.htm
 
French ethnomusicologist Gilbert Rouget (1985) in "Music and Trance. A theory of the relations between music and possession":

"[In] the famous epidemic of Saint Vitus' Dance (or Saint John's Dance or Saint Guy's Dance) that swept Europe and Germany during the Middle Ages, dance was of course the primary sign of trance. But was it the cause of this trance or, on the contrary, its effect? The second hypothesis would appear to be the right one. These dances did not, in fact, occur without music, and since the music was provided by musicians, the dancers were consequently musicated, that is, their trance was induced. This is clearly evident in a drawing by Bruegel the Elder, the Epidemic Dance in Moelenbeek, which depicts a woman falling into a trance as a result of the music being played for her by a bagpiper. I know nothing in Europe that is as close to a black African possession scene. Except for the costumes and the particular instruments being used, one would think it depicted a ndöp ceremony in Senegal. There, we need not hesitate, the subject is a musicated person, and we are indisputably on the side of possession. But a question does arise. Whereas in Bruegel's drawing we are undoubtedly in Christendom, we are not necessarily within Christianism and transcendence."

Interestingly, Rouget's analysis tallies with that of German physician Justus Friedrich Carl Hecker's analysis in his 1832 book 'The Dancing Mania of the Middle Ages'. Hecker hypothesized that the Saint Vitus dance originated from pre-Christian customs. "Bacchanalian dances, which have originated in similar causes among all rude nations of the earth, and the wild extravagances of a heated imagination, were the constant accompaniments to this half-heathen, half-christian festival." The dire living conditions of the late Middle Ages - natural disasters, the Black Death, famine, social unrest - made Medieval Europeans seek relief in 'the intoxication of an artificial delirium'.

In analyzing Saint Vitus's Dance as a possession ritual - that is: as a cultural phenomenon, perhaps related to Tarantism - Rouget discredits theories which ascribe the Dance to neurological disorders (apraxia, chorea), to ergot poisoning or to mass psychogenic illness.

This has the great advantage of providing an explanation for the long period in which Saint Vitus' Dance was prevalent: it occurred to thousands of people from the the 14th to the 17th century. It seems highly unlikely that rare medical disorders or poisoning with a psychedelic fungus could cause the relevant symptoms on such a massive scale for such a long period. Furthermore, in the Middle Ages the effects of ergot poisoning were well known under the name of 'Saint Anthony's fire': thus, Medieval Europeans were well able to distinguish ergot poisoning (associated with Saint Anthony) from dancing mania (associated with Saint Vitus). The diagnosis of 'mass psychogenic illness' or 'mass hysteria' is a sorry excuse for the want of a better (dynamic sociocultural) explanation and as a 'diagnosis' it deserves to go the same route as female hysteria.

online source: _http://surrealdocuments.blogspot.com/2008/09/possession-pt-7.html

*****

Robert E. Bartholomew (2000) Rethinking the Dancing Mania.- Skeptical Inquirer Volume 24, Number 4, July/August:

Medieval tarantism was reported almost exclusively during the height of the hot, dry summer months of July and August:

People, asleep or awake, would suddenly jump up, feeling an acute pain like the sting of a bee. Some saw the spider, others did not, but they knew that it must be the tarantula. They ran out of the house into the street, to the market place dancing in great excitement. Soon they were joined by others who like them had just been bitten, or by people who had been stung in previous years, for the disease was never quite cured. The poison remained in the body and was reactivated every year by the heat of summer. . . .

. . . Music and dancing were the only effective remedies, and people were known to have died within an hour or in a few days because music was not available (Sigerist 1943, 218-219).

Symptoms included headache, giddiness, breathlessness, fainting, trembling, twitching, appetite loss, general soreness, and delusions. Sometimes it was claimed that a sore or swelling was caused by a tarantula bite, but such assertions were difficult to verify because the bite resembled those of insects. The dance frenzy symptoms resemble typical modern episodes of epidemic hysteria, in addition to expected reactions from exhaustive physical activity and excessive alcohol consumption.

Psychiatrists classify tarantism as a form of epidemic hysteria due to its psychological character and claims that most of those affected were females (Sigerist 1943, 218; Rosen 1968, 204). Early medical observers theorized that a venomous species of tarantula found only near the Italian state of Apulia was capable of producing sporadic tarantism symptoms each summer, but tests on spiders of the region have failed to substantiate these suspicions (Gloyne 1950, 35). Latrodectus tarantula is a nonaggressive, slow-moving spider common in Apulia that can produce psychoactive effects in people it bites. In severe cases, it may temporarily mimic many tarantism symptoms, including twitching and shaking of limbs, weakness, nausea, and muscular pain (Lewis 1991, 514). Ironically, Lycosa tarantula was typically blamed for tarantism symptoms, as it is larger, more aggressive, ferocious in appearance and has a painful bite. Yet neither spider can account for the predominantly symbolic and psychogenic character of tarantism attacks. Latrodectus tarantula is also found in other countries where tarantism does not occur (Russell 1979, 416), including the United States (Lewis 1991, 517). There is no evidence that a venomous species of tarantula, native only to Apulia, may have existed during this period and later died out. As Sigerist (1943, 221) remarks: "The same tarantula shipped to other parts of the country seemed to lose most of its venom, and what remained acted differently." It is also doubtful that some insect or other agent was responsible for causing "attacks," as most participants did not even claim to have been bitten, and would only participate in tarantism episodes at designated times.

Clearly most cases were unrelated to spider bites. Other psychological aspects include the only reliable cure: dancing to certain types of music. "Victims" would typically perform one of numerous versions of the tarantella, a rapid tempo score characterized by brief, repetitive phrases which escalate in intensity. Such performances also allowed "victims" to exhibit social behavior that is prohibited at any other time. Dancing persisted intermittently for hours and days, sometimes lasting weeks. Participants would eventually proclaim themselves "cured" for the remainder of the summer, only to relapse in subsequent summers. Many "victims" believed they had been infected from those who had been bitten, or from simply brushing against a spider. All that was needed to "reactivate" the venom was to hear the strains of certain music being played to cure those who had already been bitten.

Dancing Manias

A variation of tarantism spread throughout much of Europe between the thirteenth and seventeenth centuries, where it was known as the dancing mania or St. Vitus's dance, on account that participants often ended their processions in the vicinity of chapels and shrines dedicated to this saint. Like its Italian counterpart, outbreaks seized groups of people who engaged in frenzied dancing that lasted intermittently for days or weeks. Social scientists typify victims as females who were maladjusted, deviant, irrational, or mentally disturbed. These activities were typically accompanied by symptoms similar to tarantism, including screaming, hallucinations, convulsive movements, chest pains, hyperventilation, crude sexual gestures and outright intercourse. Instead of spider bites as the cause, participants usually claimed that they were possessed by demons who had induced an uncontrollable urge to dance. Like tarantism, however, music was typically played during episodes and was considered to be an effective remedy. Detailed accounts of many episodes appear in a classic book by German physician Justus Hecker, Epidemics of the Middle Ages (1844). He considered the origin of these "epidemics" as due to "morbid sympathy" since they often coincided with periods of severe disease, such as widespread pessimism and despair after the Black Death (Hecker 1844, 87).

[...]

As with tarantism, dance manias are considered to have occurred spontaneously, with participants unable to control their actions, and being exhibited primarily by mentally disturbed females. Influential New York University psychiatrists Harold Kaplan and Benjamin Sadock (1985, 1227) state that they represent "collective mental disorder"; Carson et al. (1998, 37) view St. Vitus's dance and tarantism as collective hysterical disorders; while abnormal psychologist Ronald Comer of Princeton University uses the term "mass madness" (1996, 9).

[...]

Mora (1963, 436-438) writes that tarantism and dance manias used rituals as psychotherapeutic attempts to cope with either individual or societal maladjustments which fostered mental disturbances. Sigerist held a similar view. An abnormal psychology text written by Robert Carson of Duke University and his colleagues (1998, 37) cites Sigerist to support the view that St. Vitus's dance and tarantism were similar to ancient Greek orgiastic rites which had been outlawed by Christian authorities, but were secretly practiced anyway. The authors assume that these "secret gatherings . . . probably led to considerable guilt and conflict" which triggered collective hysterical disorders. Dance frenzies appeared most often during periods of crop failures, famine, epidemics, and social upheaval, leading Rosen (1968) to conclude that this stress triggered widespread hysteria. Yet these same disasters prompted attempts at divine intervention through ritualized dancing, and often produced trance and possession states. Consistent with this latter view, many symptoms associated with tarantism and dancing mania are consistent with sleep deprivation, excessive alcohol consumption, emotional excitement and vigorous, prolonged physical activity. A German chronicle reports that during a dance frenzy at Strasbourg in 1418, "many of them went without food for days and nights" (Rust 1969, 20).

The European "dancing manias" and its Italian variant tarantism are portrayed within the psychiatric literature as spontaneous, stress-induced outbursts of psychological disturbance that primarily affected females. This depiction is based on the selective use of period quotations by medical historians such as George Rosen and Henry Sigerist, who were reflecting popular stereotypes of female susceptibility to mental disorders. However, based on a series of translations of medieval European chronicles describing these events, many of them first-hand, and by scrutinizing other historical sources which provide a degree of social, cultural, historical and political perspective, it is evident that contemporary depictions of "dancing manias" have been misrepresented. Contrary to popular psychiatric portrayals, females were not overrepresented among participants, episodes were not spontaneous but highly structured, and they involved unfamiliar religious sects engaging in strange or foreign customs that were redefined as a behavioral abnormality (Bartholomew 1998). Let us examine the evidence.

Fallacy #1: Most "Dancers" Were Crazy

Period chronicles reveal that most participants did not reside in the municipalities where they occurred, but hailed from other regions, traveling through communities as they sought out shrines and churchyards to perform in. As a result, they would naturally have had unfamiliar customs. The largest and best documented dance plague, that of 1374 involving throngs of "dancers" in Germany and Holland, were "pilgrims" who traveled, "according to Beka's chronicle, from Bohemia, but also from Hungary, Poland, Carinthia, Austria, and Germany. Great hosts from the Netherlands and France joined them" (Backman 1952, 331).

The behavior of these dancers was described as strange, because while exhibiting actions that were part of the Christian tradition, and paying homage to Jesus, Mary, and various saints at chapels and shrines, other elements were foreign. Radulphus de Rivo's chronicle Decani Tongrensis states that "in their songs they uttered the names of devils never before heard of . . . this strange sect." Petrus de Herenthal writes in Vita Gregorii XI: "There came to Aachen . . . a curious sect." The Chronicon Belgicum Magnum describes the participants as "a sect of dancers." The actions of dancers were often depicted as immoral, as there was much uninhibited sexual intercourse. The chronicle of C. Browerus (Abtiquitatum et Annalium Trevirensium) states: "They indulged in disgraceful immodesty, for many women, during this shameless dance and mock-bridal singing, bared their bosoms, while others of their own accord offered their virtue." In A Chronicle of Early Roman Kings and Emperors, it states that a number of participants engaged in "loose living with the women and young girls who shamelessly wandered about in remote places under the cover of night." If most of the participants were pilgrims of Bohemian and Czech origin as Backman asserts, during this period Czechs and Bohemians were noted for a high incidence of perceived immorality, especially sexual, including prostitution and annual festivals involving the free partaking of sex (Backman 1952, 290).

Fallacy #2: There Was a Spontaneous, Uncontrollable Urge to Dance

Period chronicles reveal that dance manias were mainly composed of pilgrims engaging in emotionally charged, highly structured displays of worship that occasionally attracted locals. This social patterning is evident in a first-hand account on September 11, 1374, by Jean d'Outremeuse in his chronicle La Geste de Liege, who states that "there came from the north to Liege . . . a company of persons who all danced continually. They were linked with clothes, and they jumped and leaped. . . . They called loudly on St. John the Baptist and fiercely clapped their hands." Slichtenhorst (cited in Backman 1952, 210), in describing the dance frenzy of 1375 and 1376 in France, Germany, and Gelderland (now southwestern Holland), notes that participants "went in couples, and with every couple was another single person . . . they danced, leaped and sang, and embraced each other in friendly fashion."

A similar pattern is evident in tarantism. While taranti (as victims were known) are typically described as participating in uncontrollable behaviors in chaotic, frenzied throngs, adherents worshiped in a set pattern, much like modern-day ecstatic religious sects. Australian medical historian and tarantism expert Jean Russell states that taranti would typically commence dancing at sunrise, stop during midday to sleep and sweat, then bathe before the resumption of dancing until evening, when they would again sleep and sweat, consume a light meal, then sleep until sunrise. This ritual was usually repeated over four or five days, and sometimes for weeks (Russell 1979, 413).

Clearly tarantism episodes were not spontaneous, and the same is true of dance manias. German magistrates even contracted musicians to play for participants and serve as dancing companions. The latter was intended to reduce injuries and mischief during the procession to the St. Vitus chapel (Hecker 1970 [1837], 4). Hecker states that the dancing mania was a "half-heathen, half-Christian festival" which incorporated into the festival of St. John's day as early as the fourth century, "the kindling of the 'Nodfyr,' which was forbidden them by St. Boniface." This ritual involved the leaping through smoke or flames, which was believed to protect participants from various diseases over the ensuing year. A central feature of the dance frenzy was leaping or jumping continuously for up to several hours through what they claimed were invisible fires, until collapsing in exhaustion.

Not only were episodes scripted, but dance processions were swollen by spectators (Hecker 1970 [1837], 4), including children searching for parents who were among the dancers, and vice versa (Haggard 1934, 187). Some onlookers were threatened with harm for refusing to dance (Backman 1952, 147). Many took part out of loneliness and carnal pleasures; others were curious or sought exhilaration (Rust 1969, 22). Hecker remarks that "numerous beggars, stimulated by vice and misery, availed themselves of this new complaint to gain a temporary livelihood," while gangs of vagabonds imitated the dance, roving "from place to place seeking maintenance and adventures." Similar observations have been noted of tarantism episodes.

Fallacy #3: Most "Dancers" Were Hysterical Females

A revisiting of the descriptions of dancing manias based on early chronicles of these events shows that both men and women were equally affected. Where the gender of the participants was noted, the following comments are representative: Petrus de Herenthal's chronicle Vita Gregorii XI remarks that "Persons of both sexes . . . danced"; Radulpho de Rivo's Decani Tongrensis states, "persons of both sexes, possessed by devils and half naked, set wreathes on their heads, and began their dances"; Johannes de Beka's Canonicus Ultrajectinus et Heda, Wilhelmus, Praepositus Arnhemensis: De Episcopis Ultraiectinis, Recogniti, states that in 1385, "there spread along the Rhine . . . a strange plague . . . whereby persons of both sexes, in great crowds . . . danced and sang, both inside and outside of churches, till they were so weary that they fell to the ground"; according to Koelhoff's Chronicle published in 1499, "Many people, men and women, old and young, had the disease [of dancing mania]"; Casper Hedion in Ein Ausserlessne Chronik von Anfang der Welt bis auff das iar nach Christi unsers Eynigen Heylands Gepurt M.D. writes that in 1374 "a terrible disease, called St. John's dance . . . attacked many women and girls, men and boys"; A. Slichtenhorst's Gelsersee Geschiedenissen states that "men and women were smitten by the fantastic frenzy." This gender mixture is also reflected in more recent tarantism reports such as episodes in the vicinity of Sardinia, Italy, studied by Gallini (1988) which found that the vast majority of "victims" were male, while de Martino (1966) reported that most participants that he investigated near Apulia were female.

What Caused the Dancing Manias?

Ergot poisoning (pronounced "er-get") has been blamed for hallucinations and convulsions accompanying the dance mania. Nicknamed St. Anthony's Fire, ergotism coincided with floods and wet growing seasons which fostered the growth of the fungus claviceps purpura which thrives in damp conditions and forms on cultivated grains, especially rye. While this could account for some symptoms, many outbreaks did not coincide with floods or wet growing or harvest periods. Convulsive ergotism could cause bizarre behavior and hallucinations, but chronic ergotism was more common and typically resulted in the loss of fingers and toes from gangrene, a feature that is distinctly not associated with dance manias (Donaldson et al. 1997, 203). As for tarantism, most episodes occurred only during July and August and were triggered by real or imaginary spider bites, hearing music, or seeing others dance, and involved structured annual rituals. Also, while rye was a key crop in central and northern Europe, it was uncommon in Italy. Surely a few participants were hysterics, epileptics, mentally disturbed, or even delusional from ergot, but the large percentage of the populations affected, and the circumstances and timing of outbreaks, suggests otherwise. Episodes were pandemic, meaning that they occurred across a wide area and affected a very high proportion of the population (Lidz 1963, 822; Millon and Millon 1974, 22).

So what is the most likely explanation for dance manias? Based on an examination of a representative sample of medieval chronicles, it is evident that these episodes are best explained as deviant religious sects who gained adherents as they made pilgrimages through Europe during years of turmoil in order to receive divine favor. Their symptoms (visions, fainting, tremor) are predictable for any large population engaging in prolonged dancing, emotional worship, and fasting [comment by transdimensional: compare with Mircea Eliade, Shamanism: Archaic Techniques of Ecstasy]. Their actions have been "mistranslated" by contemporary scholars evaluating the participants' behaviors per se, removed from their regional context and meaning. Tarantism was a regional variant of dancing mania that developed into a local tradition, primarily in southern Italy.

In reviewing the dance frenzies, it is important to consult original sources and realize that we are all to some extent products of our social, cultural, and historical milieu. When assessing the normality of a particular act, it is vital not to focus solely on the behaviors per se, but on the context of the participants and those making the evaluations. It is not that these prominent historians were trying to deceive, but their social and cultural milieu was different from our own. They had different assumptions and worldviews, and were writing at a time when it was taken for granted that women were innately susceptible to hysteria and were both physically and emotionally frail (Smith-Rosenberg 1972; Ehrenreich and English 1978; Micale 1995). This situation affected their selective readings of medieval chronicles despite their scholarly backgrounds and evidence to the contrary in the very texts they translated.

That a person's milieu affects their scholarship is not surprising. Of concern is the persistence of several fallacies about dance manias into the last decade of the twentieth century, and the reliance on secondary sources by the authors of many textbooks on abnormal psychology and psychiatry. In their defense, unless they are specialists in medieval manuscripts, most of these authors would lack the time or resources to consult original, obscure texts. This underlines the importance of consulting original sources whenever possible, and not relying solely on the interpretation of others.

Scientific progress and understanding is achieved by standing on the shoulders of giants. But occasionally those shoulders unwittingly face in the wrong direction. It is time to correct that mistake. One cannot help wondering how many more "facts" of today are based on the prejudices of yesterday, and will eventually be exposed by revisiting original sources as the fallacies of tomorrow.

online source (including references): _http://www.csicop.org/si/2000-07/dancing-mania.html


... to be continued
 
A record from an apparently comparable account in a Western civilization took place in Kentucky (1801):

While McNemar (comment: a presbyterian preacher) was preaching at Cabin Creek the most extraordinary revival in the history of the Ohio valley commenced. It is known as the Kentucky Revival, but it spread into Tennessee, North Carolina, West Virginia, and the Northwest Territory. McNemar was a leading spirit in this revival on both sides of the river, and he afterwards wrote a small volume giving a history of the movement. As the excitement spread immense outdoor meetings were held to accommodate the crowds. Thousands would attend these meetings, some families coming a distance of 50 miles or more. Those from a distance slept in their wagons, in tents, or in temporary structures. At these meeting hundreds would fall down and lie with every appearance of life suspended. There were other strange physical manifestations which increased the excitement and deeply moved the multitude. There were nervous affections which produced horrible convulsions of the countenance.
These camp meetings were the first in the United States and seem to have been inaugurated by the Presbyterians, but a portion of the Presbyterian clergymen opposed the work. McNemar gives an account of the beginning of these camp meetings. The first, he says was held at his own church at Cabin Creek, Ky., beginning May 22, 1801, and continuing four days and nights. "The scene," he continues, "was awful beyond description; the falling, the crying out, praying, exhorting, singing, shouting, etc., exhibited such new and striking evidences of a supernatural power that few, if any, could escape without being affected.

source: Dallas Bogan (2004): The Pioneer Writings of Josiah Morrow
online: _http://www.rootsweb.ancestry.com/~ohwarren/Bogan/bogan284.htm

Boris Sidis (1896) describes the scenery as follows:

The scene was awful beyond description. The preaching, the praying, the singing, the shouting, the sobbing, the fits of convulsions, made of the camp a pandemonium. Religious suggestion soon affected the idle crowd of spectators, and acted with such virulence that those who tried to escape were either struck by convulsions on the way, or impelled to return by some unknown, irresistible power. The contagion spread with great rapidity, and spared neither age nor sex. The camp-meeting of Indian Creek, Harrison County, is especially interesting and instructive for its bringing clearly to light the terrible power of suggestion. The meeting was at first quiet and orderly. There was, of course, a good deal of praying, singing, and shouting, but still nothing extraordinary occurred. The suggestion, however, did not fail to come, and this time it was given by a child. A boy of twelve mounted a log, and raising his voice, began to preach. In a few moments he became the center of the religious mob. "Thus, O Sinners," he shouted, "shall you drop into hell, unless you forsake your sins and return to the Lord." At that moment some one fell to the ground in convulsions, and soon the whole mob was struggling, wriggling, writhing, and "jerking." In some camp-meetings the religious mob took to dancing, and at last to barking like dogs. Men, women, and children assumed the posture of dogs, moving on all fours, growling, snapping the teeth, and barking.

source: Boris Sidis (1896): A Study of Mental Epidemics, Century Magazine, 1896, 52, p.849–853.
(online: _http://sidis.net/mentalepidemics.htm)


... to be continued
 
Before discussing psychological (dissociation) or spiritual (possession) explanations let us just have a brief look at medical explanations/texts concerning Dancing Mania:

Sydenham's Chorea got it's name from the Greco- Latin word implying the act of dancing, the word chorea was first applied by Paracelsus to the frenzied movements of religious fanatics who during the middle ages journeyed to the healing shrine of St. Vitus.

chorea: Pronounced As: kr, ko- or St. Vitus's dance, acute disturbance of the central nervous system characterized by involuntary muscular movements of the face and extremities. The disease, known also as Sydenham's chorea (not to be confused with Huntington's disease, a hereditary disease of adults that is sometimes called Huntington's chorea), is usually, but not always, a complication of rheumatic fever. Sydenham's chorea, a disease of children, especially females, usually appears between the ages of 7 and 14. Facial grimacing and jerking movements persist for 6 to 10 weeks and sometimes recur after months or even years. Eventually the symptoms disappear. Although there is no specific treatment, sedatives and tranquilizers are helpful in suppressing the involuntary movements. Technically, it is sometimes called chorea minor or juvenile chorea to distinguish it from several less common choreas, chorea also being a general term for continuous, involuntary jerking movements.

source: _http://saintvitus.com/SaintVitus/#Disease


Sydenham's chorea is a neurologic movement disorder characterized by irregular, abrupt, relatively rapid involuntary movements (i.e., chorea) of muscles of the face, neck, trunk, and arms and legs (limbs). Additional findings often include diminished muscle tone (hypotonia), muscle weakness, and emotional and behavioral disturbances, particularly obsessive-compulsive behaviors. Sydenham's chorea most frequently occurs in children or adolescents between the ages of 5 to 15 following acute rheumatic fever (ARF). ARF is an inflammatory disease that develops subsequent to throat infection with certain strains of streptococcal bacteria (i.e., group A beta-hemolytic streptococci).

In patients with Sydenham's chorea, choreic movements usually begin gradually, progressively worsening over a few weeks to a month. Associated findings may be extremely variable, ranging from relatively mild incoordination to severe disruption in conducting voluntary movements of multiple muscle groups, potentially affecting speech, arm movements, walking, and the ability to perform certain activities of daily living. In some patients, Sydenham's chorea may a self-limited condition, usually spontaneously resolving within about nine months (average duration) to two years (about 50% of patients); therefore, treatment with certain medications may be restricted to patients with significantly impaired function resulting from severe chorea.

History

Sydenham's chorea was described in the medical literature in 1686 by Thomas Sydenham, after whom the syndrome is now named. The disorder has also been referred to as...

* St. Vitus' dance
* Acute chorea
* Chorea minor
* Rheumatic chorea

source: _http://www.mdvu.org/library/disease/sydenhams/


As the clinical features were heterogeneous, Saint Vitus’ dance (also known as triste mal) became an umbrella term for an assortment of conditions with movement disorder. The association was further enhanced during the middle ages when outbreaks of dancing mania and other delirious behaviour struck Europe.
Pieter Brueghel the Elder in 1564 depicted the mania of Saint Vitus’ dance in a well known print entitled “Procession of the
Possessed”, reproduced in Schechter.

The explanation of these historical events remains unclear. Whether they represented mass hysteria, epidemic infection, or food poisoning has not been resolved. The identification of these epidemics with the present day Sydenham’s chorea is also problematic.

However, the dance did undergo a process of differentiation. In the 16th century Paracelsus designated Saint Vitus’ dance as “chorea naturalis”. He recognised that the loss of emotional stability and
voluntary motor control was central in the course of the disease. A century later Sydenham, in 1686, clarified the kinetic disturbances:

“ . . .Saint Vitus’ dance is a sort of convulsion which attacks boys and girls from the tenth year till they have done growing. At first it shows itself by a halting, or rather an unsteady movement of one of the legs, which the patient drags. Then it is seen in the hand of the same side. The patient cannot keep it a moment in its place, whether he lay it upon his breast or any other part of his body. Do what he may, it will be jerked elsewhere convulsively . . ..”

Sydenham also described rheumatic fever with its articular manifestations, but he failed to connect it with the chorea. The failure was due in part to the fact that Sydenham and his colleagues did not have a clear idea of the visceral involvement in rheumatic fever. The lack of an auscultation method undoubtedly hampered Sydenham in making the diagnosis of rheumatic carditis. It remained for Richard Bright in 1831 to make the linkage:

“The instances of the combination and alteration of rheumatism and chorea are very numerous; and though I doubt not, in some cases the coverings of the cerebrospinal mass may be and are implicated, yet I believe that the much more frequent cause of chorea, in conjunction with rheumatism, is the inflammation of the pericardium. The irritation probably is communicated thence to the spine . . ..”
We have here the chorea, the peripheral, and systemic manifestations of rheumatic fever grouped together for the first time. Others, notably See in 1850, also articulated the urinary view, that the chorea, carditis, and the articular features were all components of the rheumatic fever. Bright could not be faulted for a misguided notion of the disease pathogenesis, for it was not until the 1930s that the infectious process in rheumatic fever was elucidated by the work of A.F. Coburn, among others. The cerebral lesion of chorea and its relation to the damage in other organs remain unresolved issues. Nevertheless, we have advanced far in our understanding of Saint Vitus’ dance, or in modern usage, Sydenham’s chorea.

source: EFTYCHIADIS and CHEN (2001): Saint Vitus and his dance, Journal Neurol. Neurosurg. Psychiatry.2001; 70: p.14
online: _http://www.pubmedcentral.nih.gov/picrender.fcgi?artid=1763459&blobtype=pdf


Dear Editor,

Eftychiadis and Chen describe the fascinating history of St Vitus. Sydenham's description of a movement disorder which "attacks boys and girls from the tenth year till they have done growing..." certainly would make one think of tic disorders or Tourette syndrome.

In my clinical practice, it is very common for people with tic disorders to give a family history of "St Vitus Dance". This, tied in with the increased prevalence of obssesive compulsive symptoms in people with Sydenham's chorea[1] suggests a nosological connection between these disease entities.

Reference
(1) Swedo SE, et al. High prevalence of obsessive-compulsive symptoms in patients with Sydenham's chorea. The American Journal of Psychiatry 1989;146:246-9.

source: _http://jnnp.bmj.com/cgi/eletters/70/1/14#2


... to be continued
 
I think that the reference to the evangelistic activities is probably going in the right direction. Keep in mind that this dancing mania followed after some of the most frightening events in history - the Black Death. People were in a strange, unstable state psychologically and mass hysteria would have spread rapidly in the population.

Considering Mike Baillie's thesis of comets being involved in the Black Death, one might also consider the fact that there could have been some sort of pathogen "aboard" those comets that affected people's nervous systems in unusual ways. It may have been that those individuals that were infected but did not die during the "pestilence," developded neurological issues later.
 
transdimensional said:
Dancers would often also be accompanied by musicians. It was believed at the time that the order of music could heal both body and soul. Scholars such as Adam Milligan touted music as a cure for the ailments of society as well, imbuing it with the power to restrain social vices. Dancing mania would often thus be "treated" by playing music in an attempt to control the erratic spasms and gyrations of the dancers. Epileptic seizures were treated in a similar way at the time.

Justus Hecker (1795-1850), whose work Epidemics of the Middle Ages compiled many accounts, describes:

A convulsion infuriated the human frame....Entire communities of people would join hands, dance, leap, scream, and shake for hours....Music appeared to be the only means of combating the strange epidemic...lively, shrill tunes, played on trumpets and fifes, excited the dancers; soft, calm harmonies, graduated from fast to slow, high to low, prove efficacious for the cure.

Scientific explanations

...

Ergotism can easily be fatal; indeed fatalities amongst dancers are described in the early 17th century Strasbourg Chronicle of Kleinkawel. Ironically, if this was the cause of the dancing mania, then the contemporary cure of playing music to the dancers would only have prolonged their mania by stimulating further convulsions and hallucinations.

Hi, transdimensional.

You may be interested in Oliver Sacks' work on musicophilia if you're not familiar with it. Unfortunately, I loaned out my copy of his book, Musicophilia but I will try and get it back this week. Here is a short description of the book:

Music can move us to the heights or depths of emotion. It can persuade us to buy something, or remind us of our first date. It can lift us out of depression when nothing else can. It can get us dancing to its beat. But the power of music goes much, much further. Indeed, music occupies more areas of our brain than language does--humans are a musical species.

Oliver Sacks's compassionate, compelling tales of people struggling to adapt to different neurological conditions have fundamentally changed the way we think of our own brains, and of the human experience. In Musicophilia, he examines the powers of music through the individual experiences of patients, musicians, and everyday people--from a man who is struck by lightning and suddenly inspired to become a pianist at the age of forty-two, to an entire group of children with Williams syndrome who are hypermusical from birth; from people with "amusia," to whom a symphony sounds like the clattering of pots and pans, to a man whose memory spans only seven seconds--for everything but music.

Our exquisite sensitivity to music can sometimes go wrong: Sacks explores how catchy tunes can subject us to hours of mental replay, and how a surprising number of people acquire nonstop musical hallucinations that assault them night and day. Yet far more frequently, music goes right: Sacks describes how music can animate people with Parkinson's disease who cannot otherwise move, give words to stroke patients who cannot otherwise speak, and calm and organize people whose memories are ravaged by Alzheimer's or amnesia.

FWIW
 
Laurel said:
Our exquisite sensitivity to music can sometimes go wrong: Sacks explores how catchy tunes can subject us to hours of mental replay, and how a surprising number of people acquire nonstop musical hallucinations that assault them night and day. Yet far more frequently, music goes right: Sacks describes how music can animate people with Parkinson's disease who cannot otherwise move, give words to stroke patients who cannot otherwise speak, and calm and organize people whose memories are ravaged by Alzheimer's or amnesia.

A few weeks ago a friend sent me a link to a radio broadcast about music and the brain :
http://www.guardian.co.uk/science/audio/2008/aug/18/science.weekly.podcast

Science Weekly podcast: Music and the brain

Is music just "auditory cheesecake" or can it provide deep insights into the workings of the brain and the evolution of language. From the New Zealand haka to raves and dancing birds, James Randerson investigates

James Randerson, guardian.co.uk, Monday August 18 2008

Science Weekly takes on evolutionary psychologist Stephen Pinker's idea that music is merely "auditory cheesecake" - pleasant on the ear but ultimately not much use.

In our Music and the Brain special, James Randerson and the team ask why music evolved, how it is linked to language, how it is understood by the brain and how it can be used to treat patients.

Dr Ian Cross talks about how music acts as a social tool. Dr Eric Clark at Oxford University tells us why dance music has such a profound effect on a club full of revellers. And Paul Robertson, founder and leader of the Medici String Quartet explains music can communicate subtle ideas and help people with Alzheimer's di(s)ease. Also, Dr Adena Schachner at Harvard tell us why animals dance [a must see!!].

This week's show was produced by Francesca Panetta and interviews were conducted by BA media fellow Marcus Pearce.
musique017.gif
 
Dr Ian Cross talks about how music acts as a social tool.
my mother used to say: Wo man singt da lass dich gerne nieder, boese menschen singen keine lieder (where people sing you may settle,bad/evil people dont sing songs) ;D
RRR
 
I think that the reference to the evangelistic activities is probably going in the right direction. Keep in mind that this dancing mania followed after some of the most frightening events in history - the Black Death. People were in a strange, unstable state psychologically and mass hysteria would have spread rapidly in the population.


yes, I so can see these people (pentecostals, charismatics etc) doing that dance again. Look at "holy laughter" and "speaking in tongues", it's not much different:

\\\http://www.youtube.com/watch?v=1SgByE0pX1M

\\\http://www.youtube.com/watch?v=XSCuY7jyoTs

etc, there is so much of that on youtube.
 
Hildegarda said:
I think that the reference to the evangelistic activities is probably going in the right direction. Keep in mind that this dancing mania followed after some of the most frightening events in history - the Black Death. People were in a strange, unstable state psychologically and mass hysteria would have spread rapidly in the population.


yes, I so can see these people (pentecostals, charismatics etc) doing that dance again. Look at "holy laughter" and "speaking in tongues", it's not much different:

\\\http://www.youtube.com/watch?v=1SgByE0pX1M

\\\http://www.youtube.com/watch?v=XSCuY7jyoTs

etc, there is so much of that on youtube.

Man, I guess normal/rational Americans must be horrified to see this, but imagine what it is for non-Americans :O We don't have that stuff in France,... those loonies are really scary to look at.
 
PFR said:
Man, I guess normal/rational Americans must be horrified to see this, but imagine what it is for non-Americans Jaw Drop We don't have that stuff in France,... those loonies are really scary to look at.

And then, there are "Americans" like Sarah Palin who think it is perfectly normal.
 
Laura said:
PFR said:
Man, I guess normal/rational Americans must be horrified to see this, but imagine what it is for non-Americans Jaw Drop We don't have that stuff in France,... those loonies are really scary to look at.

And then, there are "Americans" like Sarah Palin who think it is perfectly normal.

And hence why America has become, subconsciously, a poison, in the minds of many.

[azur edit: removed unclear noise. :-) ]
 
Laura said:
PFR said:
Man, I guess normal/rational Americans must be horrified to see this, but imagine what it is for non-Americans Jaw Drop We don't have that stuff in France,... those loonies are really scary to look at.

And then, there are "Americans" like Sarah Palin who think it is perfectly normal.

Actually after seeing these videos linked to by Hildegarda, I searched for others on the same subject and stumbled upon one vid on Palin and her pentecostal affiliations, already posted in this thread
When I see these loonies it reminds me of this passage in Amazing Grace where you describe a scene where a woman is 'exorcised' during a mass at church, and she starts to do all this stuff (speak in tongues etc) and then you look at her once it's finished, and she turns her head and you see an evil look on her face, like she's totally possessed. Isn't what this stuff is all about? Mass possession?
 
Prayers for rain said:
Actually after seeing these videos linked to by Hildegarda, I searched for others on the same subject and stumbled upon one vid on Palin and her pentecostal affiliations, already posted in this thread
When I see these loonies it reminds me of this passage in Amazing Grace where you describe a scene where a woman is 'exorcised' during a mass at church, and she starts to do all this stuff (speak in tongues etc) and then you look at her once it's finished, and she turns her head and you see an evil look on her face, like she's totally possessed. Isn't what this stuff is all about? Mass possession?

Speaking of which, I've decided to put Amazing Grace back on the web just so people can have a sort of "insider's" view of this kind of nonsense AFTER the insider is out.
 
Hildegarda said:
I think that the reference to the evangelistic activities is probably going in the right direction. Keep in mind that this dancing mania followed after some of the most frightening events in history - the Black Death. People were in a strange, unstable state psychologically and mass hysteria would have spread rapidly in the population.


yes, I so can see these people (pentecostals, charismatics etc) doing that dance again. Look at "holy laughter" and "speaking in tongues", it's not much different:

\\\http://www.youtube.com/watch?v=1SgByE0pX1M

\\\http://www.youtube.com/watch?v=XSCuY7jyoTs

etc, there is so much of that on youtube.

Wow! I can't even watch more than a few minutes of that!

Who in their right mind would want to belong to something like that?

It almost appears to me that these people are so rigid in what they believe - that they are so controlled in what they do and think, that when the opportunity to "let loose" arises, they just cannot stop. It also is easy to see how there could be a mass hypnosis in play.

Don't know, I could be way off base, though.
 
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