This paper surveys sixteenth- and seventeenth-century English sermons on David, Salome, and Miriam. It argues that the juxtaposition of Salome with David exposes the extent to which dance was treated as a gendered transgression in early modern England. Salome became the exemplar of Scriptural proof for why women who danced were transgressive and the literal model for why contemporary women who danced were sinful. Meanwhile, David became an exemplar of godly worship. Contrasting the figures of David and Salome, models of Christian joy and sexual, profane transgression, gave early modern preachers a way to negotiate the tension between dance as biblically justifiable and dance as dangerous. Furthermore, this pairing of a transgressive female dancer with an acceptable (if not imitable) male dancer highlighted the increased conflation of transgressive dance with transgressive women. Salome and David were presented as opposites meant to provide clearer guidelines for congregational behavior, and to illustrate the same lesson as other late medieval and early modern sermons: dancing, when performed by a woman, was dangerous, sinful, and associated with false religion.
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