Harrison says that the word meaning rite in Greek is dromenon, that is 'a thing done' (Ibid., p. 35). The word 'drama' comes from this root. In a dromenon as a thing done ritually, we have the soil from both dance and drama grow. This idea seems also to be linked to the Tarahumares' feeling that work and dance are significantly related concepts, and that both work and dance in the sense are also related to worship.
Occasionally, even now, one comes across dance in this deepest oldest sense of 'sacred work'. The Corn Dances of the Pueblo Indians in the south-west are surely examples of such 'sacred work'. Once in Greece in the spring I saw, from a car window, two men in a newly-planted field, arms across each others' shoulders, dancing gravely and rhythmically without any music except the music of spring itself.
Another time in the Ethiopian city of Gondar, in a beautiful small old Coptic church, a priest beat some magnificent drums to let us hear the sound. Suddenly, but quite naturally, one of the guides began to dance, another joined him, and another took up that ancient instrument, the sistrum. It was as if the image in the miniature of King David and the musicians and dancers had come alive. Again there was a timeless moment. But just as suddenly the guides stopped dancing and laughed in an embarrassed fashion, as if their Ethiopian bodies and heritage had betrayed their recent westernisation.