This article examines a single figure from Christian history, the reformed sinner known as Musa of Rome (d.c. 593). Tracing the evolution of Musa from Gregory the Great’s Dialogues to early modern pastoral texts, this study explores processes of condemnation, recalibration, and negotiation regarding dance in premodern Christianity. The first section analyzes medieval portrayals of Musa as expressions of “choreophobia,” a term borrowed from dance studies scholar Anthony Shay that denotes cultural anxiety surrounding dance. Here, I argue that choreophobic renditions of Musa sedimented medieval misogyny and conceptualized sin. The second section turns to late medieval sources that assess dance differently vis-à-vis dance studies scholar André Lepecki’s concept of “choreopolice” or “choreopolicing”. For this study, choreopolicing highlights how ecclesiastical authorities refashioned Musa as a moralizing vehicle to articulate and implement clerical agendas. The third and final section explores Musa’s inspiring aura as a sacred muse. In this vein, her kinesthetic afterlives helped Christian laity apprehend Marian piety, visualize the resurrected body, and communicate hope for redemption. Methodologically, this study embraces the frameworks of religious studies, medieval studies, and dance studies. However fictional and embellished retellings of the Musa story were, this article—the first in-depth scholarly study dedicated to Musa of Rome—demonstrates how the medieval dancing body manifested a site of political contestation, ecclesiastical control, and individual redemption.
