successively expanded and modified their consecratory function according to the polit-
ical climate, in the time between the first Roman emperor Augustus and the last
member of the Julio-Claudian dynasty, Nero. Even if the topographical situation of
the region before the drastic changes in Rome after the fire ofad 64 made by Nero
cannot be reconstructed, the location of this temple close to the political center
of Rome documents the importance of the collegiumthat was able to erect such a
monument for the emperor cult.
The organizational structure of dancers is less clear. Only the priests of the Salii
and the Arval Brethren were organized in collegia(Estienne 2005; Scheid 2005d).
Both priesthoods – and sources speak of a long tradition of these cults – performed
dances in various rituals. During a ritual lasting several days and containing multiple
elements, the Arval Brethren sang in a grove sacred to the Dea Dia a ceremonial
song and danced the tripudium. This is documented by Livy (1.20.4) also for the
Salii, who are involved in the service of Mars: Numa had instructed the Salii to carry
the holy shields and to proceed through the city singing ceremonial songs and danc-
ing in solemn tripudium. According to ancient authors the name “Salii” is derived
from their activity, according to Varro (Ling.5.85) ab salitando. The boys that per-
formed the Lusus Troiae at the Campus Martius in Rome, however, often named
as armed dancers in antique sources (Suet. Caesar39), were part of a military-style
organization.
Dancers are also documented in other contexts of the Roman public cult with-
out any mention of their organization or socio-political position. Dionysius of
Halicarnassus (7.72.5–10) describes in his Roman Antiquities, published in 7 bc,
choirs of armed dancers and satyrs for the first pompa circensis, said to have taken
place in 490 bc(see next section). The armed dancers might have been organized
and appeared in military formation, just like the boys leading the procession of the
pompa circensis. Dionysius (2.71.4) further mentions that armed dancers named ludiones
or lydionesled the processions. He gives only conflicting information about the
position of these dancers in the procession, but none of their organization.
The organization in collegiaserved first of all as a professionalization, guarantee-
ing a correct performance of the ritual. The ritual itself was defined by strict rules,
on adherence to which rested the success or failure of the cult observations. Each
part of the ritual needed to be performed perfectly, to fulfill the hopes and expec-
tations connected with this sacrifice. The collegianot only guaranteed the correct
performance of these acts through professional specialization, but also ensured the
conservation and proliferation of the necessary knowledge. They offered a framework
for the theoretical and practical education of these specialists. From this tradition
probably stems the high self-esteem of the collegia, documented in monuments.
Translation of Rituals into Literary and
Pictorial Representations
The fundamental problem in reconstructing the forms, functions, and significance
of music and dance in Roman ritual rests with the characteristics and intentions of
Music and Dance 253