Methodism in a progressive world, compared to the movement begun by John Wesley, is not only heartbreaking but also a loss of core missional identity. The phrase “Dancing on John Wesley’s grave” is a missional idiom and metaphor rather than a literal physical event. Dancing on John Wesley’s grave refers to the figurative act of Methodists acting with impunity, existing as ‘a dead sect having the form of religion without the power’ and making controversial alliances that disrespect the memory and spirituality of the co-founder of Methodism, John Wesley. Obsessed with worldly values, dancing on John Wesley’s grave points to a mission and leadership carpet crossing from the teachings of the Holy Bible, a shift from Orthodoxy instead of maintaining scriptural holiness.

Wesley’s prophetic words near the end of his life point to a state of Methodist people dancing on a grave that once spread scriptural holiness. He said, ‘I am not afraid that the people called Methodists should ever cease to exist either in Europe or America. But I am afraid lest they should only exist as a dead sect, having the form of religion without the power. And this undoubtedly will be the case unless they hold fast both the doctrine, spirit, and discipline with which they first set out.’ (‘Thoughts Upon Methodism,’ 1786). Wesley’s worry and prophetic words in his old age were that ‘someday the church into which he had poured his life would forget and discard his values. It would cease being a living, dynamic organism for winning non-Christians to Christ, and it would exist merely as a religious institution, similar to his Anglican Church. If that happened, he knew, Methodism would be in grave trouble.’ A wider and worldwide Methodism is facing parochial expression and control by a few progressives, as in the case of the United Methodist Church and Asbury Theological Seminary.

The phrase “Dancing on John Wesley’s grave” serves as a metaphor that condemns a form of religion without power. To dance on Wesley’s grave warns that if the people can dance over the grave of their founders, it signals deep arrogance, lostness, pride and a threat to the essence of Methodism in spreading scriptural holiness. Dancing on John Wesley’s grave challenges Methodist leadership and members who have a form of title without mantle, having a form of godliness but denying its power (2Tim 3:5). To dance on John Wesley’s grave describes a faith that is reduced to empty rituals, traditions, and an outward appearance of morality, without the genuine, life-transforming power of the Holy Spirit to change the heart. Dancing on John Wesley’s grave points to groups or figures who play a role in the erosion and decline of Wesleyan spirituality and leadership.

The ongoing dancing on John Wesley’s grave points to religion without relationship, ordination without consecration, services and worship attendance out of habit without holiness, following institutional rules without knowing God. The increasing moral pretence without spiritual change, looking righteous in public but refusing to allow faith to alter inner attitudes like pride and greed, points to the act of dancing, institutional performance on John Wesley’s grave.

Rather than holding fast to the doctrine, spirit, and discipline with which Methodism first set out, we are dancing on John Wesley’s grave by rejecting the Spirit, thereby ignoring God’s Word and the actual ability of the Spirit to save, heal, deliver, and guide one’s life. Dancing on Wesley’s grave is about maintaining ‘form’ of religion without redemption, meetings without movement and conferences without conversion of souls.

To stop the shameful dancing on Wesley’s grave, there is a need to rediscover our lost direction. Mission work is not just a trip abroad; local home mission needs repair and renewal. We need a break from repetitive worship and drowning of responsive rhetoric. Charles Wesley, in one of his hymns, ‘And Can it Be,’ offers a way forward to break free from dancing on their graves, a ‘dead’ spiritual state. This hymn offers a renewing dance, framed as an expression of ultimate joy, praise, and victory over despair, decline, and pride.

1

And can it be that I should gain
An int’rest in the Savior’s blood?
Died He for me, who caused His pain?
For me, who Him to death pursued?
Amazing love! how can it be
That Thou, my God, shouldst die for me?
Amazing love! how can it be
That Thou, my God, shouldst die for me?

2

’Tis mystery all! The Immortal dies!
Who can explore His strange design?
In vain the firstborn seraph tries
To sound the depths of love Divine!
’Tis mercy all! let earth adore,
Let angel minds inquire no more.
’Tis mercy all! let earth adore,
Let angel minds inquire no more.

3

He left His Father’s throne above,
So free, so infinite His grace;
Emptied Himself of all but love,
And bled for Adam’s helpless race:
’Tis mercy all, immense and free;
For, O my God, it found out me.
’Tis mercy all, immense and free;
For, O my God, it found out me.

4

Long my imprisoned spirit lay
Fast bound in sin and nature’s night;
Thine eye diffused a quickening ray,
I woke, the dungeon flamed with light;
My chains fell off, my heart was free,
I rose, went forth, and followed Thee.
My chains fell off, my heart was free,
I rose, went forth, and followed Thee.

5

No condemnation now I dread;
Jesus, and all in Him, is mine!
Alive in Him, my living Head,
And clothed in righteousness Divine,
Bold I approach the eternal throne,
And claim the crown, through Christ my own.
Bold I approach the eternal throne,
And claim the crown, through Christ my own.