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This study is to investigate the ecstasies of dances. It was aimed to inquire into what dances have been to human beings since the beginning of mankind and what functions and efficacies of dances have made dances continue until today through a variety of their changes. This study was started with the analyses of the functions and characters of ecstasies in a primitive dance, a form of primeval sorcery activities. After that, the author examined the purposes and functions of dances in executing shamanism, a primeval religion. As a result, the author was able to produce a logical proposition that humans danced because they wanted to have a mentally, socially, or psychologically supernatural power. The core of the power is ‘rapture’ according to the expression of Nietzsche. Such rapture (or intoxication) is subservient to the educational, preventive, medical, and artistic functions of dances. In conclusion, this study suggests the functions and concepts of ecstasies in dances as follows: - The ecstasies of dances include absence of ego, forgetfulness of ego, and forgetfulness of knowledge - according to the expression of Lukacs, ‘pure spirit‘ - which can be attained only through pure consciousness (in a phenomenological term, ‘surplus’). According to Chuangtzu, ecstasy is ‘the perfect freedom of spirit’ and the secret of art that can be accomplished only through death or forgetfulness. - Ecstasy makes an object a useless subject of art (in the expression of Kant, Zweckmaβigkeit ohne Zweck), and it is tantamount to ‘formlessness’ by Lao-Tzu, ‘entirety of principal and auxiliary’ by Chuangtzu, and ‘empathy’ or ‘perception boundary where Noema and Noesis concur’ by Lipps.