Exodus 15:20

Miriam the prophetess. Miriam is the first woman whom the Bible honors with this title. Others followed from time to time throughout the history of God’s people (see Judges 4:4; 2 Kings 22:14; Isa. 8:3; Luke 2:36). Miriam is not called a prophetess here primarily because the words she sang were inspired, but rather in recognition of her role in the Exodus, second only to the part taken by Moses and Aaron (see PP 382). She specifically claimed to possess the prophetic gift (Num. 12:2), inasmuch as God had spoken through her. The prophet Micah states that the Lord delivered Israel out of Egypt by Moses, Aaron, and Miriam (Micah 6:4). Her task may have been to communicate to the people messages by which the hope of deliverance was kept alive during the dark years of oppression. She may have taught, admonished, and reproved the people. Here, at the Red Sea, however, she appears as an inspired and talented singer and musician. She must have been more than 90 years of age at the time (see Ex. 2:4; 7:7).

The sister of Aaron. Though Miriam was, of course, Moses’ sister as well, and had been instrumental in protecting him during infancy, she is here called the sister of Aaron. This perhaps indicates a subordinate position in relation to that held by Moses, but comparable to that of Aaron, who was himself subordinate to Moses (see ch. 4:16).

Took a timbrel. The instrument played by Miriam and her women accompanists was either a tambourine or a hand drum. Modern scholars specializing in the history of ancient musical instruments favor the latter translation. The same word for timbrel, toph, is used in modern Hebrew and Arabic to designate a hand drum. Ancient Egyptian pictures of this instrument show it made of a wooden hoop and two skins, but without jingles or sticks. It is beaten by the hand of the player. In the Bible this instrument is usually played by women (Judges 11:34; 1 Sam. 18:6; Ps. 68:25), as it was in Egypt, but sometimes also by men (1 Sam. 10:5). It often accompanied singing and dancing, probably to accentuate the beat, and was considered a joyful instrument. In the OT it is usually associated with merrymaking and praise.

All the women. The separation of men and women into distinct bands was an Egyptian custom, as likewise was the performance of dances by groups of men and women, who accompanied their steps with music. This custom seems to have been taken over by the Hebrews during their long sojourn in Egypt. In later times we find Hebrew women taking part in the victory celebrations, when they met the returning armies with music and song (see Judges 11:34; 21:21; 1 Sam. 18:6, 7; 29:5).

With dances. The use of dances in religious ceremonies, so contrary to Western ideas of decorum, has ever been acceptable to the Oriental mind and sentiment. Various examples of religious dancing are found in the OT narrative. David danced before the ark when bringing it to Jerusalem (2 Sam. 6:16), Jephthah’s daughter met her victorious father with dancing (Judges 11:34), and the virgins of Shiloh celebrated a feast in this way (Judges 21:21). Dancing is also mentioned with approval by the psalmist (Ps. 149:3; 150:4). The dancing of Bible times was an outward expression of holy joy, entered into in the same spirit as songs of praise or prayers of thanksgiving. It was distinctly an act of worship, and God accepted it as such (cf. John 6:37). Modern social dancing bears no resemblance whatever to the religious dancing of Bible times, for in it there was no mingling of men and women, and the only objective of the participants was the expression of love, devotion, and thanksgiving to God. Ancient dancing was an integral part of worship ritual.