Dance Ethnology and the Anthropology of Dance

Author(s): Adrienne L. Kaeppler

Source: Dance Research Journal, Vol. 32, No. 1 (Summer, 2000), pp. 116-125
Published by: Congress on Research in Dance
Stable URL: https://www.jstor.org/stable/1478285
Accessed: 30-11-2019 00:30 UTC

REFERENCES
Linked references are available on JSTOR for this article:
https://www.jstor.org/stable/1478285?seq=1&cid=pdf-reference#references_tab_contents
You may need to log in to JSTOR to access the linked references.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms

Congress on Research in Dance is collaborating with JSTOR to digitize, preserve and extend
access to Dance Research Journal

This content downloaded from 193.55.96.20 on Sat, 30 Nov 2019 00:30:01 UTC
All use subject to https://about.jstor.org/terms
American
AmericanAssociation
AssociationofofHealth,
Health, Physical Solomon, R. and J. Solomon, eds. 1995.
Physical
Education,
Education,Recreation,
Recreation,and
andDance.
Dance. "Science and Somatics." Impulse 3/4.

Schon, L. C. and A. F DiStefano. 1999. Solomon, R. and J. Solomon. 1998. Dance

"Evaluation and Treatment of Posterior Tibi- Medicine and Science Bibliography.
Andover, NJ: J. Michael Ryan Publishing,
alis Tendinitis: A Case Report and Treatment
Protocol." Journal of Dance Medicine Inc.
&
Science 3/1: 24-27.
Solomon, R., E, Trepman, and L. J. Micheli.
1989-1990. "Foot Morphology and Injury
Skrinar, M. 1986. "Motor Learning Research
May Help the Dancer." In The Dancer as in Ballet and Modem Dancers." Ki-
Patterns
Athlete, ed. C. G. Shell. Champaign,nesiology
Illi- and Medicine for Dance 12?1: 20-
nois: Human Kinetics. 40.

Skrinar, M. and N. H. Moses. 1988. "Who's Teitz, C. C. 1990. "Knee Problems in Danc-
Teaching the Dance Class?" In Science ofers." In Preventing Dance Injuries, eds. R.
Dance Training, eds. P. Clarkson and M. Solomon, S. Minton and J. Solomon. Reston,
Skrinar. Champaign, Illinois: Human Kinet-VA: American Association of Health, Physi-
ics. cal Education, Recreation, and Dance..

Solomon, R., S. Minton, and J.Solomon. Welsh, T. M. and S. J. Chatfield. 1997.

1990. Preventing Dance Injuries: An Inter-"Within-subject Research Designs for Dance
disciplinary Perspective. Reston, VA: Ameri- Medicine and Science." Journal of Dance
can Association of Health, Physical Educa-Medicine & Science 1/1: 16-21.
tion, Recreation, and Dance.

I. Dance Ethnology and the

Anthropology of Dance

Choreographers,
Choreographers,dancers,
dancers, and
andviewers
viewersdance
of of and other structured movement sys-
dance
dance are
are socially
sociallyand
andhistorically
historically tems in the larger scheme of cultural forms.
placed
placed
individuals
individualswho whooperate
operate according
accordingto to There
socio-are also numerous studies of dance
socio-
cultural
cultural conventions
conventionsand andaesthetic
aesthetic by indigenous researchers who work on the
systems.
systems.
This
This is
is also
alsothe
thecase
casewith
with those
thosewho
who dance traditions of their own cultures as well
study
study
and write about dance-dance historians, as the dance traditions of others, including
dance ethnologists, anthropologists. This ballet and modern dance. What these re-
essay will focus on dance studies by anthro- searchers have in common is that they fe
pologists, dance ethnologists, and indig-that dance is not transparent, giving up its
enous scholars and how their interpretations secrets to the uninitiated, but that it must
have been presented as well as how theyseen as an integral part of a total way of lif
have evolved and changed. Unlike most dance in the West, in many oth
Although Western dance and its parts of the world dance is not simply enter
music have made inroads into the perform- tainment.
ing arts of even the most remote corers of Recent trends in dance studies sug-
the world, the indigenous dance traditions gest that the terms "Western dance" an
"non-Western dance" perpetuate false d
of most nations are still alive and well, and
indeed continue to influence dance in the chotomies and that a focus on who studies
West. Studies of non-Western dance tradi- the dances, and their points of view, might
be more appropriate. Some studies result
tions are usually carried out by anthropolo-
gists or dance ethnologists who are likely from
to turning the anthropological eye upon
have the background knowledge that would "ourselves" while others use insights from
dance history to explore the "other." For
help them to appreciate and understand

116 Dance Research Journal 32/1 (Summer 2000)

This content downloaded from 193.55.96.20 on Sat, 30 Nov 2019 00:30:01 UTC
All use subject to https://about.jstor.org/terms
example, Susan Foster's dance history work Movement analyses from anthropological
is informed by anthropological theory, while points of view encompass all structured
Cynthia Novak's anthropological studies movement systems, including those associ-
were informed by dance history. The work ated with religious and secular ritual, cer-
of Margaret Drewal in performance studies emony, entertainment, martial arts, sign lan-
is informed by both-as is evidenced by her guages, sports, and games. What these sys-
work on African dance and her study of the tems share is that they result from creative
Rockettes. Joann Keali'inohomoku also has processes that manipulate (i.e., handle with
written on Hopi dance and ballet as an skill)
eth- human bodies in time and space. Some
categories of structured movement may be
nic dance, while Anya Royce, a ballet dancer,
has written a general book on the anthro- further marked or elaborated, for example,
pology of dance. My own work invokes by abeing integrally related to "music" (a
variety of disciplines in my studies of
specially marked or elaborated category of
Polynesian dance-for example, in compar- "structured sound"), and text.
ing Polynesian traditions with the Broadway Analyses that would make it possible
musical Cats to raise questions about how to separate movement systems conceptual-
poetic and movement idioms are conveyed ized as "dance" and "non-dance" accord-
and understood in performance, thereby ing to indigenous points of view (or eve
emphasizing the necessity of understandingasking if there are such concepts) have n
the total culture in order to understand yet
spe- been carried out in many areas. Mos
cific performances. researchers simply use the term "dance" fo
any and all body movement associated wi
Most anthro/ethno researchers agree
music, but it should be remembered tha
that it is necessary to examine how individu-
als involved in studying dance learn to in-
"dance" is a Western term and concept (just
as is the term "music").
terpret what they see. The notion that dance
is a "universal language" is still too com- Structured movement systems are
mon and is often associated with the idea systems of knowledge-the products of a
that "outsiders" can understand body move-tion and interaction as well as process
ments of others without knowing the throughcul- which action and interaction ta
tural movement language. On the other place-and are usually part of a larger ac
tivity or activity system. These systems
hand, many dancers and researchers feel that
ballet and modern dance are universal knowledge are socially and culturally con
movement languages that can (and structed-created
have by, known, and agre
been) adopted "universally." What upon by a group of people and primaril
can we
preserved in memory. Though transient
learn from ways in which anthro/ethno/in-
digenous researchers have interpretedmovement
dance, systems have structured conten
dances, and dancing? they can be visual manifestations of soci
relations, the subjects of elaborate aestheti
Dance as a Structured Movement System
systems, and may assist in understandi
Cultural forms that result from the creative cultural values and the deep structure of th
use of human bodies in time and space aresociety. Ideal movement studies would an
often glossed as "dance," but the word itself lyze all activities in which human bodies ar
carries with it preconceptions that mask themanipulated in time and space, the soci
importance and usefulness of analyzing theprocesses that produce them according
movement dimensions of human action and the aesthetic precepts of a specific group o
interaction. Dance is a multi-faceted phe- people at a specific point in time, and t
nomenon that includes, in addition to what components that group or separate the var
we see and hear, the "invisible" underlyingous movement dimensions and activities
system, the processes that produce both the they project into kinesthetic and visual form.
system and the product, and the socio-po-Indigenous categories can best define what
litical context. In many societies there tradi-movement systems, if any, fit these, or other,
tionally were no categories comparable to characterizations and how they should be
the Western concept and the word "dance" classified. Discovering the structure and
has been adopted into many languages. content of structured movement systems, as

Dance Research Journal 32/1 (Summer 2000) 117

This content downloaded from 193.55.96.20 on Sat, 30 Nov 2019 00:30:01 UTC
All use subject to https://about.jstor.org/terms
well as the creative processes, movement clude Anca Giurchescu and Sunni Bloland
theories and philosophies from indigenous (1995), Egil Bakka (1995) and Lisbet Tor
points of view are difficult tasks, but they (1990).
are necessary for understanding culture and British traditions include derivations
society. from folklore (such as Buckland's studies
In order to be understood as dance of Morris dancing) and social anthropology
(such as studies by John Blacking and
(or some other special movement category),
movements must be grammatical, they must
Andree Grau [Grau 1993]). Several British
be intended as dance and interpreted as anthropologists published their dance
social
dance. The grammar of a movement idiom- perspectives in a book edited by Paul Spen-
like the grammar of any language-involves
cer (1985).
structure, style, and meaning; and one must American dance researchers (usually
learn to recognize the movements that make
termed "dance ethnologists" or "anthropolo-
up the system, how they can be stylistically
gists of human movement") continue to
varied, and their syntax (rules about question
how what constitutes the field: should
they can be put together to form motifs,dance studies be primarily about movement
phrases, larger forms, and whole pieces).
products or should they incorporate more
Competence to understand specific piecesanthropological notions about process,
depends not only on movement itself,event,
but ethnoaesthetics, and cultural construc-
on knowledge of cultural context and tions
phi- about structured movement? Unlike
losophy. European dance researchers, Americans
have often worked with movement tradi-
Anthropological/Ethnological Dance Stud- tions not their own, and their research tends
ies and their Roots to be more diffuse and less detailed in move-
Cultural and academic differences must be ment content.
considered when reading dance studies. Gertrude Kurath noted that the eth-
Some European traditions derived from com-
nographic study of dance was "an approach
parative musicology and folkloristics, Ameri-
toward, and a method of, eliciting the place
can studies derived primarily from theof an-
dance in human life-in a word, as a
thropological views of Franz Boas, while branch of anthropology" (1960:250). Kurath
traditions in other parts of the world derive
was drawn into the study of American In-
from historic written accounts, oral tradition,
dian dance by William Fenton and Frank
and colonial encounters. In recent years,
Speck to examine dance in areas where they
owing to meetings of the ethnochoreological
had already carried out ethnographic re-
study group of the International Council search.
for Recognizing that movement or
Traditional Music, there is more understand-
"dance" was an important part of ritual ac-
ing of this variety of perspectives thattivity
has in Indian life, they looked for some-
led to sharing and adoption of each other's
one who would be able to describe, analyze,
views.
and make sense of the movements. They had
European dance studies often usedalready done the "context," and Kurath's
comparative methods to derive classifica- task was to assist them in amassing the em-
tions, local and regional styles, historical pirical data they were after-descriptions of
layers, and intercultural influences-similar choreographic groundplans, generalized
to the aims of musical folklorists at the time.
descriptions of body movement, and state-
There was also a focus on dance structure
ments about cultural symbolism as reflected
that was systematized by a group of Eastern
in choreographic patterns.
European scholars under the aegis of the Kurath was a pioneer of empirical,
International Folk Music Council (now product-oriented
the studies in America, but her
International Council for Traditional Music,
colleagues were in Europe. They included
ICTM) which published its syllabus in 1974
Curt Sachs, whom she called "the amiable
(Giurchescu and others). Work on structural
wizard," as well as folklorists and musicolo-
analysis is still part of the ICTM gists working within their own cultural tra-
Ethnochoreology Study Group. Recent ditions that focused on systemization, clas-
books incorporating structural traditions sification,
in- and diffusion. She was also inter-

118 Dance Research Journal 32/1 (Summer 2000)

This content downloaded from 193.55.96.20 on Sat, 30 Nov 2019 00:30:01 UTC
All use subject to https://about.jstor.org/terms
ested in comparisons, and often drew them "contrastive analysis," were elaborated as
from European folkdance traditions, such as ethnotheories and ethnoscientific structur-
studies made by Danica and Ljubica alism. Movements and choreographies were
Jankovic of South Slav populations. Mostanalyzed to find underlying systems. Sys-
of Kurath's publications, however, are de-tems, of course, cannot be observed, but
scriptions of specific dance occasions, withmust be derived from the social and cultural
detailed information on costumes, musicalconstruction of specific movement worlds.
instruments, ground plans, postures, ges-Existing in memory and recalled as move-
tures, and steps, with some analysis, com- ment motifs, as imagery, and as system,
parisons, and context. movements are used to create compositions
Franz Boas was one of the founders that produce social and cultural meaning in
of anthropology in the United States; al- performance. Such analyses involve
though he came from a German scientific deconstructing the movements into cultur-
tradition, he rejected many of the ideas allyof recognized pieces and learning the rules
his homeland and focussed on cultural vari- for constructing compositions according to
ability, rejecting universal languages of artthe system. This type of analysis has been
or dance and laying a foundation for the used primarily by anthropologists, for ex-
possibility of examining dance in the con- ample, Kaeppler on the structure of Tongan
text of cultural relativism. Boas's daughter,dance (1972); Irene Loutzaki, in a study of
Franziska, was a dancer and Boas himself dance style among Greek refugees from
wrote articles about Northwest Coast Indian Northern Thrace now resident in Greece
dance (1944). The intellectual descendants(1989); and Frank Hall, in a study of impro-
of this Boasian tradition can be followed visation in American clog dance (1985). Dr
from Boas, through Herskovits and Merriam
Williams, studying with British anthropolo
to Joann Keali'inohomoku and Anya Royce. gists, adapted concepts from Chomsky
Merriam was an important anthropological Saussure, semiotics, and "semasiology" int
voice in American ethnomusicology afrom methodology concerned with the seman
the 1950s until his death, and his studentstics of body languages in which the focus i
were imbued with the Boasian doctrine that on meaning. The methods of semasiolog
dance and music must be considered in the have been used by Brenda Farnell in h
context of the society of which they study are of Plains Indian "sign language"
parts. The Boasian and Herskovitzian em- (1994) and by Rajika Puri to investigate th
place of hasta mudra in Indian dance as a
phasis on cultural relativism was widespread
in America and was elaborated by propo- expression of Indian society (1983).
nents of ethnoscience in the 1960s. These Judith Lynne Hanna has worked on
ideas were intermixed with Malinowski's gender, communication, and emotion, an
concept that our goal should be "to grasp has investigated the psychobiological bas
the native's point of view, his relation toof dance, and in what ways human danc
life,
differs from the so-called "dances" of other
to realize his vision of his world" (1922:25)
and Kenneth Pike's dictum that we should animals. Christine Loken-Kim explored the
social construction of female gender in Ko-
"attempt to discover and to describe the pat-
tern of that particular language or culturerea
in by investigating the representation of
reference to the way in which the various emotion in dance and the sentiment terms
elements of that culture are related to each used by Koreans both in evaluating women's
other in the functioning of the particular salp'uri dance and in first-person accounts
pattern" (1954:8). From Pike came the "etic/of Korean women's lives (1989). Lois Ibsen
emic" distinction (1954:11) that has contin-Al Faruqi, working in various parts of the
ued as a theoretical basis that informs the Middle East, delineated aesthetic principles
work of many American anthro/ethno dance and examined how they were manifested in
researchers. In addition, ideas about com- various cultural forms and how they might
petence and performance derived from con- be applied to human movement. She noted
cepts promulgated by Saussure and that although dance is not considered an art
Chomsky remain current. form in this area, human movements express
Etic/emic distinctions, derived bythe same aesthetic evaluative concepts as

Dance Research Journal 32/1 (Summer 2000) 119

This content downloaded from 193.55.96.20 on Sat, 30 Nov 2019 00:30:01 UTC
All use subject to https://about.jstor.org/terms
other Islamic visual arts such as architec-
which they are composed. In addition, her
ture (1978). cross-cultural emphasis and work on dance
What makes movement studies an- symbolism (1974) are important ethnologi-
thropological is the focus on system, cal
theconcerns, which also deal with cultural
identity (1989). Elsie Dunin's extensive
importance of intention, meaning, and cul-
work on Balkan dance, carried out in the
tural evaluation. Anthropologists are inter-
Balkans, California, and Chile, is focused
ested in socially constructed movement sys-
on movements and choreography and how
tems, the activities that generate them, how
and by whom they are judged, and how theythese persist or change over time in their area
can assist in understanding society. Some of origin and when they are transplanted,
anthropologists, such as Cowan (1990) plus andthe events in which they occur and con-
Schieffelin (1976) choose not to get involvedcerns with ethnicity and ethnic identity.
in movement detail, but focus primarily Dancing
on in the diaspora has also been ad-
context and meaning. Other anthropologists dressed by Judy Van Zile who has focussed
combine detailed attention to the movement on the transplantation of Bon dance tradi-
itself with the historical, social and cultural
tions from Japan to Hawaii (1982). Van Zile
systems in which the movement is embed- has also carried out research on historical
ded. Farnell's work on Plains Indian sign aspects of Korean dance movement and ha
language focuses on the movements of the done extensive work on Labanotation and
signing tradition, the stories told, and the its application to non-Western movemen
culture they express-all of which can besystems. Colin Quigley, in his work on
accessed by reading her monograph or
Newfoundland traditions and North Ameri-
through a CD ROM which, in additioncan step-dancing (1985), raises the impor-
teaches the rudiments of Labanotation. tant issue of expressive identity in diverse
Kaeppler's monograph on Hawaiian hula
dance cultures within the pluralism of Ameri-
can society-how and why distinctive tra-
pahu (1993), focuses on the ritual non-Chris-
ditions
tian basis of a moder Hawaiian dance genre are perpetuated and/or changed
with the underlying theme of how tradition
through contact with other cultural worlds.
is negotiated to make it appropriateConcerns
for its with ethnic identity, minority sta-
time. A study by Susan Reed focusses on
tus, gender, the concepts of body, self, and
the political importance of dance in Sripersonhood
Lanka are topics receiving attention
(1998). Other anthropological concerns in-dance ethnology. In these studies, the
within
clude Cartesian mind/body dualism social relationships of the people dancing
(Farnell
1995; Varela 1992), martial arts (Lewis are often backgrounded while the dance it-
1992), iconography (Seebass 1991), tour-self and its changes over time are
ism (Sweet 1985), and urban multi- foregrounded.
culturalism (Ness 1992). In short, the aim Beyond Europe and America are
of anthropological works is not simplydance
to researchers from the rest of the world
understand dance in its cultural context, with
but numerous studies of dances of their own
traditions and elsewhere-the following lists
rather to understand society through analyz-
ing movement systems. only a sampling of the riches that lie beyond:
In contrast to anthropological stud-Dance has been an academic subject at the
ies of dance, the focus of dance ethnolo- University of Ghana since 1962 and several
theses have been written by African schol-
gists is often on dance content, and the study
of cultural context aims at illuminating the ars. At the School of the Performing Arts at
Hong Kong the three-pronged curriculum
dance. For example, research on the court
context of the Javanese Bedhaya is brought includes ballet, moder, and Chinese dance.
to bear on understanding the dance (rather The Japanese scholar Kimiko Ohtani has re-
than researching the Bedhaya in order tosearched dance in Japan, Okinawa, Hawaii,
understand the Javanese court). Allegraand India. Korean scholars have researched
their own dances and their basis in shaman-
Fuller Snyder's work on Yaqui Easter cer-
emonies deals with the events within which ism and Buddhism as well as ballet and
modem dance. Kapila Vatsyayan has pub-
dances occur and the syncretism of Chris-
tian and pre-Christian movements from lished extensively on Indian dance and cul

120 Dance Research Journal 32/1 (Summer 2000)

This content downloaded from 193.55.96.20 on Sat, 30 Nov 2019 00:30:01 UTC
All use subject to https://about.jstor.org/terms
ture. Mohawk Indian Nina de Shane has 2. Movement and Meaning. Perhaps most
worked on the political importance of difficult
dance is the analysis of meaning of spe-
to ethnic identity. Arzu Ozturkman
cifichas
movements and meanings of a move-
worked on dance and nationalism in her
ment system as a whole. Meaning is usually
native Turkey. Indonesian scholars includ-
associated with communication and the pre-
ing I Made Bandem, Soedarsono, Sal sentation of the self to others and ourselves.
Murygianto, and I Yayan Dibia have done
Concepts that can be usefully employed are
extensive research on dance traditions of those derived from Chomsky, based on com-
their own culture as well as elsewhere in
petence and performance, and Saussure,
Indonesia and beyond. The research of on langue and parole. "Competence"
based
Mohd Anis Md Nor in his native Malaysia, or knowledge about a specific dance tradi-
Amy Ku'uleialoha Stillman on Hawaiian tion is acquired in much the same way as
dance, Kauraka Kauraka and Jon Jonassen competence in a spoken language is ac-
on Cook Island dance, Maria Susana Azzi quired. Competence relates to the cognitive
on Tango, and a myriad of others suggestlearning of the shared rules of a specific
that we have only begun to realize the im- dance tradition as langue is acquired in a
portance of dance to political and national Saussurian mode. Competence enables the
values, as art, and as a marker of ethnic and viewer to understand a grammatical move-
cultural identity throughout the world. ment sequence that he/she has never seen
before. "Performance" refers to an actual
Studies of Dance in the New Century rendering of a movement sequence, parole
Finally, I want to mention two types of analy- of Saussure, which assumes that the per-
sis which I believe will be important in the former has a certain level of competence and
21st century-ethnotheory and meaning. the skill to carry it out. A viewer must have
1. Theoretical and Ethnotheoretical Analy- communicative competence in order to un
sis. Important in the study of human move- derstand movement messages.
ment systems is the study of movement Anthro/ethno researchers derive
theory and philosophy of movement from their data from a wide variety of sources
the point of view of the society in which the but basic to their studies is the importanc
movement takes place. The use of Western of fieldwork. A recent book edited by
dance theory for analysis of non-Western Theresa Buckland has focussed our atten-
dance is inappropriate, and a researcher must tion on the importance of fieldwork to danc
attempt to discover indigenous theories studies (1999). What anthro/ethno/indig
about movement. How did the structured enous fieldworkers do with their data and
movement systems originate? Are they how
codi- it is presented in publication varies
fied into genres? How and by whom widely.
can But all of these researchers focus our
dances be composed? How can (and attention
can- on movement content as well as
not) movements and postures be combined? social, cultural and political concerns such
Is there a vocabulary of motifs and a gram-as gender, the body, ethnic, cultural and na-
mar for their use? Are there notions about tional identity, the negotiation of tradition,
energy and how it should be visually dis- and turning the ethnographic eye on any
played? On the basis of movement, can society. In order to find the larger view as
dance be separated from ritual? And more advocated here, fieldwork is not only rec-
basic still, does a culture have such con- ommended but is necessary in order to bring
cepts? movement into focus as part of a total cul
tural system.

Adrienne L. Kaeppler
Smithsonian Institution

Dance Research Journal 32/1 (Summer 2000) 121

This content downloaded from 193.55.96.20 on Sat, 30 Nov 2019 00:30:01 UTC
All use subject to https://about.jstor.org/terms
 References

Al Faruqi, Lois Ibsen. 1978. "Dance asDrewal.

an M. T. 1987. "From Rocky's
Expression of Islamic Culture." Dance Re-
Rockettes to Liberace: The Politics of Rep-
search Journal 10/2:6-13. resentation in the Heart of Corporate Capi-
talism." Journal of American Culture
Azzi, Maria Susana. 1991. Antropologia10/2:
del 69-82.
tango, los protagonistas. Buenos Aires:
Ediciones Olavarria. 1992. Yoruba Ritual: Perform-
ers, Play, Agency. Bloomington: Indiana
Bakka, Egil, Bjorn Aksdal, and Erling Flem.
University Press.
1995. Springar and Pols Variation Dialect
and Age. Pilot Project on the Methodology
Dunin, Elsie Ivancich. 1987. "Lindo in the
for Determining Traditions, Structures and
Context of Village Life in the Dubrovnik
Historical Layering of Old Norwegian Area of Yugoslavia." In A Spectrum of World
Couple Dances. Trondheim: Radet for Dance. Congress on Research in Dance
folkemusikk og folkedans. (CORD), Dance Research Annual 16:1-4.

Blacking, John. See Grau, Andree. .1988. "Salonsko Kolo as Cul-

tural Identity in a Chilean Yugoslav Com
Boas, Franz. 1943. "Recent Anthropology." munity (1917-1986)." Narodna Umjetnost,
Science 98:311-14, 334-37. Special Issue 2:109-122. Zagreb: Institut
of Folklore Research.
.1944. "Dance and Music in the
Life of the Northwest Coast Indians of North . 1989. "Migrations and Cul-
America." In The Function of Dance in Hu-tural Identity Expressed Through Dance: A
man Society, ed. Franziska Boas. New York:
Study of Dance Among South Slavs in Cali-
The Boas School. fornia." In Migrations in Balkan History, ed.
Nikola Tasic and Dusica Stosic, 161-170.
Boas, Franziska. 1944. The Function of
Beograd: Serbian Academy of Sciences and
Dance in Human Society. A seminar directed
Arts, Institute for Balkan Studies.
by Franziska Boas. New York: The Boas
School. 1991,1995. Dance Research
Published or Publicly Presented by Mem-
Buckland, Theresa J. 1990. "Black Faces, bers of the Study Group on
Garlands, and Coconuts: Exotic Dances on Ethnochoreology. Los Angeles and Z
Street and Stage." Dance Research Journal
22/2:1-12. Farnell, Brenda M. 1994. Plains India
talk and the Embodiment of Action. A
. 1991. "Institutions and Ideology
University of Texas Press.
in the Dissemination of Morris Dances in
the Northwest of England." Yearbook of tra- ., ed. 1995. Human Action Si
ditional Music 23:53-68. in Cultural Context. The Visible and the In-
visible in Movement and Dance. Metuchen,
, ed. 1999. Dance in the Field. N.J., Scarecrow Press.
Theory, Methods and Issues in Dance Eth-
nography. London: Macmillan Press Ltd. Foster, Susan Leigh. 1986. Reading Danc-
ing. Bodies and Subjects in Contemporary
Cowan, Jane K. 1990. Dance and the BodyAmerican Dance. Berkeley: University of
Politic in Northern Greece. Princeton, N.J.: California Press.
Princeton University Press.

122 Dance Research Journal 32/1 (Summer 2000)

This content downloaded from 193.55.96.20 on Sat, 30 Nov 2019 00:30:01 UTC
All use subject to https://about.jstor.org/terms
Giurchescu, Anca, et al. 1974. "Foundation ety." Art and Society: Studies in Styles, Cul-
for the Analysis of the Structure and Form ture and Aesthetic, ed. Michael Greenhalgh
of Folk Dance: A Syllabus." 1972 Yearbook and Vincent Megaw, 261-274. London:
of the International Folk Music Council Duckworth.
(IFMC) 6:115-135.
. 1985. "Structured Movement
Giurchescu, Anca with Sunni Bloland. 1995. Systems in Tonga." In Society and the
Romanian Traditional Dance: A Contextual
Dance: The Social Anthropology of Perfor-
and Structural Approach. Mill Valley,
mance and Process, ed. Paul Spencer, 92-
Calif.: Wild Flower Press. 118. New York: Cambridge University Press.

Grau, Andr6e. 1993. "John Blacking and the . 1986. "Cultural Analysis, Lin-
Development of Dance Anthropology in guistic
the Analogies, and the Study of Dance
United Kingdom." Dance Research Journal
in Anthropological Perspective." In Explo-
25/2:21-31. rations in Ethnomusicology: Essays in
Honor of David P McAllester, ed. Charlotte
J. Frisbie, 25-33. Detroit Monographs in
Hall, Frank. 1985. "Improvisation and Fixed
Composition in Clogging." Journal for Musicology,
the No. 9.
Anthropological Study of Human Movememt
3/4:200-217. 1993. Hula Pahu Hawaiian
Drum Dances. Volume 1. Ha'a and Hula
Hanna, Judith Lynne. 1979. To Dance is Sacred Movements. Honolulu: Bis
Pahu:
Human: A Theory of Nonverbal Communi- Museum.
cation. Austin: University of Texas Press.
. 1996. "The Look of Music, the
.1979. "Movements Towards Un- Sound of Dance, Music as a Visual Art." Vi-
sual Anthropology 8: 133-153.
derstanding Humans Through the Anthro-
pological Study of Dance." Current Anthro-
pology 20/2:313-339. . 1998. "Dance and the Con-
cept of Style." In Dance, Style, Youth, Iden
1988. Dance, Sex and Gender.
tities, ed. Theresa Buckland and Georgian
University of Chicago Press. Gore, 45-56. Keynote address for the 19t
Symposium of the International Council
Jablonko, Alison. 1991. "Patterns of Daily
Traditional Music (ICTM) Study Group o
Life in the Dance of the Maring of New Ethnochoreology. Prague: Czech Academ
Guinea." Visual Anthropology 4:367-377. of Sciences.

Jankovic, Ljubica. 1975. "The System of the . 1999. "The Mystique of Field-
Sisters Ljubica and Danica Jankovic for the work." In Dance in the Field: Theory, Meth-
Recording, Description, and Analysis of Folkods, and Issues in Dance Ethnography, ed.
Dances." Ethnomusicologyl9/1:31-46. Theresa J. Buckland, 13-25. Basingstoke,
Hampshire: Macmillan Press; New York: St.
Kaeppler, Adrienne L. 1972. "Method andMartins Press.
Theory in Analyzing Dance Structure with
an Analysis of Tongan Dance." Keali'inohomoku, Joann W. 1969/1970.
Ethnomusicology 16/2:173-217. "An anthropologist looks at ballet as a form
of ethnic dance." Impulse: 24-33.
.1978a. "Dance in Anthropologi-
cal Perspective." Annual Review of Anthro- . 1976a. "A Comparative Study
pology: 31-49. of Dance as a Constellation of Motor Be-
haviors Among African and United State
. 1978b. "Melody, Drone and Negroes." Reflections and Perspectives on
Decoration: Underlying Structures and Sur- Two Anthropological Studies of Dance. New
face Manifestations in Tongan Art and Soci- York: CORD, Research Annual 7:1-179.

Dance Research Journal 32/1 (Summer 2000) 12

This content downloaded from 193.55.96.20 on Sat, 30 Nov 2019 00:30:01 UTC
All use subject to https://about.jstor.org/terms
 .1976b. Theories and Methods for Novak, Cynthia. 1990. Sharing the Dance:
an Anthropological Study of Dance. Ph.D. Contact Improvisation and American Cul-
diss., University of Indiana. ture. Madison: University of Wisconsin
Press.
Kurath, Gertrude Prokosch. 1956.
Ohtani, Kimiko 1991. "Japanese Ap-
"Choreology and Anthropology." American
Anthropologist 58:177-179. proaches to the Study of Dance." Yearbook
for Traditional Music 23:23-32.
. 1960. "Panorama of Dance Eth-
Ozturkmen, Arzu. 1995. "The Alevi Cem
nology." Current Anthropology 1/3: 233-
254. Riturl and the Nationalization of Semah
Dances." In Dance, Ritual, and Music, 127
Lange, Roderyk. 1980. "The Development132. Warsaw: Polish Academy of Scienc
of Anthropological Dance Research." Dance
Studies 4:1-36. Jersey: Centre for DancePike, Kenneth. 1954. Language in Relati
Studies. to a Unified Theory of the Structures of H
man Behavior. Glendale, California: Sum
Lewis, Lowell. 1992. Ring of Liberation:
mer Institute of Linguistics.
Deceptive Discourse in Brazilian Capoeira.
University of Chicago Press. Puri, Rajika. 1983. "A Structural Analys
of Meaning in Movement: The Hand Ge
Loken-Kim, Christine. 1989. Release from tures of Indian Classical Dance." Master's
Bitterness: Korean Dancer as Korean thesis, New York University.
Woman. Ph.D. diss., University of North
Carolina. Quigley, Colin. 1985. Close to the Floo
Folkdance in Newfoundland. St. John's: Me
Lomax, Alan. 1968. Folk Song Style and
morial University of Newfoundland, Fol
Culture. Washington, D. C.: American As-
lore Department.
sociation for the Advancement of Science.
Reed, Susan A. 1998. "The Politics and Po
Loutzaki, Irene. 1989. Dance as a Culturaletics of Dance." Annual Review of Anthr
pology 27:503-532.
Message. A Study of Dance Style Among the
Greek Refugees from Northern Thrace. Ph.D.
diss., The Queen's University of Belfast.Royce, Anya Peterson. 1972. "Dance as a
Indicator of Social Class and Identity
Malinowski, Bronislaw. 1922. ArgonautsJuchitan,
of Oaxaca." In New Dimensions in
Dance Research: Anthropology and
the Western Pacific. New York: E.P. Dutton
and Co. Dance-The American Indian. CORD, Re-
search Annual 6:285-97.
Mauss, Marcel. 1950. "Les Techniques de
Corps." Part 6 of Sociologie et . 1977. The Anthropology of
Dance. Bloomington: Indiana Universit
Anthropologie, Paris: Presses Universitaires
de France. Press.

Sachs, Curt. 1937. World History of the

Nahachewsky, Andriy. 1993. "International
Dance, trans. Bessie Schoenberg. New York:
Council for Traditional Music (ICTM) Study
Group on Ethnochoreology, Sub-StudyW.W. Norton.
Group on Structural Analysis Meeting."
Dance Research Journal 25/2:72-74. Schieffelin, Edward L. 1976. The Sorrow of
the Lonely and the Burning of the Dancers.
Ness, Sally Ann. 1992. Body, Movement,New
and York: St. Martin's Press.
Culture: Kinesthetic and Visual Symbolism
in a Philippine Community. Philadelphia:
University of Pennsylvania Press.

124 Dance Research Journal 32/1 (Summer 2000)

This content downloaded from 193.55.96.20 on Sat, 30 Nov 2019 00:30:01 UTC
All use subject to https://about.jstor.org/terms
Seebass,
Seebass, Tilman.
Tilman.1991.
1991."Iconography
"Iconography andandVan
Van Zile,
Zile,Judy.
Judy. 1982.
1982.The
TheJapanese
JapaneseBon Bon
Dance
Dance Research."
Research."Yearbook
Yearbookforfor TraditionalDance in Hawaii. Hawaii: Press Pacifica.
Traditional
Music 23:33-52.
Varela, Charles. 1992. "Cartesianism Revis-
Snyder, Allegra Fuller. 1974. "The Dance
ited: The Ghost in the Moving Machine or
Symbol." In New Dimensions in DancetheRe-Lived Body. An Ethogenic Critique.
search: Anthropology and Dance-The Journal for the Anthropological Study o
American Indian. CORD, Research Annual Human Movement 7/1: 5-64, 1992. Re-
6:213-224. printed in Farnell 1995.

. 1989. "Levels of Event Patterns: Williams Drid. 1981. "Introduction to Spe-

A Theoretical Model Applied to the Yaqui cial Issue on Semasiology." Journal for the
Easter Ceremonies." In The Dance Event: A Anthropological Study of Human Movement.
1/4:207-225.
Complex Cultural Phenomenon, ed. Lisbet
Torp, 1-20. Copenhagen ICTM Study Group
on Ethnochoreology. . 1986. "(Non) Anthropologists,
The Dance, and Human Movement." In The-
Spencer, Paul, ed. 1985. Society and the
atrical Movement: A Bibliographical An-
thology, ed. Bob Fleshman, 158-219.
Dance: The Social Anthropology of Process
Metuchen, NJ: Scarecrow Press.
and Performance. Cambridge and New York:
Cambridge University Press.
. 1991. Ten Lectures on Theories
Sweet, Jill D. 1985. Dances of the Tewa
of the Dance. Metuchen, N.J.: Scarecrow
Press.
Pueblo Indians, Expressions of New Life.
Santa Fe: School of American Research
Press. Youngerman, Suzanne. 1975. "Method and
Theory in Dance Research: An Anthropo-
Torp, Lisbet. 1990. Chain and Round Dance logical Approach." Yearbook of the Interna-
Patterns. A Method for Structural Analysistional Folk Music Council: 116-133.
and Its Application to European Material.
Copenhagen: Museum Tusculanum Press.

III. Dance Theory, Sociology, and Aesthetics

My
My brief
briefisisto
todiscuss
discussrecent
recentdevelopments pects of
developments of recent
recent dance
dance theory
theoryand andpractice
practice
in
in dance
dance theory,
theory,touching
touching onon
thethe
areas
areas
of of aa challenge
issue challenge to
to rethink
rethinkthe
therelationship
relationship
sociology
sociology and
andaesthetics
aestheticsinin
the
the
light
light
of ofbetween
between
the the the
the sociology
sociology ofof dance
danceand
andaesthet-
aesthet-
coming
coming millennium.
millennium.InIn
considering
considering ics.
how
how While I still intend to cover this area,
current
current my
myfocus
focusshould
shouldbe,be,
I have
I have two recent incidents have caused me to
reflected
reflected
upon
upon the
the pace
paceatatwhich
which dance
dance
scholarship change my focus and look more critical
scholarship
and
and indeed
indeedknowledge
knowledgeasas a whole
a wholecancan
some-than I originally intended at the work whi
some-
times
times move.
move.MyMyinitial
initial
plan
plan
was
was
to to
point outIout
point and others have been doing on dance an
that
that dance
dancetheory
theoryisisnot
notjust
just
for
for
dance
dance representation.
schol-
schol-
ars;
ars; dance
danceartists
artistslike
likeIsadora
IsadoraDuncan
Duncan andand The first incident is a conversation
Yvonne
Yvonne Rainer
Rainerhave
haverecognised
recognised thethe
need
needduring
to to a conference in April 1999 with an
articulate
articulatethe
thetheoretical
theoretical aspects
aspects
of of
their
theirAmerican
art art who teaches performance stud-
in order to create a discursive context for ies. Why, she asked me, were so many dance
the reception of their work. Indeed, progressscholars working on issues concerning iden-
and change in dance practice necessitate tity? My reply at the time was that in my
reciprocal developments within dance schol-opinion the majority of dance scholars ac-
tively publishing work were concerned with
arship. I was therefore going to look at the
ways in which some of the more radical as- establishing a history of canonical artists,

Dance Research Journal 32/1 (Summer 2000) 125

This content downloaded from 193.55.96.20 on Sat, 30 Nov 2019 00:30:01 UTC
All use subject to https://about.jstor.org/terms