Iconography and Dance Research

Seebass, Tilman

doi:10.2307/768395

Cited by 9 publications

(9 citation statements)

References 3 publications

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“…I samandraget ovanfor nemner eg først tilnaerminga med studium av gamle kjelder. Mange har skrive om ikonografisk arbeid og kjeldekritikk, som er viktig for metodikken i slikt arbeid, så eg går ikkje inn på det her (Adshead-Lansdale and Layson 1994, Brooks 1986, Seebass 1991. Eitt grunnlag for dansehistorisk arbeid er også at vi frå konkret røynsle veit at danseelement, danseteknikkar og dansemusikk spreier seg og blir tatt i bruk på nye stader ofte ved at dei blandar seg med slikt som finst før.…”

Section: Metodikk For Dansehistorieunclassified

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Kva kan dansehistoria fortelja om røtene til bygdedansen?

Bakka¹

2022

MOT

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This article discusses how dance forms have developed and spread through the ages and works in particular with the genre that we in Norway call regional dances. In contrast to much other research into dance history, it is the dances as movement patterns that I focus on, rather than their context. Therefore, I will also discuss methodological approaches suitable for such a focus. The conventional method is to study old sources in both writing and images and compare them with dance in the present, Film and video recordings of dance from the last hundred years or so can also be used to make hypotheses about connections. A less common approach, that I have used before, is to build on theories about diffusion processes and the spread of dance forms and dance elements (Bakka, Aksdal & Flem 1992, Bakka 2012). Finally, I present an approach that I believe is new in dance history, although Lisbet Torp did an ethnochoreological description of chain dances somewhat related (Torp 1990). It is the idea of the generative power of the simple basic elements that runs through many dances. By generative power or potential, I mean the property of an element to be able to “give birth” to new variants of itself. In the dances with which we work here, it is especially the couple turnings that provide the basis for the approach through the generative. I compare basic elements in dances that are similar to each other and try to show how it only takes a small change of one basic element for us to get the other. It is similar to what biologists call mutation. I imagine that a basic element that becomes popular and has generative power will develop new variants based on certain fundamental principles laid down in humans. I think it is processes of this kind that have created most of the variety, in the regional as well as in the round dances. We cannot know for sure when the development starts, or in what order the variants come into being, if we cannot date certain variants from other kinds of historical sources.

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Section: Metodikk For Dansehistorieunclassified

“…over større delar av sentral-Europa på denne tida (Heck et al 1999, Seebass 1991. Det ville vera eit interessant å laga eit oversyn over dette materiale.…”

Section: Bilete 1 Kart Som Viser Kva Som Vart Rekna Til Fladern I 1512unclassified

Kva kan dansehistoria fortelja om røtene til bygdedansen?

Bakka¹

2022

MOT

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“…A study by Susan Reed focusses on the political importance of dance in Sri Lanka (1998). Other anthropological concerns include Cartesian mind/body dualism (Farnell 1995;Varela 1992), martial arts (Lewis 1992), iconography (Seebass 1991), tourism (Sweet 1985), and urban multiculturalism (Ness 1992). In short, the aim of anthropological works is not simply to understand dance in its cultural context, but rather to understand society through analyzing movement systems.…”

Section: Anthropological/ethnological Dance Studies and Their Rootsmentioning

confidence: 99%

II. Dance Ethnology and the Anthropology of Dance

Kaeppler¹

2000

Dance Res. J.

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“…Based on the aforementioned, the aim of this paper is to observe the attitude of the woman in the dance through iconography (Seebas, 1991). In particular, the present study, through the observation of images, aims to highlight the structure of gender relations in the society of Nea Vyssa Evros over time.…”

Section: Introductionmentioning

confidence: 99%

“…According to Seebas (1991), a picture can be useful in the studies of dance, because "a) it represents a dance position; b) it represents a synchronic summary of a succession of movements; c) it depicts physical expressions of emotion; d) it represents concretely o concept of dance, such as the Dance of Death; e) it represents, symbolically or abstractly, the idea of dance; f) it portrays a dancer, in action or as a sitter; g) it includes elements related to dance, such as the costume, headdress, or objects held; h) it depicts the physical location (dance floor, stage, ball house, etc. ), where dance takes place" (p. 34).…”

Section: Introductionmentioning

confidence: 99%

Women in Pictures. A Dance Iconography of Gender Transformations

Filippidou

2023

EJART

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The aim of this paper is to observe the attitude of the woman in the dance through iconography. In particular, the present study, through the observation of images from the community of Nea Vyssa in Thrace in Greece, aims to highlight the structure of gender relations in the society of this community over time. The data collection of was based on secondary sources. More specifically, the data collection was carried out based on the principles of historical archival research. For the analysis of the data dance iconography will be used. However, having visual components, dance shares a representative quality with the visual arts. So, in addition, the pictures of women dance in this study will be analyzed under the terms of visual anthropology. Finally, the interpretation of the data was held with the anthropological thinking about gender identity as it appears in anthropological views of dance and particularly in Hanna. From the data analysis was found that the position of women in dance evolved significantly over time, as did the society of Nea Vyssa, which from patriarchal, today became an equal society. So through dance iconography one can study various parameters that exist in dance and which Seebas (1991) also mentioned, however, through dance iconography one can study social stereotypes, gender discriminations and social structures and therefore issues that have to do with the evolution of society over time.

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Iconography and Dance Research

Cited by 9 publications

References 3 publications

Kva kan dansehistoria fortelja om røtene til bygdedansen?

Kva kan dansehistoria fortelja om røtene til bygdedansen?

II. Dance Ethnology and the Anthropology of Dance

Women in Pictures. A Dance Iconography of Gender Transformations

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