II. Dance Ethnology and the Anthropology of Dance

Kaeppler, Adrienne L.

doi:10.2307/1478285

Cited by 57 publications

(36 citation statements)

References 44 publications

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“…While dance is based in embodied being and expression, it is neither a pan-human expressive form, nor is it ‘natural’: the body is always-already encultured 31. Dance is also subject to structure; while danced expression may rely on tacit sense-making, rather than on pre-established vocabularies, it is made intelligible through communicative modes embedded in the cultures from and within which it is created and performed 32 33. Moreover, choreography entails the synthesising and stylising of experience.…”

Section: Resultsmentioning

confidence: 99%

Choreographing lived experience: dance, feelings and the storytelling body

Eli

Kay

2015

Med Humanities

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Although narrative-based research has been central to studies of illness experience, the inarticulate, sensory experiences of illness often remain obscured by exclusively verbal or textual inquiry. To foreground the body in our investigation of subjective and intersubjective aspects of eating disorders, we—a medical anthropologist and a contemporary dance choreographer—designed a collaborative project, in which we studied the experiences of women who had eating disorders, through eight weeks of integrating dance practice-based, discussion-based and interview-based research. Grounded in the participants’ own reflections on choreographing, dancing and watching others perform solos about their eating disordered experiences, our analysis examines the types of knowledge the participants used in choreographing their dance works, and the knowledge that they felt the dance enabled them to convey. We find that the participants consistently spoke of feeling as guiding their choreographic processes; they also said the experiences they conveyed through their dance works were centred in feelings, rather than in practices or events. Through dance, the participants said they could communicate experiences that would have remained unspoken otherwise. Yet, notably, dance practice also enabled participants to begin defining and describing their experiences verbally. We suggest, therefore, that through engaging participants in contemporary dance practice, we can begin to identify and address embodied experiences of illness and recovery that may be silenced in speech or writing alone.

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Section: Resultsmentioning

confidence: 99%

Choreographing lived experience: dance, feelings and the storytelling body

Eli

Kay

2015

Med Humanities

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“…Dance has been a major focus in much anthropological research (Kaeppler 2000;Kringelbach and Skinner 2012;Taylor 1998;Ness 2008;Reed 1998;Sweet 2016, Marion 2008. Historically, anthropological choreology (i.e., ethnochoreology) research considers the dance-particularly folk dance-to be like a dynamic yet coherent text that can be catalogued for the sake of preservation of the body of movements.…”

Section: Dance and Balletmentioning

confidence: 99%

Dancing while Aging: A Study on Benefits of Ballet for Older Women

Pines

Giles

2020

A&A

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As people age, experiences of depression, loneliness and loss of physical capabilities can emerge. As with previous work on the benefits of music as an intervention for social belonging and valued social identity, dance may increase similar feelings. Although theoretical chapters have been written on dance as it relates to social identity, belonging, and health, little empirical work has been conducted on the benefits of ballet as a recreational activity for older adults. The study reported here is framed by the "communication ecology model of successful aging," and modestly embellishes this framework based on this study's findings. Using interviews from 24 American female recreational ballet dancers ranging in age from 23-87 in a small West Coast town, this study investigates, for the first time, how ballet is incorporated into their self-concept and physical, mental, and social experiences of aging. Findings indicate that participating regularly in ballet is a core aspect of most women's self-concept and means of self-expression. All women discussed how ballet has improved their physical and mental wellness, helping them have a more positive experience of age-related changes. Results showed that most women regard ballet as a very social activity, such that it helps them to feel a sense of community or even kin-like relationships with the other people regularly in class. All women interviewed mentioned that ballet is so integrated into who they are that it is something they hope to do for as long as possible.

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“…The methodology used for this research-dance ethnographyvalues understanding dance within a given community and this is more important than the particular movement, action or specific performance (Dunham, 1947(Dunham, , 2005. Likewise, Kaeppler (1978Kaeppler ( , 2000 advises holistic examination and paying close attention to cultural praxis, meaning, movement content, and the wider sociopolitical context.…”

Section: Dance and Somatic Researchmentioning

confidence: 99%

Haka on the Horizon: Māori contemporary dance and whare tapere

Banks¹

2017

MAI Journal

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The founding of the esteemed Atamira Dance Company (ADC) in 2000 signified a new wave of Mäori dance, integrating cultural strengthening with innovation. For instance, the distinguished and founding members of the ADC, Louise Potiki Bryant and Jack Gray, seized the opportunity to collaborate with the inspirational scholar Te Ahukaramü Charles Royal. This paper provides a glimpse into their combined efforts towards developing the breadth and depth of haka through their contribution to the whare tapere recovery. Principles and qualities of human-land synergy and the water deity Hineruhi informed the research; the cultural work reveals the experimental horizons of what Royal (2012) calls expressions of "new indigeneity". The invigoration of haka within the whare tapere tradition has stimulated creative direction for Mäori contemporary dance. Unique works by Potiki Bryant and Gray illuminate momentums of Mäori contemporary dance in Aotearoa New Zealand.

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II. Dance Ethnology and the Anthropology of Dance

Cited by 57 publications

References 44 publications

Choreographing lived experience: dance, feelings and the storytelling body

Choreographing lived experience: dance, feelings and the storytelling body

Dancing while Aging: A Study on Benefits of Ballet for Older Women

Haka on the Horizon: Māori contemporary dance and whare tapere

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