549:
societies. For early anthropologists and missionaries, the research of non-Western cultures and subsequent categorization into
Western terms and canon was a method of colonization. For example, many cultures have no generic word for "art", or for "dance". Western dichotomies of art dance vs non-art dance, professional vs hobbyist, and religious vs secular do not necessarily apply to other societies. The assumed transference of such concepts are a method by which Western concepts have been imposed on non-Western societies by anthropologists, art collectors, etc. Some dance ethnologists have tried to rectify this issue by changing their field of inquiry from the term "dance" to broader ideas of "movement systems" and "human movement". Historically, dance anthropology often also fell into the larger category of primitivist thought, suggesting an evolutionary or progressive model of dance. Research along the primitivist vein associates Indigenous peoples with animals and nature more closely than with humanity. The
54:
540:: outlining dance ethnology's methods of documentation and analysis, and opening the discussions on dance transmission and diffusion, tradition and innovation, and relation to other aspects of culture. Whereas dance anthropology focused on the study of culture through dance, dance ethnology focused on questions of dance specifically, employing insights into human behavior to answer such questions. Pearl Primus and Katherine Dunham were both notable dancers that bridged the gap between dance performance and dance ethnography.
495:
constantly evolving. Additionally, dance as a social practice acts according to space and time, becoming expressions of everyday life and the respective social structure that comes in contact. Moreover, dance, apart from allowing people to express themselves, is a focal social, cultural process related to human identity, contributes to "structure and diffuse cultural meaning" and can cultivate an interactive and practical narrative imbued with political views.
491:, not just a repository of meaning, but a producer of meaning each time it is producedânot just a living mirror of a culture, but a shaping part of culture, a power within the culture: "The power of dance rests in acts of performance by dancers and spectators alike, in the process of making sense of dance⊠and in linking dance experience to other sets of ideas and social experiences."
507:
of other anthropological research. In many of the cultures studied, observations on dance could not be ignored due to dance's importance to
Indigenous ceremonial life. Many of these observations were speculative, lacking in qualitative or quantitative analysis, and assumed false dichotomies between 'civilized' and 'primitive' societies. In 1933, musicologist
528:, who would later serve as chair of the Study Group on Ethnochoreology from 1998 to 2006, was a member of the 1962 committee. Ethnochoreology originally focused on the national dance traditions and folk dances of specific European countries, but has since expanded to include new urban folk groups and the dance traditions of immigrants.
506:
The study of dance anthropology developed out of the work of colonizers, missionaries, and researchers of disciplines such as anthropology and musicology. The first observations of dance in
Indigenous and non-Western societies were not necessarily due to dedicated study, rather emerging as byproducts
494:
Dance whether social, ritual or even theatrical, is inherent in a complex web of relationships. He interprets the socially predetermined and meaningful ways of movement and, of course, the history of dance groups in specific societies. In this way dance is "a social text" complex, multifaceted and
548:
There are many methodological and ethical issues that arise from research in ethnochoreology. Anthropological research in general is a source of contention and suspicion for many
Indigenous peoples, as historically it has been used as a tool of colonization, rather than to benefit Indigenous
517:(World History of the Dance) in an attempt to provide an analytical framework for the study of dance based in cultural evolution. However, his data was often insufficient or misleading, and therefore his work is no longer considered a viable basis for the study of dance anthropology.
535:
pioneered the specific field of dance ethnology, which developed in
America parallel to the development of ethnochoreology in Europe. Kurath considered dance ethnology to be a branch of dance anthropology, and laid its foundations in her 1960 work
553:
created a progressive model of art, in which art began with
Indigenous art forms and ultimately developed into Western modern art, therefore positing that Western art forms were more socially developed than those of Indigenous peoples.
215:
483:, music, costumes, etc.â in various parts of the world, but the attempt to come to grips with dance as existing within the social events of a given community as well as within the
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Ethnochoreology, dance ethnology, and dance anthropology are closely related fields of study, with slightly varying and often overlapping histories and methodologies.
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476:, for example. Thus, ethnochoreology reflects the relatively recent attempt to apply academic thought to why people dance and what it means.
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established a working group that laid the foundations of the field and defined ethnochoreology as a science.
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John
Blacking. (1984) âDance as Cultural System and Human Capability: An Anthropological Perspective.â in
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Zografou, Magda. "Current
Perspectives on Dance Research: Anthropology of Dance or Ethno-"Choreology"".
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Ethnochoreology is not just the study or cataloguing of the thousands of external forms of dancesâthe
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Dance, A Multicultural
Perspective. Report of the Third Study of Dance Conference,
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of a community. Dance is not just a static representation of
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through the application of a number of disciplines such as
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Meaning in motion : new cultural studies of dance
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The history of ethnochoreology and dance anthropology
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754:(4). Budapest, Hungary: TĂĄnchĂĄz AlapĂtvĂĄny: 14.
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615:. Durham: Duke University Press. p. 31.
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663:Zografou, Magda; Pipyrou, Stavroula (2011).
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796:International Council for Traditional Music
522:International Council for Traditional Music
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544:Methodological and ethical issues
531:Modern dancer and anthropologist
206:Museum of Indian Arts and Culture
201:Museum of Anthropology, Cambridge
186:National Anthropological Archives
153:NÇai, the Story of a ÇKung Woman
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869:. University of Chicago Press.
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514:Eine Weltgeschichte des Tanzes
1:
835:Smith, Linda Tuhiwai (2012).
781:"Anca Giurchescu (1930â2015)"
744:"Anca Giurchescu (1930â2015)"
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569:Congress on Research in Dance
196:Museum of Anthropology at UBC
717:Cohen, Selma Jeanne (1998).
681:10.1080/01472526.2011.615235
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944:Society for Ethnomusicology
721:. Oxford University Press.
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538:Panorama of Dance Ethnology
254:Margaret Mead Film Festival
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249:List of ethnographic films
211:Robert Hull Fleming Museum
191:Centro Cultural Mexiquense
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742:Felföldi, Låszló (2015).
119:Indigenous Australian art
551:primitivist art movement
533:Gertrude Prokosch Kurath
167:The Doon School Quintet
22:Part of a series on the
609:Desmond, Jane (1997).
591:ed. J. Adshead, 4-21,
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865:Price, Sally (1989).
798:: 5â6. October 2015.
401:cultural anthropology
788:Bulletin of the ICTM
597:University of Surrey
376:Hortense Powdermaker
16:Field of dance study
934:Fumio Koizumi Prize
448:) is the study of
346:Claude LĂ©vi-Strauss
269:Salvage ethnography
264:Museum anthropology
139:Nanook of the North
114:Art of the Americas
28:Anthropology of art
446:dance anthropology
341:Robert Hugh Layton
326:Robert J. Flaherty
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234:Ethnographic film
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321:Frances Densmore
228:Related articles
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316:John Collier
259:Cantometrics
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146:The Ax Fight
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101:Case studies
79:Body culture
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949:World music
748:FolkMAGazin
481:dance moves
466:ethnography
371:Bruno Nettl
336:Alfred Gell
244:Ethnocinema
124:Oceanic art
964:Categories
876:0226680630
646:Ethnology
575:References
509:Curt Sachs
458:musicology
381:Jean Rouch
351:Alan Lomax
306:Franz Boas
274:Tribal art
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760:1218-912X
697:145381781
689:0147-2526
593:Guildford
89:New media
817:11 March
765:11 March
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558:See also
296:Tim Asch
278:Folk art
489:history
180:Museums
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819:2020
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767:2020
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627:OCLC
617:ISBN
399:and
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