Dance Dance Dance!

The article, An Anthropologist Looks at Ballet as a Form of Ethnic Dance, was particularly interesting to me because I am a ballerina. I have to admit that I'm not sure I have ever thought of ballet as ethnic dance, but after reading the article I would wholeheartedly agree with Joann Kealiinohomoku.

The first thing she wisely does it to clarify that ethnic dances do not imply primitive dances. In fact, there are no such thing as primitive dances but rather dances performed by primitives and these dances she says "are too varied to fit any stereotype" (34). Nevertheless there is a primitive dance stereotype (disorganized, frenzied, no technique, resembling apes and birds!, lots of stomping) which is one of the reasons that Westerners rarely think of ballet as ethnic dance. She spends a good portion of her argument advocating the idea that there "is no such thing as a 'primitive dance' form" (37).

She then goes on to define key terms in order to help dispel the false idea. She begins at the beginning by defining the term dance itself: "a transient mode of expression, performed in a given form and style by the human body moving in space. Dance occurs through purposefully selected and controlled rhythmic movements; the resulting phenomenon is recognized as a dance by both the performer and the observing members of a given group" (38). One distinguishing factor of her definition is the aspect of intent. Other key terms are folk dance and primitive dance. Primitive culture and hence primitive dance tends to be self-contained and autonomous where peasant cultures are not autonomous and folk dances tend to reflect the smaller peasant culture within a larger culture. Finally Joanna defines ethnic dance and concludes that "every dance form must be an ethnic form" (39).

Ballet is a perfect reflection of ethno-aesthetics of the Western and particularly European worlds for all the reasons Joann writes about in the section the Ethnicity of Ballet. I recently went to see both Pilobolus and the Trey McIntyre Project at Van Duzer. While both groups performed contemporary works the movement reflects the current dance aesthetic in the west. Pilobolus opened with three pieces two of which were choreographed in the 70s and were very sensual reflective of American culture in the early 70s. They reflected a focus on the human body and the earth. We see incredible lines, extended legs, stretched arms, and pointed toes per the classical aesthetic. The latter half of the show contained pieces choreographed in 2011 which were much more spastic and jerky (I'm not sure what this is reflective of...a feeling of disconnection maybe?..., but this seems to be the way dance is moving these days). Trey McIntyre was a perfect example of the spastic jerky style of movement as well. The dancers also wore red, white, and blue costumes in their first piece and we frequently saw female-male partnering sequences which is typical of classical ballet. Of course there was an intermission, a curtain call, applause, etc. I will be performing in a classical ballet in March where you will see village scenes and traditional wedding scenes using sets that invoke scenic familiarity to ballet-goers, mannerisms, pink tights, pointe shoes, etc. that define the ethno-aesthetics of classical ballet.

Trey McIntyre Project

Pilobolus