. as earlier theories based on socioeconomic or cultural arrogance disappear, musicians and scholars have been left with a terminology and structure of labels (serious, popular, art, primitive, classical, folk, etc.) but without any consistent theoretical basis on which to assign such labels to musical repertoire. (Booth and Kuhn 1990, 411, cf. Blacking 1973, 4) These complaints by ethnomusicologists may well have been uttered by dance scholars. Indeed, they often have been (Kealiinohomoku 1969; Hanna 1987, 54-55; Williams 1991, 204). The continuing need for unambiguous and analytically useful labels is clear. In the present paper, I propose that the categories "participatory dance" and "presentational dance" have significant potential for ethnochoreologists. These conceptual categories have not yet been the specific subject of discussion in dance literature, though we will see that various authors have made use of related notions in a more or less explicit way (1). The categories are illustrated in the latter part of this article with a comparison of two dance performances. Both dances are performed in the Ukrainian diaspora, both are called "kolomyika," and both are performed by four dancers (2). One of the dances is performed in a participatory context, however, while the other is presentational. Each dance example is rendered two times in Labanotation (3), at the end of this article. The first notation of each dance is "prescriptive"-presenting the formula of the idealized dance, as it exists in the mind of the dancer. The participatory kolomyika, as seen in example 1, has a very simple prescription. It serves as a basic framework to facilitate the dancers' interactions. The prescription for the presentational kolomyika, on the other hand, is very detailed and specific. In contrast to the first two prescriptive notations, examples 3 and 4 are "descriptive" notations. They document the observed movements in space and time as captured on video or film. These notations show that the participatory dance is complex and rich with communicative material in its "microscopic" movement elements (eye contact, variations in touch, etc.), while the presentational dance is quite standardized and regular at this level. This is often desirable in presentational dances, as the main focus there lies in its "macroscopic" structures (phrases, formations, etc.).
Many early western dance historians, influenced by romanticism, never really thought about “folk” dance changing as a historical entity. Since they imagined it connected to the original and pure national spirit of a people, they often assumed that such a dance appeared right from the birth of that people itself, and that it is (or should be) changeless. Dance traditions generally continue on among the peasants as archaic remnants of the olden days (or in some cases, perhaps, they simply become extinct). One could represent this history on a two-dimensional timeline (Figure 1), drawing an arrow to symbolize the dance tradition as it progresses from left to right across time. A ball or node in the line could indicate a specific moment in the dance tradition's history, a documented performance for example.
Ethnochoreologists are now more open to the study of folk dance revival groups, though they still lack common terminology or conceptual frameworks. Based upon the motivations and priorities of their participants, dance groups can be identified as “Enjoyers,” “Preservers,” “Presenters,” “Creators,” or perhaps “All-stars.” Several examples show how each of these strategies may impact on the organizational structures, dance forms and other aspects of the groups’ activities. These conceptual categories are presented with the suggestion that they may be useful for researchers, government policymakers, and dance group leaders.Les ethnochorégraphes sont désormais plus ouverts à l’étude des groupes de danseurs qui font renaître les danses folkloriques, même si la terminologie courante ou les cadres conceptuels leur font toujours défaut. Basés sur les motivations et les priorités de leurs participants, les groupes de danseurs peuvent être identifiés comme « ceux qui prennent du plaisir », « ceux qui préservent », « ceux qui donnent à voir », « ceux qui créent » ou encore « les vedettes en tout ». Plusieurs exemples montrent comment chacune de ces stratégies peut influencer les structures organisationnelles, les danses et d’autres aspects des activités de ces groupes. Ces catégories conceptuelles sont présentées avec l’idée qu’elles pourraient être utiles aux chercheurs, aux législateurs ainsi qu’aux représentants de groupes de danseurs
The participatory dance repertoire of rural Ukrainian Canadians reveals several patterns of continuity and change. A few dances appear to have become increasingly associated over time with Ukrainian ethnicity. Interestingly, these are exactly the dances whose forms underwent the greatest mutations in Canada. The concept of "new ethnicity" provides an explanation.
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