The Anthropology of Dance, By Anya Peterson Royce. 1977. Bloomington: Indiana University Press. 238 pp. $15.00.

Abstract

turn presented them all to her adoring audiences. "How an artist feels, with quivering antennae of the heart," she recorded-and this is the heart of the book-"the waves that sweep across the footlights from the audience! Before the first dance was half performed, Vienna [or Caracas or San Antonio] and 1 were in love, as ideally, audience and artist can be. In the warm sea of this love I could have danced forever" (p. 75). And dance she did, endlessly. As the autobiography proceeds, the style of writing becomes more discursive, the sentences more polished, and the account less exciting. Correspondingly, the details are more informative and the observations more thoughtful. After World War II, descriptions of the always frantic work and assumed superhuman accomplishments alternate with analyses about the state of the art of dancing, especially the kind of dancing La Meri did-what she at one point called "neo-ethnic." These pages-thoughtful, unique-reveal a La Meri who ponders on, as well as runs headlong through, her life. But it is the depiction of her headlong ride that is the virtue of this book. La Meri succinctly sees this ride as one on horses both real and imaginery: "... the pink horse of the social whirl" (p. 17); ".. . the red horse of sports" (p. 17); "The pale horse. .. music" (p. 19); ".. . that pinto just over there,.. . Euterp" (p. 22). And then at the end of her book, she summarizes: Besides [she writes after beginning life, for the third time, on Cape Cod], I chose this road myself and chose

The origins of dance: Characterizing the development of infants’ earliest dance behavior.

“…Previous findings suggest that people intuitively categorize behavior as dance when the movements appear to be in response to music and do not serve any other utilitarian purpose (Schachner, 2012;Schachner & Carey, 2013). In doing so, people intuitively use criteria similar to the operational definitions of dance used in experimental studies of animal and child behavior (Jao Keehn et al, 2019;Kragness, Anderson, et al, 2022) as well as in anthropology and ethnomusicology (Hanna, 1987;Lange, 1975;Royce, 2002). Similar subjective coding has been used to identify dance from children's behavior in previous work (Kragness, Anderson, et al, 2022).…”

“Isim” Dan “Isi” Dalam Persembahan Seni Permainan Kuda Kepang

“…Mohd Kipli Abdul Rahman ( 2009) turut mengatakan bahawa adakalanya mereka ingin melepaskan tekanan kerja dan ingin merasai pengalaman mabuk. Terdapat juga pemain yang ingin menunjukkan kehebatan mereka semasa mabuk dengan melakukan pelbagai tingkah laku yang tidak boleh dilakukan dalam keadaan sedar seperti menyentuh bara dan mengupas kelapa menggunakan gigi (Royce, 1977). Hal ini diakui oleh Gowan (1975, p. 37), iaitu "……trance is more or less a state sought by the subject to "discharge drives in a goal oriented manner", certainly in those trance states which area voluntary the activity is goal oriented".…”

“…Seperti yang dinyatakan oleh Royce (1977), penonton mungkin menari untuk tujuan menghiburkan, bergerak atau kembali dalam perpaduan masyarakat. Hal ini demikian kerana penari memberi peluang kepada otak dan badan mereka untuk menikmatinya, melepaskan tekanan fizikal untuk menikmati hubungan mesra sesama penari serta penonton dan menghiburkan.…”