DANCE NARRATOLOGY (SIGHT, SOUND, MOTION AND EMOTION)
UNESCO International Dance Council Member
Abstract
The aim of this paper is to focus on some narratological issues of understanding and interpreting the “dance language”, or “dance text”. Is dance an abstract medium or literal description of events, myths, stories, and feelings? How can we convey such an emotional impact upon the spectators that remains deeply in their hearts? Using the “language of the body”, or “body language”, and gestures, the folk dance and modern dance today become a universal medium of communication. But is it modern? The answer is NOT, because the dance is known to be “the first form of non-verbal communication” before the verbal language communication. However, the dance tells stories and communicates to us via its “non-verbal code”, but we still need to educate the viewers how to interpret its code, secretly hidden in the “dance narrative”. Point of view is that dance is an incredible source for semiotics material research subject, since in dance there are always present: source codes, various signs, interpretants, interpreters, and rich meanings.
The dance is known to be „the first rational form of non-verbal communication” before the verbal language code of communication was discovered. This semiotics research on dance narratology is based on some of Elizabeth Hayes, Adam Kendon, David McNeill, Greimas, Joseph Campbell, and Vladimir Propp’s theories of narratology and narrative. The focus of this paper is how we narrate in dance and the notion that some type of dances have strong narrative, little narrative, or lack narrative structure at all. When we mention the term „narratology” (story telling), we assume some text, discourse, story/plot, theatre drama plays, novels, or action movies. Narrative forms combining a variety of semiotic channels have existed since the dawn of the Civilization. Dance has always been stamped with the „Entertainment” category and is considered marginal to the narratology concept. But is it true? Watching dance performance being a „Sign Vehicle” (Representamen), one encounters signs full of symbolic meanings that are interpreted and are compared to „Moving Pictograms”. „Moving” because dance is characterized by sight, sound, and motion that evoke emotional responses.
Dance is considered the oldest way of communication and „narration” between humans. Roland Barthes talks about the meaning of narrative and says: “Uncountable are the narratives of the world”. He also uses a term „Narrative Symbolic Code”, which we can attach to the notion of dance narrative. Before inventing languages, humans communicated with non-verbal codes as part of the gestures, postures, facial expressions, sounds such as yells, moans, roars, and cries. Dance was used in all forms of human communication and especially for Gods Worship, in Religious rituals (weddings, funerals), Shaman ceremonies (Witch doctor healings), War dances (Cretans danced Pyrrhic War Dances before battle & also Trojans, and Maori in New Zealand), Blessings ceremonies, Celebrations (harvest fests, hunt), Love-dating dances (a Masai in Africa jump high to get the best bride), Rites of Passage rituals (initiation ceremonies), and Fertility rituals. Walter Sorell, a dance historian, recognized a strong presence of dance narrative into Asian cultures. He states: „The Oriental dance is essentially a gesture dance. Through their idolization of God, the Asians turned the human body into an instrument of gesture and symbol.” (Walter Sorell : 50) In India four types of dance/mime narratives are popular such as: Bharata Natyam (Devadasis-temple dancers), Kathakali (male dance), Kathak, and Manipuri (female dance). Kecak is upper torso Monkey chant dance, and Barong is a mummer’s dance, based on Bali Island. Walter Sorell explains: „Probably in the fifth century, the sage Bharata established artistic principles and a system of training–the rigid rules for the dance language called the Natya Shastra. Sanskrit has a single word for dance and drama: Natya. Bharata speaks of Nritya, the expressive dance, which tells a story through pantomime; Nritta, the pure dance, dance for the sake of dancing giving itself up to intoxicating rhythm; and added to this are Gita, the song, Vachika, speech, and Vadya, the musical accompaniment. There are 24 movements for single hands, 13 for combined hands, 10 arm movements, 5 chest movements, 5 movements each for the waist, thigh and hip, there are movements for neck and eyebrows as well as 36 glances to express different feelings. The gesture language of the hands, the Hasta-Mudras, is the most beautiful in the complexity of its symbolism.” (Walter Sorell : 52) Every gesture of the Shaman dancer has a symbolic meaning, like a „word” or „expression”. In the Bible’s Old Testament, King David is the oldest known „dancer” who danced before the Arc of the Covenant and praised the Lord. Walter Sorell explains again: „David dressed in the official robe of the high priest, danced in ecstasy before the Deity. It was a rotary dance rich in gesture; accentuated by violent leaps... His wild dance was expression of religious joy”. (Walter Sorell: 19)
Dance is the only art form that uses complex sign language to portray „words”, phrases, fragments, metaphors, language sequences, sentences that directly affect human emotions. Ballet uses various postures (Arabesques, Attitudes, Croisee’s, Ecartee’s), jumps, floor turns, air pirouettes, „Pas de deux”, „Pas de trois”, and Ensemble narratives. Ballet incorporates folk dances, that we call Character Dances. The Symphonic Ballets are narrative structures, based on the musical score – symphonies of Tchaikovsky. In „Swan Lake” the Syntactic (Syntax as sign vehicle), is being identified as relationships of managed word sentence units. Syntactics is being compared to the concept of Paratactics (Parataxis), which is „beyond the sentence” total unit management. The reasonable deduction is that the Syntactic of paragraphs is a variant of the Symphonic Ballet Dance – binding relationship of Ballet Variation – Image. In ballet narratology we use metaphors, describing abstract ideas, which is a gesture usage similar to Iconic (gestures that depict concrete objects). It has a stronger performer (addresser) to audience (addressee) communication. Quintilian will exclaim: „The eye is stronger than the ear!” meaning that observing a dancing body could be more convincing then spoken word. The gestures of the female dancer, for example, represent a girl trapped in a swan body. Instead of using the costumes the focus is on choreography of body gestures. David McNeill also says: „Gestures open a „window” onto the mind...taking gesture into account, we see patterns not revealed by speech alone and see more comprehensively how meanings are constructed. Gesture is not only a display of meaning but is part of the act of constructing meanings itself, adding a „material carrier” that helps bring meaning into existence.” The FBI agent Joe Navarro, talks about the body language and gestures as an important complex sign system that can reveal our internal world, fears, and emotions. The scientists associate the body language with the Limbic brain system function. Legs and feet are most „honest” and start „dancing” (with rapid movements, tapping, shakes), when people are not honest, and start pointing at the door when they want to avoid an unpleasant situation. In ballet we are able to make sequences of mute dramatic actions more comprehensible. Elizabeth Hayes says: „The ultimate goal in choreography is to create dances that objectify thoughts, feelings, or mental images...” (Hayes 1993: 119) And choreography is using the gestures for this purpose. Hayes states: „Once gesture had become recognized by the ballet as a means to communicate meaning without the aid of dialogue or song, it became necessary to formulate ways to ensure that audiences could decipher the gestures so that they would get the point of performance. This is accomplished by incorporating narrative into choreography to organize gestures in a manner that would enable the viewer to make sense of the performance as a whole as opposed to a disconnected sequence of movements. In literature writers use narrative to create complicated stories, but within dance it must take a simpler form to ensure success.” (Hayes 1993: 122) The narrative stories used in famous ballets are themes borrowed from the folklore, myths, and fantasy world: „Sleeping Beauty”, „Copelia”, „Swan Lake”, „Giselle”, and „The Nutcracker”. Elizabeth Hayes’ research focus on how to communicate a narrative effectively via the usage of the following elements: Sequence, Climax, and „Dance of Characterization”. Through these three elements of dance narratology we communicate better the story of the ballets to the audiences. Narrative element Sequence is a logical and chronological placement of the gestures. Gestures follow a continuation of movements. Elizabeth Hayes’ defines her Climax as the equivalent to „the moment of complete suspense in a play or mystery novel” (16). The way to achieve climax is to ensure that the sequence leads up to this moment. Strategies include increasing the musical tempo, enlarging the movement range, and increasing or suspending movement dynamics (17). Hayes defines the third narrative element of „Dance of Characterization” as an attempt made by the choreography to choose specific movements to portray specific or general types of personalities that can be identified by the audience (17). Gesture becomes a means of creating Visual Personifications in dance. Dance narrative also relies on the important Visual Elements of: Color, Costume, and Fabric. Color of the costume of the character portrays a villain, hero or lover. In „Swan Lake” we have black (bad) and white (good) characters (swans). In costume the lines, forms, and shapes are important, and their fabric could be light, heavy, transparent, and rough. Costume is angular and heavy for the villains, and light and transparent for good characters, supernatural willis and angels. Hayes states that color psychologically affects the viewer’s emotions, such that white can serve to soothe and calm whereas black in its intensity serves to excite (Hayes 1993 : 173).
The dance narrative is also based on metrical rhythms of the dance musical score, and performers follow the musical beats and phrases precisely. When the rhythm increases and music gets louder (Allegro Vivace) we expect a catastrophe, and on the contrary when the music is slow (Andante), soft, quiet, and gentle, we enter the world of pleasures and happiness. Pantomime and Emblems are also part of the dance narratology complex sign system. Pantomime gestures communicate stories without speech. Emblems are gestures used at social events: handshakes, wedding ceremony kneeling before the bride. The pantomime and emblems are able to narrate through the kinetic means of dance gestures and facial expressions. A narrative researcher Marie-Laure Ryan, compares various narrative systems, where text is present to narrate the story in silent era films. „A pantomime could for instance tell the story of a scorned lover who becomes depressed and attempts suicide, but suddenly regains his lust for life when an attractive woman walks by. Narrative is about evolving networks of human relations; and gestures and movement, by varying the distance between bodies, are reasonably good at representing the evolution of interpersonal relations, as long as mental life can be translated into visible body language.” (Marie-Laure Ryan, 2011)
The dance narrative is what makes the story vivid and dramatic. It is important to have a „significant event that provides a disturbance that give rise to a disequilibrium between the two characters. This disequilibrium is what leads to drama”, tell us Sean Hall, a semiotician scholar. If story presents a problem and series of tasks to be overcome, (Propp’s functions and obstacles) this will sustain the viewer’s interest. So the dance narrative of „Romeo and Juliet” could be narrated differently, depending from the choreographer’s intentions. For example: Romeo meets Juliet; Romeo loses Juliet (unhappy); Romeo wins Juliet back (happy), but the story can be reversed: Romeo meets Juliet; Romeo wins Juliet (happy); Romeo loses Juliet (unhappy). The dance narrative, as a discoursive construct, is a dynamic and vital and tells the story through actions (or functions). Vladimir Propp first analyzes the role and functions of the heroic narratives part of the Magical Fairytales. The stories are sequences of events and include the following elements: personages (heroes and helpers), magical tools (supernatural aids), evil antagonists, obstacles, loco motions, awards (the ultimate boon), and 31 functions (actions). Vladimir Propp talks about the „Closed Model” of narrative. In dance narratives this model is also applicable. There are mythological narratives according to Joseph Campbell, which are universal to all Humankind. In the myths we find eternal narratives collected from ancient times that represent what our “Collective Unconscious” is hiding. C.G. Jung’s Archetypes are basic powerful images of ritual, mythology, and vision that are part of the dance narrative structures that inspired us, throughout the entire human culture dialectics. Joseph Campbell continues: „The unconscious sends all sorts of vapors, odd beings, terrors, and deluding images up into the mind-whether in dream, broad daylight, or insanity; for the human kingdom, beneath the floor of the comparatively neat little dwelling that we call our consciousness, goes down into unsuspected Aladdin caves.” Watching a dance performance, one is submerged in darkness and focuses only on the proscenium arch square. It is like watching a “colorful dream spectacle”. The viewer witnesses magic narrated through movement, composition, music, lights, rhythm, and décor. Dancer’s body is fine instrument tuned to a symphony of signs, and dancer executes the memorized steps and compositions in a narrative sequences, composed of postures, combinations, phrases, variations, and acts. And the opposite effect is achieved for the spectator: Reality (dance) enters the Dream world (observer’s mind) and becomes one. The important characteristic of dance narration is the action and the impact from it, inflicted on viewer’s subconscious minds. Using Propp’s words: „The constant, enduring elements of the fairytale are the functions of the personages, despite whom and how it’s performed. They organize the basic content parts of the fairy tale”. When we watch film or drama play; we don’t remember actor’s words but their actions. Overall, the functions of Propp and theory of Campbell are applicable to narratives and especially for dance narratives.
The Stage Semiosis is conditional, and non-verbal dancing narrative takes place in a formal space and time. The dance performance is a semiotic construct of signs and semiotic formations, and is basically a defined set of codes combined with the secondary sign systems, such as mythology, literature, fine arts, music, and religion. De Toro states that: „Performance codes (sign systems) in the show function usually on a Simultaneous Principle (Paradigmatic) or Linear (Syntagmatic), in such a way actively producing signification”. (De Toro 1995: 52) A dance narrative is combined not only of its elements but also is a compilation product of mimic, gestures, body flexibility (plasticity), music, and costumes. According to Jakobson, the non-verbal performances are complicated structures where: „a complex visual signs involve a series of simultaneous constituents.” (Jakobson 1966) The dance narratives are composed from various signs and sign systems, having spatial and time dimensions, which form and support the specific dance language. The communication line starts from the dancer (addresser) and aims towards the audience (addressee). Umberto Eco also accentuates on the movement of the body as part of the dance narratology: „The human body, with its conventionally known characteristics, surrounded or supplied with myriads of objects, incorporated in one physical space substitute something for the audience’ reactions. In order for this to happen, it has been structured into a gaming situation, stating that it has to be accepted as sign.” (Eco 1977) Semiosis is a cooperation of three elements: sign, object, and interpretant, according to Peirce. In dance narrative we rely heavily on these triadic relations, and the expressiveness of the human body (as sign) applied into choreography of the movements (sign system) that convey messages to the viewers (interpretants) and objects. The choreographer’s Meta sign is combined of dancer’s technique sign, music dramaturgy sign, visual sign, and the emotional sign. Erica Fisher-Lihte makes the connection between various narrative personages and the dancer’s body as sign: „If we use the human body as sign for some character–for example demon, mythological figure, animal, spirit, Archetype-Father or other human, then this process not only interprets the body as sign, but also uses it as sign.” (Erica Fisher-Lihte) The dance narrative is a construct of multiple sign vehicles-imagery (pictures projected on screen), material objects (soil, wood, sand), sound effects and noises, dancers, and the stage space. All of these components are mediums (mediators) between two and more signs in one or multiple sign systems, where the communication amongst them creates the basic narrative language of the dance show. That is why these heterogeneous signs are easily organized and composed into multimedia environment, where signs from one sign system correspond and translate to different sign systems (Representation system) via one or more sign vehicles. Dance is a visual art (uses Visual Signs) and relies entirely on body language (Sign Language), movement, composition, music, light contrast, shadows, space, and colors. In the present Post-modern life, we frequently observe dance theatre performances where Actants (dancers) utter short phrases, shouts, cries and whispers. All these „innovations” in the sign language of dance „improve” the non-verbal communication and add even „New Media feel” with Video & Multimedia art screens installations (new sign system) viewed by the audience simultaneously, while dancers film each other on stage. This new creative approach using the film language, combined with the dance narratology becomes part of the new media film genre: Dance Films or „Dance for Camera” films. San Francisco International Film Festival writes about the dance films: “No art form has shown more vitality or great innovation in recent years… This is a sample of what’s been happening.” In these films the narratology concept is preserved and enhanced with story, conflict, protagonists as dancers and also another important participant: Spatial Dimensions – architectural interiors and exteriors, and nature. Dance is „freed” of its form and space, broadens its space dimensions in time (film montage-ellipses, jump cuts, transitions, manipulation of motion and speed). ”But in contrast to still pictures, language, and film, the live performance of gesture narration is incapable of skipping a moderate period of time. It is only when gestures are recorded through film and the footage put together through film montage that it becomes possible to create ellipses of any length in the development of a narrative action.”(Bordwell & Thompson 2009). The camera also „dances” in Dance Narrative Films. The dance films borrow energies from the dramaturgy, fine arts, psychology of visual perception, and the processes of fine arts. As Eisenstein’s concept film theory for „Montage of Attractions”, borrowed from the theatre and circus performances, the dance narratology editing is created by manipulation of emotions and juxtaposition of powerful imagery, with various POV (Point of View) shots, angles, subjective camera shots, and spatial dimensions. On the screen, because of its visual nature, the film shot becomes a new quality unit, a sign. But this sign has the complicated image construction and symbolical meaning of the hieroglyphics or pictograms. The juxtaposition of two „simple” actions in hieroglyphics bears a new „complicated” meaning. For example: water and eyes become „crying”, mouth and kid is „yelling”. „That’s montage!””, explains Eisenstein. Compared to dance gesture emblems in ballet „Giselle”, the gesture of the prince touching his chest, followed by a raised arm with two fingers pointing to the sky, means „I swear!”. Eisenstein talks about the duality nature of the shot, and his understanding is overlapping with the modern linguistics concept of the nature of signs, having a Saussure’s dual structure of - Signifier/Signified. This is also the Saussure’s concept of sign that has Dyadic Model Characteristics. From one side the film shot, similar to hieroglyphics, serves to signify or to „create literature imagery”. Having a visual nature, the shot is able to evoke „amazing expressive skills!” One of the pioneers of the modern dance Martha Graham is influenced by the visual semiotics signs, fine arts field, and music. Jean-Luke Nancie in his „Corpus” writes about the complicated world of dance narratology the following: „The convulsion of the meaning rips the whole body from the body – and leaves the corps in the cave...Despite its meaning of „duality of the soul” and the body, monism of the „flesh”, cultural or psychoanalytical symbolism of the bodies, the body always is structured as of pointing at the meaning. Personification is structured as flesh-less...The signified body – the whole corpus of the philosophical, theological, psychoanalytical and semiological bodies – signifies only one thing – absolute controversy not to be a body, without being a body of one spirit, that makes it body-less.” The „body-less state” is achieved by „Dance Theatre” of Pina Bausch. She reaches the state of „flesh-less bodies”, transforming it into a spiritual happening. Pina Bausch uses index signs for intensified emotional aura, such as mud, water, soil, and hay. Her moving pictures are also an iconic signs filled with rich symbolical meanings. The observer is using, deconstructing and reading the narrative signs of Pina Bausch. German dance theoretician Norbert Servos adds: „All simple attempts for deciphering of the play through pure intuitive or didactic processes are failing. Here the meaning of word is transformed in body signs, total expression of movement, mimic, gesture. Only when the bodies present on stage, and their self-consciousness enter into connection with viewer’s daily life experiences, a sensible context is reached.” These two narratives, dancers and the viewer are mixed together into a „mental dance”. The stage is the meeting point, and the choreographer is some kind of medium giving „green light” to viewer’s conscience to join the dance. The narrative is achieved through usage of „pieces” or „fragments” as film shots glued together by the story described. Using the repetition as unique way of storytelling, Pina Bausch achieves the Brechtian Effect of alienation. According to one of the greatest film directors, Fellini, the Pina Baush performances are: „Dream visions, ceremonies, predictions, and revelation...”
In the Japanese theatre Kabuki and Noh, dance and movements are precise and organized according to the drama text, Zen Buddhism philosophy, gestures, mimic, and body expressiveness of the dancers (actants) and are fundamental of the main concept of this dance narrative code. The Japanese dance narratives (in the stage performances, are part of Pluricoded („Repertoire of Signs”) environment: „Those physical movements can also have a history, a precedence against which textual structures (Syntactic) might be applied (or not). Physical, gesture activity (mime or other) can construct, finally a space that develops in a parallel or indeed even opposite direction to that which might arise from the imaginary of the text.” (Ubersfeld 1999 :112) Butoh Dance („Dance of Darkness”) of Japan is extremely emotional, confusing, expressive, and overwhelming dance narrative form. Mila Iskrenova tells us about it: „Men, painted in white, mainly bald-headed and naked, acted dumbfounded on a first glance. They either did not move at all, or they moved extremely slow, or were hanging for hours upside down from a bridge, or executed circular turns until they totally went off the rails...” But where do we find the meaning in this strange dance narrative sign labyrinth? Mila Iskrenova continues: „The world of „Dance of Darkness” are sex, death, „archaic memory” (collective unconscious), and primitive impulses...it is nourished in its roots from „the literature of damnation” of Marquise de Sade, passing through Jeunet and Artaud, and through the German expressionistic dance...The Butoh dance is situated on the margins of the environment-those of death, of the unconscious-individual and collective, of life’s challenges. Butoh characterizes ritual in „shocking, provocative, physical, spiritual, erotic, grotesque, cosmic, nihilistic, cathartic, violent, and mysterious” kind.”
The dance narratology is enriched by various gestures part of the folk dance traditional dances. In Bulgarian folk dance we see the dancers carrying a sack of wheat, ploughing the earth, planting seeds, immitating tailor’s scissors usage, and potter’s wheel. All of these gestures or dance steps represent various traditional crafts and work labor of the village people. Every gesture is a sign and narrates a specific labor and skill. In the Middle East the dance of the waist, called „Belly Dance”, is focused in the lower abdominal area and the erotic and seductive movements of the hips are combined with semi-nakedness of the dancer for more visual stimulation. The music with its specific Oriental tunes of „Makams” is in perfect relation with the dance narratology complicated sign system to produce seductive and sexual feelings in the viewer’s minds. All folk dances, with exception of the tribal circle dances of the Aborigines, are executed towards the viewer but there is also a multi-faceted space dimension of the modern dance of Merce Cunningham. Here dancers are facing the whole stage directions and various spatial dimensions. Here we have a significant alteration of the dance space which becomes a three-dimensional sign that narrates with more complicated sign system language code. Finally, the dance tells stories and communicates to us via its „non-verbal code”, but we still need to educate the viewers how to interpret its code, secretly hidden in the „dance narrative”. Dance is an incredible source subject for semiotics material research, since in dance choreography there are always present: narration, source codes, various signs, interpretants, interpreters, and rich sign meanings.
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