Aug 28 - Week 2 - Meeting 4: The Labyrinth

 

 

Union: The Labyrinth

Theme: The Dancer

 

I

Introduction

 

According to Kassing (2007), from its origins dance served as a medium for magic and religion through rituals and ceremonies. For early societies, a ritual was a series of acts established through tradition. Ceremonies, on the other hand, signify or celebrate an important event.Ceremonies are performed by enacting strictly prescribed rituals.

II

Learning Objectives

 

• Understand the outer and inner aspects of dance in non-literate societies during prehistory.
• Explain the importance of dance ornaments
• Gain an awareness of the role of the mind's eye in the development of art
• Discuss the role of the shaman in these early societies
• Articulate what cave art suggest in reference to dance 
• Experience the labyrinth

III

Main Lesson

1

The Dancer

Take a look at the diagram on page 29 of Kassing (2007)

 

Source: Kassing, Gayle (2007). History of Dance: 

An Interactive Arts Approach. Human Kinetics

 

Question 1

Which are the outer and inner aspects of the dance in non-literate or prehistoric societies?

2

 

LINK 

Evolution of Art in the Hominid Lineage

Pag. 429 - 430 

Question 2

Why individuals creating and wearing adornments presumably out-reproduced those who did not? 

Question 3

Why is the development of the mind's eye important for the evolution of art?

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  3

 

Question 3

What does cave art suggest in reference to dance? 

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4

 

Source: Kassing, Gayle (2007). History of Dance: 

                                    An Interactive Arts Approach. Human Kinetics

Dancers and Personalities (Page 20) 

 Question 4

What was the role of the shaman?

5

Reading

 

Read this excerpt on page 35 of Kassing's.

"Labyrinth dances suggest mystery or secret societies and often were associated with initiations." 

Question 5

Why would you say the Labyrinth dance suggest mystery?

 

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IV

A Note to Remember

 Prehistoric dance was very basic. It used everyday movements. It served as an important means of communication. Since nearly everyone in early communities danced, the movements were simple. Dance unified people as they celebrated family and community life events. As a medium  to express and communicate critical information, dance was integral to survival, hunting, war and healing. 

 

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V

 Case Study

Anna Halprin

Anna Halprin (born Hannah Dorothy Schuman; July 13, 1920 – May 24, 2021) was an American choreographer and dancer. She helped redefine dance in postwar America and pioneer the experimental art form known as postmodern dance and referred to herself as a breaker of the rules of modern dance. In the 1950s, she established the San Francisco Dancers' Workshop to give artists like her a place to practice their art. 

 

Exploring the capabilities of her own body, she created a systematic way of moving using kinesthetic awareness. With her husband, landscape architect Lawrence Halprin, she developed the RSVP cycles, a creative methodology that includes the idea of scores and can be applied broadly across all disciplines. Many of her creations have been scores, including Myths in the 1960s which gave a score to the audience, making them performers as well, and a highly participatory Planetary Dance (1987). Influenced by her own battle with cancer and her healing journey, Halprin became known for her work with the terminally ill patients as well as creative movement work in nature. 

In 1978, together with her daughter Daria Halprin, she founded the Tamalpa Institute, based in Marin County, California, which offers training in Life/Art process, their creative methodology. Halprin has written books including: Movement Rituals, Moving Toward Life: Five Decades of Transformational Dance and Dance as a Healing Art. A documentary film about her life and art, Breath Made Visible directed by Ruedi Gerber, premiered in 2010.

 

Circle the Mountain

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VI

 Activities

 

1

Link: How to Draw a Labyrinth

See the link above and choose the labyrinth model you like best. 

Draw your own labyrinth on a piece of paper.

 

2

 

• Observe an animal
• Incorporate some of the movements.
• Trace your labyrinth on the floor.
• Use the labyrinth you drew as a pathway for your dance
• Reach the center of your labyrinth 
  
• Decide on the intention of your dance
• Become a symbolic shaman 
  
• Create your dance.

3

Work in teams. Use the chairs in the room to create the group's  own labyrinth. Choose who will play the Minotaur; who sits in the middle? Organize the passage of each member through the labyrinth, making a stop in the center where the Minotaur and the student exchange a symbolic gesture, to then continue to exit.

Following Anna Halprin's premise that a dance ritual is a dance with a purpose, they choose what to walk for prior entering the labyrinth.

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VII

Student's Work 

 

 

Bradley Merschman

Labyrinth Dance

Question 1: Which are the outer and inner aspects of the dance in non-literate or prehistoric societies?

• Outer aspect: The physical movements and actions — what the body does that others can see (like jumping, spinning, stomping).

• Inner aspect: The emotional, spiritual, and symbolic meanings behind the dance — what it represents internally (like connecting with nature, communicating with spirits, celebrating survival).

Question 2: Why did individuals creating and wearing adornments presumably out-reproduce those who did not?

• Those who wore adornments likely appeared more attractive, higher-status, or healthier to potential mates, giving them a reproductive advantage. It showed creativity, skill, and vitality, traits seen as beneficial for survival and passing on genes.

Question 3a: Why is the development of the mind's eye important for the evolution of art?

• The "mind's eye" allows for imagination and visualization — meaning humans could picture things that weren’t right in front of them. This ability was crucial for creating symbolic art, imagining stories, myths, dances, and expressing abstract ideas.

Question 3b: What does cave art suggest in reference to dance?

• Cave art often shows figures in dynamic, exaggerated poses, suggesting that dance movements (like ceremonies, hunting rituals, or spiritual performances) were already an important part of prehistoric life.

Question 4: What was the role of the shaman?

• The shaman was a healer, spiritual guide, and communicator between the human and spirit worlds. Through dances, rituals, and ceremonies, the shaman would seek to heal, bring good fortune, or influence forces of nature.

Question 5: Why would you say the Labyrinth dance suggests mystery?

• A labyrinth is full of twists, turns, and hidden pathways, symbolizing a journey into the unknown. Moving through it during a dance felt like entering a secret or sacred space, tied to ancient rites of initiation, transformation, and mystery.

Ziyang Li

Question 1:
Outer aspects: costumes, music, movements.
Inner aspects: beliefs, emotions, spiritual meaning.

Question 2:
Because ornaments showed creativity, status, or health, attracting more mates.

Question 3:
The mind’s eye allowed humans to imagine and create things not physically present, leading to art.

Question 4:
Cave art suggests dance was part of rituals, storytelling, or spiritual life.

Question 5:
The shaman led rituals, used dance for healing, communication, and spiritual connection.

Question 6:
Because the Labyrinth dance was used in secret rituals, often during important life changes or group initiations.

Nicholas Gioino 

1.Which are the outer and inner aspects of the dance in non-literate or prehistoric societies?

The outer aspects of dance in non literature or prehistoric societies has many aspects. The outer aspects show a gerneral way of moving. Alongside this it shows the ritualistic aspects of these societies. These outward movements is a form of commnication while simulatenously showing what these individuals stood for through movement. The inner aspects of the dance show trasnformation and stimulation within individuals and society.

2.Why individuals creating and wearing adornments presumably out-reproduced those who did not?

This led for indidivuas to outpreduce because it showed a sign of creativity and identity. 

3.Why is the development of the mind's eye important for the evolution of art?

The development of the minds eyes allow us to visuaize things in greater depths and understand symbolism more deeply. Everyones minds eye is different which allows indisivuals to see things at different prespectives which also could bring us together. IT also could help in prehistpric societies as they can get more creative with ceremonies and tool creation.

4.What does cave art suggest in reference to dance? 

Cave art shows how prehistoric societies used to live and how they used to dance/ preform ceromonies. It allows modern day indviduals to see how older socitieties used to live and preform certain acts. 

5.Why would you say the Labyrinth dance suggest mystery?

The labryinth dance did portay a mystery. The movemets seemed rather unpredictabele which can portray a further message than predictable movemements. I also think there was no verbal cues which allows for full autonmy and mystery in the dance moves.

Allie, Alex, Manisha, Megan Deeya

We developed non-grasping feet, bipedalism, and a larger brain. Our feet evolving allowed us to stand upright, become more mobile, and freed up our hands. We formed a new perspective on the world and formed more connections with each other since we interacted face-to-face more often. Our brains allow us to memorize and conceptualize thoughts more. We saw more signs of religion and the development of various technologies as our brains grew from their previous size. 

Cave art represents a sense of community. Cave art story tells and dance can also be a way to story tell. Both dance and cave art can be passed down, used for rituals, and as a way for people to showcase their talents.