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CID UNESCO

, 1 5 2015

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sbekakos@itl.auth.gr

As a mode of analysis, structuralism seeks to explain surface events, in this case a dance, in terms of the structures that lie below the surface level and that underscore it.

Moreover, from this viewpoint, the art work is treated as a structure that functions as an emerging coherent whole, constantly in the process of structuration through its own determinate internal rules. The art work is not simply an aggregate of individual parts, but, rather, the parts conform to the same set of internal rules that determine the whole.

The parts, then, have no existence outside the structure in which they are brought into being and through which they are ordered.

But the structure is not static, because it is able to use transformational rules that provide for the possibility of new material being brought into existence to effect change and movement. So the concern becomes to look at the art work in terms of its specificity, dynamics, form, content and so forth in order to draw out the complex sets of interrelationships at work in it, which, combined together, help to create the aesthetic effect and give rise to the emerging integrated whole.

Thus, individual movements in a dance have no meaning in and of themselves.

Rather, meaning is determined by the relationship of the movement to all other aspects that are involved in the dance work. Consequently, although we are separating out certain sections of Rushes, to illustrate particular points, the concern is always to integrate these back into the emerging whole.

Our analysis, in general, privileges what Jakobson (1972) terms the poetic function of language. Jakobson sets out six linguistic functions of communication which can be applied fruitfully to other modes of communication []

(Jordan, Thomas, 2010: 152)

O . . , . , , . , [footnoteRef:1]. O , , , . [1: . Sachs (2006): Per Curt Sachs, la danza " la madre di tutte le arti. Musica e poesia si determinano nel tempo, le arti figurative e l'architettura nello spazio: la danza vive ugualmente nel tempo e nello spazio". Il suo testo una classificazione di tutti gli aspetti della danza intesa come espressione primaria comune agli esseri umani di ogni epoca e luogo. Dalle danze preistoriche legate ai temi della fertilit, della guarigione, della caccia, della guerra e dei misteri astrali, alla grande trasformazione del XIX secolo con la civilt industriale e la rivoluzionaria introduzione del valzer, fino ad arrivare all'esplosione di danze americane del Novecento (l'"et del tango"), attraverso un lavoro di classificazione prezioso e competente, l'autore si preoccupa di cogliere gli elementi di comparazione tra le varie culture (con un'attenzione particolare alle civilt orientali). Oltre a quella artistico-espressiva, fondamentale anche la funzione sociale della danza, che pure, nel corso dei secoli, non ha mancato di destare l'interesse e le preoccupazioni di moralisti e politici (Introduzione). , . Sachs, C. 2006. Storia della danza. Presentazione di Diego Carpitella. Traduzione di Tullio de Mauro. Milano: Net. (ed. or. Eine Weltgeschichte des Tanzes, D. Reimer A.G., Berlin, 1933) ]

[footnoteRef:2] . [2: . Structured movements. Kaeppler (Spencer, 1999: 92 - 94): Cultural forms that result from the creative use of human bodies in time and space are often glossed in English as dance. These cultural forms can be said to formalize human movement into structured systems in much the same way that poetry formalizes language. Such forms, though transient, have structured content, are often visual manifestations of social relations, and may be part of an elaborate aesthetic system. ]

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(Etymological method)[footnoteRef:3] (Field research). , , . , , . [3: , . , . (Hatzidakis, G. und das Makedonische. Glotta, XXIII (23). 1935: 268 270). K , (..) . . , , . , : Aus einer Etymologie einen so wichtigen Schlu ber das Makedonische zu ziehen zumal nachdem viele andere Etymologien und historische Tatsachen dagegen sprechen - , ist allzu gewagt; vgl.Kretschmer, Sprache, S.540 (= . Gercke und Ed. Norden, Einleitung in die Altertumswissenschaft, 1. Bd., 6. Heft); Ed. Schwzyer, Griechische Grammatik I [Mnchen 1934] 69ff. usw. (. ). (), , . ]

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HOS (hs) [footnoteRef:4] [footnoteRef:5] [4: . LSJ s.v. , , , A. tender, delicate, of youthful persons, as of maidens, Od.11.39; of fillies, Il.20.222; of young,gay spirit, 18.567, cf. Hes.Th.989, h.Cer.24; E.El.699 (lyr.) (unless it = suckling her lamb); . , of the aged, tremulous, A.Pers.537 (anap.): c. dat., , i.e. subject, amenable to him, Pi.N.7.91. Adv. - Sch.Il.5.271: Sup. -, IG1.492a.] [5: Vox Annibaldis , ( ). (750 700 . .), 740 . . 1871 , , . .( , .Annibaldis, G., Vox, 1976. O. La pi antica iscrizione greca. Glotta, 54, : 223 228). , . :Powell, B. 1988, The Dipylon Oinochoe Inscription and the Spread of Literacy in 8th Century Athens, Kadmos 27: 6586. K, A.1999, : (. .. ), : : 360379.]

- [footnoteRef:6] (Orchestn). [6: . LSJ s.v. - , , , A.dancer, Il.16.617, 24.261, IG12.785,919, Epich.171, Pi.Fr.148, Pl.Euthd. 276d, OGI51.45 (Ptolemais, iii B. C.), etc. ; later esp. pantomimic dancer, . Arist.Po.1447a27, cf. Luc. Salt.67; . Democr.228.]

[footnoteRef:7] (. [footnoteRef:8]) . [7: . LSJ s.v. , impf. : Ep. 3pl. pres. , impf. (v. infr.): fut. A. Ar.Th.1178, etc.: aor. Anacr. 69, Hdt.6.129 ; inf. Hom. (v. infr.):Pass., aor. Euph.87:dance, . . Il.18.594 ; Od.8.371, cf. 14.465 ; Hes.Th.4 ; . , of the Pyrrhic dance, Demetr.Sceps. ap. Ath.4.155b ; X.Cyr.1.3.10 ; (cf. ) Antiph.113.1 : c. acc. loci, to dance in or on, Orac. ap. Hdt. 1.66, cf. Euph.l.c. (Pass.): also c. acc. cogn., dance Laconian steps, Id.6.129 ; . X.Cyr.8.4.12 ; . Id.Smp.7.5 ; . Luc.Salt.II sq., etc.:Pass., Ath.14.631d. 2. represent by dancing or pantomime, , . , Luc.Salt.80, 83, cf. AP9.248 (Boeth.), 11.254 (Lucill.). II. metaph., leap, bound, A.Ch.166, cf. Anaxandr.59 ; Thessaly shook, trembled, Call.Del.139. III. Act. , make to dance (v. Pl.Cra.407a), is used by Ion Trag.50, made my heart leap (so codd. Ath., Nauck); but in Ar.Th.1179 is a barbarism for .] [8: . LSJ s.v. - , , , A.dancing, the dance, Epich. 171 ; Hdt.1.202 ; esp. pantomimic dancing, Id.6.129 ; . X.An.6.1.11 ; Plb.4.20.12 : a part of , acc. to Pl.Lg.795e ; . Id.Cra.406d ; . , ., Luc.Salt.8,32, POxy. 1241 v 27 (ii A. D.), etc.; , title of work by Lucian ; cf. Ath.1.14dsq., 14.630bsqq., Poll.4.95 sq. , . Beekes (2010: 1115)]

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[footnoteRef:9] [9: . Annibaldis, Vox (1976: 228): La pi antica iscrizione greca. E noto il problema della pi antica iscrizione greca incisa su un oinochoe di stile tardo geometrico rinvenuto presso il sepolcreto di Dipylon nel 1871, e pubblicato da Koumanoudis nel 1880 [] L iscrizione presenta un esametro inequivocabile e una clausola di lettura e interpretazione discusse [] Il vaso dunque dovrebbe presentare e individuare il miglior danzatore , essere l attestazione della sua vittoria. Che un oggetto indichi una persona e le sue prerogative concetto usuale nelle iscrizioni greche; originale per la forma con cui tale concetto viene qui espresso.]

[footnoteRef:10], [footnoteRef:11]. [10: . LSJ s.v. , Dor. Theoc.15.42: Lacon. pres. part. gen. pl. fem. Ar. Lys.1313 (lyr.): fut. Syrac. in X.Smp. 9.2, A. LXX 2 Ki.6.21, AP12.46 (Asclep.), ib.211 (Strat.), Anacreont.41.8: aor. 1 Hom. (v. infr.), Ar.Pl.1055, etc.: pf. Men.923.3: pf. Pass. Hdt.4.77 (v.l. ), Ar.Th.1227; imper. Pl.Euthd.278d: also aor. Crates Com.23, Ctes.Fr.29.59, LXX Jd.16.25, Luc.DDeor.6.4, etc.: pf. Plu.Dem.9:Pass., aor. Id.2.123f, Hld.8.6: pf. Epigr.Gr.979.3 (Philae); inf. Timarch. ap. Ath.11.501f; imper. Phld.Mus.p.106 K., Fronto Epig.Gr.5.86: Hom. uses only pres. and impf., and (in Od.8.251) aor. imper. ; Trag. only pres.: ():prop., play like a child, sport, . . Od.6.106, cf. 7.291 (never in Il.), Hdt.1.114, etc.: metaph., Heraclit.52. 2. esp. dance, Od.8.251; 23.147, cf. Hes.Sc.277; . Ar.Ra.409, cf. 390; Pi.O.13.86:Pass., , of the chorus, Ar. Th.1227. 3. play [a game], . Od.6.100; Emp.100.9; . Ctes.l.c.; . Pherecr.43, cf. Antiph.92; . (v. III. 2); . Pl.Com.46.1; with others, Hdt.1.114: c. acc. cogn., . Anacr.53 (dub.); Plu.Alex.73; . Ar.Pl.1055, cf. Pl.Alc.1.110b; ., of a game similar to our draughts, Cratin. 56: with Advbs., . Antiph.283, cf. Crates Com. l.c., etc. 4. play on a musical instrument, h.Ap.206: c. acc., Ar.Ra.230; dance and sing, Pi. O.1.16. 5. play amorously, X.Smp.9.2; LXX Ge.26.8; of mares, Arist.HA572a30. 6. hunt, pursue game, . S. El.567. II. jest, sport, Hdt.2.28, 5.4, 9.11; opp. , X. Mem.4.1.1; opp. , Id.Cyr.8.3.47; (opp. ) Pl.Euthd.283b; . Ar.Ra.376; . Antiph.218.4; , Amphis 8; . make fun with a person, E.HF952, cf. Pl.Men.79a, Men.Pk.198; . play with a thing, Pl.Phd.89b: c. Adj. neut., X.Cyr.6.1.6: part. is freq. abs., jestingly, Pl.Tht.145b, al.; opp. , Id.Lg.636c, al.:Pass., has been made up as a jest (v.l. for ), Hdt.4.77; enough of jest, Pl.Euthd.278d, cf. Phdr.278b, Phld. l.c.; Timarch. l.c.; 'as the joke is', Plu. 2.1090f; ib.81e; but , in act. sense, Epigr.Gr.979.3 (Philae). 2. c. acc., play with, make sport of, Luc.Nigr.20, AP10.64 (Agath.). 3. Gramm., of words played upon or coined for the joke's sake, Sch.Ar.Av.42, cf. 68, etc , . Beekes (2010: 1142 1143)] [11: . (2006) [pzo]-3:I1. . :T / .T . .2. , : / . / / , . (.) ~ ., , : .|| (.) : ~ / / / . . . ;, ; (.) *.|| , : ~ / . , , , . || ~ ..(.) :H . ;. :T ; , . || (., ' .): ; .3. :A K, ~. / .. : . ~ *.~* .~ , , . ~. *.~ *.~ / , , . ~ *.~ / ,, . , . ~ *. ~, . , :H .~:. :M .. :T / . T .. (. , .):T . N .II1.: .~ / / .(.) ~ , , , : . , , : . ~*. ~(, .),, 2. : M . ;, II8;T B . T . H ,..( , , , , , ) :T , .M . T / , .3. : ~ . T .. : ~ / .III1.:M / . . ~. , . ~. , , , YN . .. : . . .2.: . . . T . , . , ..: . .3. : . . * .IV1., : , ~. M .(.) *. !, . . , . , . : .(.) ~ , , .2., , : . M ! K . . ~ *. ~ , . ~. * .~. *.~. * . [.(1, 2: . . . jouer & . play)]]

, (BNP, 2004:4:71 72 ).

1. [footnoteRef:12] [chor chors] [12: (2006) s.v. [xorvo]-5.2( .):1. , . : ~ . / . T . X / . , ., . ~. *.~ H,: H. H , . AN * . * . , . .M , , , , . || :X . ..~ , .2. , , : ~ . / .3. . , :T . X .||T ,. [.] [xors]17:1. , . , : / / / / / ~.K~.~ *. / . B / .(.) / / , . , .* . , , . ~ , .~ H, .~ Z, . A *.A / , , . || , : ~ / .|| :A / ~. ~. . K .2.~ , : ~ / . . A / ~. (. .) , . ..~, : / ~, / .3. :~ / .[1: .2: . < .2: . . . 3: . . .)] [xorostsi]44:1.(.) .2. .[-+-] [xorostasa]25: . [. < .` ( . . .)][xorostat]10.9: .[. < .` ( . . .)]]

*chor dancing ground

(Il.18, 590 Od. 8, 260: round dance [4.119 120] cf. Eng. choir [10. 37 38], also carol [21])

2. Greek orcheisthai[footnoteRef:13], to move about (Ath. I, 21a), to dance Greek orchestra, the lowered semi circle in a theatre, where the choruses sang and danced (Phot. Lex. s.v. orchestra) [13: (2006) s.v. [rxisi]33:(.) :B , ~. [. < .() -]]

3. mim - : Greek mimeisthai[footnoteRef:14], to mimic, originally to express in a dance ([13.119]) [14: (2006) s.v. [mimme]10.9:. , , .: ~ / / . . T . .~ , ..( . ) . . : , . B A .[. < .]]

4. Greek pantomimes, who expresses everything through dance

(cf. Lucian De saltatione 67), Engl. Pantomime

5. pai- : Greek paizein, to play, to dance (Hom. Od.8, 25I; H.Hom. 3, 200 f., 206)

6. ball -: Greek ballizein[footnoteRef:15], to dance (Ath. 8, 362b; cf. It. ballo, Engl. 'ballet) [15: (2006) s.v. [blos]18:1. , , .2.(.) .[. < . ballo-< . ballare ` < . ballare < . (., ) . `]]

7. sal - : Lat. saltare, to dance

(contracted from salitare, iterative of salire, to jump)

These terms are all connected to central aspects of Greek intellectual life.

Alongside sacrifices, ritual dances by the chorus were central to the hero cult and the veneration of the gods, and even the great Athenian festivals: e.g. the dithyrambos, which was danced around an altar (thymele), thus named in contrast with the chorus of the Attic drama, which was traditionally arranged in a square (Poll. 4, 108 109).

Dance was mimetic: The cultic dance evoked the deity, the serpentine dance of the geranos retraced the labyrinth of Cnossus, the Pyrrhic (war dance, pyrrhiche) represented fighting, etc. Chorus dances were ritualized play (paizein). They were instrumental and fundamental to human socialization (Pol. 4, 21, 3 4); they educated young people (paideuein: Pl. Leg.654ab, cf. 672e) and trained them [14.185]; they allowed adults once again to be a child (pais) (cf. Pl. Leg.7, 803e; Mt 18,3) [20. 1, 33].

Dance, in combination with its accompanying song and instrumentals, constituted mousike, the unity of those arts in word, sound, and motion, which the Muses themselves cherished

(Hes. Theog. 2 10; Pl. Alc. 1, 108cd).

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(Pl. Leg. 2 7, Plut. Mor. 747a 748d, Luc. De Salt., Lib. Or. 64 )

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(Ath. 1 14, Poll.4,95 110)

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