wk.8 ~ The experience of dance

What do we mean when we say dance allows us to "express" ourselves? Over the past few weeks we have been talking of the effects of dance on our perception portrayal of ourselves - even if that be only a part of ourselves, and how dance liberates us to express our sexuality and sensuality (see for example Leslie Gotfrit (1988) who argues for quite an extreme power in the act of dancing for the creation of female identity).

This week however we are dealing with two authors who have quite opposing views on this matter - namely Phil Jackson (2004) who looks at the clubbing scene in London and argues that clubbing and the experiences which accompany it such as drug use, social expression, etc. enable the person to find in this new sensual landscape an alternative way of being, and that this new found self can be carried over to everyday life. On the other hand we have Suzanne Langer (1953) (whose views have had quite an impact upon the dance world) who takes the stance that dance is merely a representation of emotions but it is not the actual emotion being experienced. As such Jackson can to a certain extent be bracketed with Gotfrit as they both see dance as having transformational powers, whereas Langer offers us the opposite perspective.

Personally I see merit in both of the above stances, however, I feel that both authors are too rigid in their arguments. Langer argues that dance movements are gestural in nature - "All dance motion is gesture, or an element in the exhibition of gesture...but always motivated by the semblance of an expressive movement" [1953:174]. Thus, she goes on to argue, dance is an illusion which has its expressive power in the nature of gesture, which to all intents and purposes is a bodily language we call upon to portray or symbolise our desires, intentions, feelings, etc [p.174-5]. Thus by soliciting the symbolism of gesticulation in dance one is able to portray to the onlooker the desires, feelings, and expectations of everyday life without the need to actually experience these sentiments; as she succinctly puts it "it is actual movement, but virtual expression" [p.178]. As I said I do see a lot of value in Langer's position, and certainly agree that a lot of dance is a mere representation of emotions not a true expression of them - however, I see this argument as applicable only to the dance professional, who is aware and has practiced the art of 'deception' and illusion through invoking gestural symbolism. I feel that if one includes the Saturday evening clubber or the Friday evening amateur salsa dancer - that is any person who dances for personal release and enjoyment - one may find that Langer's theory does not completely hold true. As for these people dance often is an outlet of self-expression.
This is where Jackson comes in, arguing that "the experience of clubbing could be viewed as a form of transferable knowledge. The knowledge generated by clubbing is created when people move from one socio-sensual state to another" [2004:ch.8]. Referring to Bordieu and his idea of habitus - that is one's socially ingrained and habituated ways of being - or as Jackson explains it "it is the bodily actuality of gender relations, class relations, points of reciprocity and morality." [2004:ch.8]. By means of interviews Jackson identifies that the habitus is a deep seated way of being, it is one which resides in our bodily knowledge, one which can not be altered merely through change of ideas or beliefs - the change has to become embodied and part of ones personality. Thus, Jackson argues, that clubbing offers just that, it offers one the physical experience of an alternative way of being, one which once experienced becomes part of the bodily knowledge and may thus be called upon outside of the clubbing scene, as Jackson says "The sensual framework that the civilising process imposed upon us via the habitus is disembodied and replaced [through clubbing] with a far more carnal and expressive experience of self, which revitalises our occupation of the world by making it feel less stale" and that "They [clubbers] use the social, sensual and emotional knowledge uncovered via clubbing to generate a new bodily posture that re-orientates their relationship to and perspective upon the world that lies beyond clubs" [2004:ch.8].

We have here two very different perspectives of dancing and it's effect on the person. Although Langer's view of dance as an idiom which enables the person to symbolise emotions without experiencing them has a certain merit, but to my mind is not wholly applicable to the area of social dancing. Then we get Jackson (and Gotfrit) who argue for the power of dance to liberate the self from everyday social constraints, and to introduce the person to a new way of being. Again this stance has value, but the problem for me here lies that neither Jackson or Gotfrit look at the idioms outside of clubbing, they do not take into account the other areas of dance which could perhaps back their theories, or could prove them as very much a figment of the imagination (although having said that I do not think the latter is true as if one looks at carnival and other areas of transgressive dance behaviour, which clubbing is to an extent, one can make a strong case for the value of these activities in everyday life. I do however think that Jackson has too much of an ideological perspective - his idea of creating an entire new way of being through the experience of clubbing is somewhat far fetched, it may alter once ideas and sense of self, but i do not believe it completely overrides the 'habitus'.

Turning to less debatable topics, salsa class this week was interesting this week. Interesting in that for the first time I had the feeling that my personal dancing "needs" (for want of a better word). I left the class somewhat dissatisfied, having the distinct idea that I could do with at least an other hour. I think this was probably due to the fact that this week's class was very much focused on getting everyone present to the same level - this meant teaching those that have not been attending for some time all the moves we have learned over the past 8 weeks. On the other hand it was useful to re-trace all the moves from day one and to differentiate the intricacies of each of the steps - as such casino, adios, and dile que no were all re-taught, (I also managed to take the opportunity to go over rueda, chica vuelta, and barbossa). One new step was introduced, namely sientala which is like barbossa to the extent that the follower is turned into the arms of the leader, but instead of letting go of the followers right hand and tugging on the left, the leader tightens the hold ensuring the follower is tightly pressed into the leader and then bending the knees creating a near sitting position which is held for 5,6,7. Quite a cute way to finish a dance.

Taking into account what we have been talking about above I can relate to both Jackson and Langer, the movements we a re learning are very much a representation of sentiments, take for example dile que no where the instructor tells the followers you've just been rejected so take the opportunity to look around the room for a more suitable partner - we imagine these sentiments but don't actually experience them. Whilst I feel that the salsa dancing does inspire and motivate me in my sense of self, it does not necessarily alter my way of being in the world.