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Siberian Circle Dances: the New and the Old Communitas

100%
Noiwicka E.
|
2016
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vol. 194
|
issue 2
249-260
EN
The article explores the link between the circle dance and its cultural and political environment, its situational context. I analyze this phenomenon using the notion of communitas, created by Victor Turner, which relates to the state of a group when the unity, uniformity, and communality become more important than the internal diversity and social structure. The article is based on various material including interviews, records of observation, and visual documentation that I have gathered during fieldwork in ethnic Buryatia in 2000, 2010, 2012, 2013 and 2014, and in Yakutia in 2013. Presently in both republics circle dances often accompany ceremonies, celebrations, or cultural festivals organized by the authorities (state or local administrations, or non-governmental organizations.
2
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Taniec w kręgu: nowe i dawne communitas

86%
Nowicka E.
Prace Etnograficzne
|
2014
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vol. 42
|
issue 2
147–171
EN
Circle dances are observed in various cultures and times. The paper indicates certain social, political and situational contexts of the phenomenon of communal circle dances in remote territories: Catalonia, Balcans, Sakha (Yakutia), Buriatya and USA. The author offers an interpretation of chosen cases in terms of Victor Turner’s concept of communitas. During the communal dances – sardana, corlu mari, yokhor, osuokhai and ghost dance – the idea of community, equality and unity is dominating over social structure divisions and resulting in forming the psychological and social communitas. This is why all analysed circle dances arise in the context of serious menace and destruction of ethnic integrity. Being together in a very literal sense through physical closeness during the same motoric behaviours, common singing produces feeling of power and unifications, reinforcing social identity and affirmation to a group. Circle dances are analysed in association with attempts to preserve group cultural and oft en even biological integrity.
3
Content available remote

Taniec w kręgu: nowe i dawne communitas

86%
Nowicka E.
Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego
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2014
|
issue 5(31/1)
217-241
EN
Circle dances are observed in various cultures and times. The paper indicates certain social, political and situational contexts of the phenomenon of communal circle dances in remote territories: Catalonia, Balcans, Sakha (Yakutia), Buriatya and USA. The author offers an interpretation of chosen cases in terms of Victor Turner’s concept of communitas. During the communal dances – sardana, corlu mari, yokhor, osuokhai and ghost dance – the idea of community, equality and unity is dominating over social structure divisions and resulting in forming the psychological and social communitas. This is why all analysed circle dances arise in the context of serious menace and destruction of ethnic integrity. Being together in a very literal sense through physical closeness during the same motoric behaviours, common singing produces feeling of power and unification, reinforcing social identity and affirmation to a group. Circle dances are analysed in association with attempts to preserve group cultural and often even biological integrity.
4

Loomtegelaste kujutamine laulumangudes

72%
Mirov R.
Mäetagused
|
2019
|
vol. 75
99-116
EN
The article compares song-games with animal characters in three temporally consecutive song-game layers in terms of their depiction style and game techniques. These are performative games to the accompaniment of runo songs, dance-figurative games to the accompaniment of transitional songs, and insert dance songs to the accompaniment of end-rhyme songs. For the most part, the animal character of older games is anthropomorphised, has a command of human speech and human activities. Unanthropomorphised animal characters are depicted on the basis of natural examples, by means of distinctive sounds and movements. The conflict in the game also proceeds from the animal characteristics of the characters. The games in the next layer depict animals as more abstract, and close-to-nature depiction is replaced by consensual symbols and terpsichorean moves. Conflict is a result of ethical-social problems inherent in humans. The last, round dance layer features, to a small extent, imitation by means of symbols, yet the main activity is (couple) dance to the accompaniment of songs. The temporal development of song-games moves from the scenes imitating real situations towards more abstract, terpsichorean techniques. Changes in the depiction of animals and birds in song-games probably reflect general changes in people’s perception of nature and receding from it.
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