freestyle dance as a language code. english version1. sotiris.bekakos.phd.2014

8/10/2019 Freestyle Dance as a Language Code. English Version1. Sotiris.bekakos.phd.2014

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SotiriosBekakosP

hD

StudentA

ristotelianUniversity-Thessalonik

2

014

Linguisticsmeetsdance:F

reestyle

dance

asa

langua

ge

code

A Comparativestudy on therelationbetweenlanguage anddance

Presented at: a) the

37th International

Congress on Dance

Research CID

UNESCOAthens

2014

b) the 35th Annual

Meeting of the

Department of

Linguistics

Aristotelian University

of Thessaloniki

GREECE May 2014

[email protected]

Tel. +302155158495


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Introduction

Through the study of dance, as a dance student, I realized that dance is a kind ofhuman language, which is related with linguistic and anthropological elements.

In this paper, the following dances are studied:

1. Oriental dance

2. Freestyle - Street dance

The above mentioned dances are characterized by a freedom of movements.Through these movements, the dancer is able to express verbal and non verbalelements.

In this paper, the origin of the Oriental and Freestyle dance is also presented.This excursus points to the illustration of the dance terms, their etymology andsignificance that demonstrate the relationship between language and dance.

Except from the presentation of Oriental and Freestyle dance, in this work theetymology of the terms and dance is also discussed.

Method. The research of the relationship between and dance is carried outwith the use of the philological method, the etymological method and the use of theTheory of Language Functions (Jakobson). Also the ethnographic method is used forthe presentation of the history of the Oriental dance.

Questions

I was asking myself for a long time, if there is a relationship between language anddance. Before the research, I formulated the following questions.

Is it possible to study the relationship between language and dance? Is dance a formof language with its own rules? Which is the character of language and dance andhow can influence the peoples character through time? Can linguistics be a usefulinstrument for dance research?

LanguageDance - Communication: is the triad that forms the sense of civilizationand a peoples character. Through language man can express his actions and his ideas,forming attitudes, beliefs and standards, while through dance expresses feelings, ideas andmetaphors, improving in this way soul and body.

Dance is a text in motion, a ritual. Collective memory, customs and traditions,history and national identity characterize dance history.


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Language and Dance: one relationshipmany aspects

Language and dance constitute the basic elements of the human civilization.

All ancient civilizations attached great importance to the dance as a ritual or artistic kind.During the prehistoric period, language and dance were used as media of primitive people and

had purely ceremonial - practicalcharacter (satisfaction of the basic human needs,communication with God).


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In all ancient civilizations, dance played an important role. In the Middle East, Egypt,

and ancient Greece and in ancient Italy, dancing characterizes every form of social andreligious expression was the representation through shapes and movements of the thoughtsand desires of man. Dance was a complement of linguistic expression which accompanied the

"rituals of transition '(rites of passage)1. The rituals of transition covered all theexpressions of social life.

Picture 1.

A red figured cratershaped bell (5th

cent. b. C.), that illustrates a scene of phlyakes

(gr. , an ancient Greek comedy of the Magna Graecia). From the tomb num.2 of thesettlement of Santa Maria del Casale, near PisticciMatera provinceBasilicata region - Italy.

The movements of the dancers look like the movements of the modern dance.

1 The term rites de passage refers to linguistic and anthropological research, in order to express thechanges of a person during his life, i.e. the transition from a socio - cultural situation to another.Furthermore, the term may indicate changes associated with the cycle of life and changes in social roles(e.g. the passage from high school to university, graduating from university, doctorate and others).This phenomenon is of great importance for the individual himself, for the relationship between theindividual and the social group but also for the cohesion of the social group.Arnold Van Gennep (1873

1957) a French linguist and anthropologist, introduced for the first time the term rite de passagein

linguistics and anthropology.Cf. Van Gennep, A. 1909.Les rites de passage: tude systematique. Paris, E. Nourry.


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According to linguistics and anthropology, dance is communicative medium.

Dance constitutes a channel of communication of messages, of ideas, of myths, offeelings and of historical events.

Every people have its own dances that constitute a kind of sociolect (a dialect thatdefines a social stratum). In every dance there are codified structures that can beinterpreted through the procedure of codification. Codification is necessary for thecomprehension of dance structures, called patterns. People that watch a dance

performance can use the decodification procedure, in order to analyze and understandthe sequence of dance movements. Every sequence of rhythmic dance movements arecalled patterns2and are organized as a system.

Patterns are formed by a sequence of steps and movements that create differentshapes, either on air, either on the floor (Jones, 2013: 18).

Many groups of steps and movements form the routine3(Jones, 2013: 18).

2Cf. ncyclopedia Britannica: root and pattern system, in linguistics, one of several methods for creating thestems, or most elementary forms, of words. The root and pattern system is found in theAfro-Asiatic languagephylum, and particularly in theSemiticbranch of the phylum. Theroot is a set of consonants arranged in a specificsequence; it identifies the general realm of the words meaning. Additional information, such as part of speech andtense, is reflected in the stems vocalic (vowel) and syllabic features, called the pattern.A given set of stems may thus be distinguished by either the pattern or the root. In the first case the stems have acommon root and thus share a common semantic field, as with the English verbs write, wrote, and written. Thesethree verbs share the root wr-t(t)-(parenthetical letters reflect an optional feature) and are differentiated by the

patterns -i-, -o-, -i-en, which indicate tense. Alternatively, these patterns could be combined with a different root,such as r-s-, for rise, rose, and risen; the tenses parallel those in the first case, but the semantic field of the serieshas changed.(http://www.britannica.com/EBchecked/topic/1462433/root-and-pattern-system#ref1023817)[pt-tern] n.m. invar. 1.schema che rappresenta un modello di riferimento.2.(inform.) modello che definisce la disposizione di caratteri di una stringa3.(mus.) giro armonico o melodico dato da un numero di battute (che varia a seconda del genere e dello stilemusicale) che si ripetonoEtimologia: voce ingl.; propr. modello, tipo.http://www.garzantilinguistica.it/ricerca/?q=patterncf. also Rastall (2006: 3031): Saussure, by contrast,concentrates so much on the semiological patterning implied by acts of speaking that his view of language aspattern is reified(not merely speech considered for the purposes of analysis). He claims to have defined "deschoses et non des mots" (1972, 31) and says,"[la langue] est un objet bien dfini dans lensemble htroclite des faits du langage. On peut la localiser dans laportion dtermine du circuit o une image auditive vient sassocier un concept...

"La langue, distincte de la parole, est un objet quon peut tudier sparment."In order to consider la langueas an object in this way, Saussure is clearly both arresting the forms of the semioticsystem and hypostatizing the patterns of the semiotic system set up by the linguist in what Popper would callWorld 3 of scientific theories and discussions.Now, Saussures language as pattern can be taken either as the reality he says it is oras an explanatory construct.One does not have to be ontologically committed to the actual existence of such a platonic world of forms. Clearly,we can suppose there is a systematic organization and regulation of experience in such a way that communicationis not random or chaotic, but we do not have to accept that this organization exists in the particular form of ourexplanatory constructs or be ontologically committed to the real-world existence of entities corresponding toexplanatory constructs despite the tendency of some neurolinguistic theories in this direction (see below).3cf.OED. s.v. routine rootnA sequence of actions regularly followed; a fixed program.Computing.A sequence of instructions for performing a task that forms a program or a distinct part of one.rigin. late 17th century (denoting a regular course or procedure): from French, from route'road'

(http://www.oxforddictionaries.com/us/definition/american_english/routine?q=routine)A set sequence in a performance such as a dance or comedy act: he was trying to persuade her to have a taproutine in the play
http://www.britannica.com/EBchecked/topic/8488/Afro-Asiatic-languageshttp://www.britannica.com/EBchecked/topic/534171/Semitic-languageshttp://www.britannica.com/EBchecked/topic/565209/stemhttp://www.britannica.com/EBchecked/topic/1462433/root-and-pattern-system#ref1023817http://www.britannica.com/EBchecked/topic/1462433/root-and-pattern-system#ref1023817http://www.britannica.com/EBchecked/topic/1462433/root-and-pattern-system#ref1023817http://www.garzantilinguistica.it/ricerca/?q=patternhttp://www.garzantilinguistica.it/ricerca/?q=patternhttp://www.garzantilinguistica.it/ricerca/?q=patternhttp://www.britannica.com/EBchecked/topic/1462433/root-and-pattern-system#ref1023817http://www.britannica.com/EBchecked/topic/565209/stemhttp://www.britannica.com/EBchecked/topic/534171/Semitic-languageshttp://www.britannica.com/EBchecked/topic/8488/Afro-Asiatic-languages


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The study of the language in relation to the dance is part of the theory ofcommunication and can be can be defined according to the following pair4:

1. Language Work 2. Dancenergy

3 Language + Dance = Work + nergy

Formula - [Lang + Da = W + En]5

4cf. Rastall (2006: 2328) Hjelmslev [23] Louis Hjelmslev, 1968, Prolgomnes une thorie...[23]points out,this analytical orientation towards the means of communication, as opposed to the content, is difficult because "le

langage veut tre ignor. Cest sa destination naturelle dtre un moyen et non un but". This analysis of language ascommunication leads us to language as pattern. It is the sense of "language as pattern" in BlacksLabyrinth ofLanguage[24] Max Black, 1968, The Labyrinth of Language, Harmondsworth,...[24] and is familiar tofunctionalists.It is easy to see that different researchers might devote their attention to one or other of these phases of thelinguistic process. "Language" can be seen in the communicative event; the rational analysis of the communicational event, and the rational analysis of the content(or indeed the logical form) of the frozen communicational event.The differences between viewing language as communication, pattern, or as information may lie at the root ofdifferent conceptions not only of what language "is" but also of how one should go about accounting for it. This is,of course, not "merely terminological". It is a matter of ones point of view and, as Saussure[25] Ferdinand deSaussure, 1972, Cours de linguistique... [25] wisely observed, "cest le point de vue qui cre lobjet". When weconsider the expressions "language as communication", "language as pattern" and "language as information", wecan see, as a result of the changing objects of study, a shift in the meaning of "language".Saussure and most linguists since have been concerned with language as pattern. By contrast, when von Humboldt[26] Wilhelm von Humboldt, 1876, ber die Verschiedenheit... [26] famously declared that language was not anergonbut energeia,die Sprache ist kein Werk (Ergon), sondern eine Ttigkeit... Sie ist nmlich die sich ewig wiederholende Arbeit desGeistes, den artikulierten Laut zum Ausdruck des Gedankens fhig zu machen.He was obviously thinking ofspeech activity and concentrating on the communication event, constantly adapted to changing circumstances, andwas ignoring the sense of "language" as a system of patterns or regularities by means of which each utterance is arepresentative of a system and not simply the product of chaotic processes. He was thinking about language as(instances of) communication rather than language as pattern or language as information. That is, he was thinkingof speech and not language (system). This has been observed since at least the time of Delbrck [27] BertoldDelbrck, 1904, Einfhrung in das Studium... [27] (1904, 40 ff). Von Humboldt [28] Von Humboldt, ber dieVerschiedenheit..., p. 123 [28] goes on to say,Man kann den Wortvorrat einer Sprache auf keine Weise als eine fertig daliegende Masse ansehen. Er ist, solangedie Sprache im Munde des Volkes lebt, ein fortwhrendes Erzeugnis des wortbildenden Vermgens...5Analysis of the formula: Lang (Language) + Dan (Dance) = W (Work) + En (Energy).Language is work, that is to say the production of the writing or the oral discourse, that can be transformed intoenergy (dance).
http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no23http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no23http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no24http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no24http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no24http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no24http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no25http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no25http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no25http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no26http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no26http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no27http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no27http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no28http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no28http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no28http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no28http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no28http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no27http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no27http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no27http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no26http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no26http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no26http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no25http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no25http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no25http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no24http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no24http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no23http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm#no23


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Language and dance: approaches and theories

To highlight the relationship between language - dance, the following methodological

approaches can be used:

1. the philological method

2. the etymological method

3. the theory of Minsky

4. Dell Hymes theory - The Theory of Anthropological Competence

5. Jakobsons theory of language functions communication theory

The philological method is used for the collection (lat. collatio) and studylinguistic and historical elements, that are mentioned in dance (lat. recensio).

This combines literary criticism, history and linguistics. With the help of thismethod it is possible to record the written sources that include testimonies aboutdancehistory6.

6Contini, s.v. Filologia (Enc. Ital. 1977), declares that philology is a reconstruction of a past :Per un lato essa ricostruzione o costruzione di un passato' e sancisce, anzi introduce, una distanza fral'osservatore e l'oggetto; per altro verso, conforme alla sentenza crociana che ogni storia sia storia contemporanea,essa ripropone o propone la presenza' dell'oggetto. La filologia moderna vive, non di necessit inconsciamente,questo problematismo esistenziale.(http://www.treccani.it/enciclopedia/filologia_(Enciclopedia-del-Novecento).The term dance history is part of a discipline, called dance studies.For a complete presentation of the history of the term, cf. AdsheadLansdale, J., Layson, J. (1994: 1 5).AdsheadLansdale and Layson (1994: 5) give a scientific definition of the term Dance Studies:Dance history as a body of knowledge and the study of dance history as a scholarly activity constitute in somerespects a hybrid discipline [] A convenient way of characterizing dance history as a body of knowledge and asa disciplined activity is by means of a threedimensional model. Here it is used to explore different modes ofengaging in dance history []The research on the history of dance includes three dimensions:1. Dance through time

2. Dance types3. Dance contexts(AdsheadLansdale, Layson, 1994: 510)


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Etymology is useful for a detailed analysis of all these terms that are related to dance(i.e. dance terms, steps names, names of dance movements).

According to Giannakis (, 2011: 79):

, , , .

, ,

. ,

,

. (. . , , ).

. ,

, .

, ,

, . ,

,

.

.

Therefore, the study of the history of words, which is the etymology, is part of thesociocultural study of language. This study includes the use of semantics,sociolinguistics and anthropological linguistics.


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FrameMinskys Theory

The term frame proposed by Minsky (1975) for representing knowledge and now used by

scientists in artificial intelligence and automatic processing of natural language.Minsky formed this methodology using the following terms:

1. slot

2. facets

3. default

4. instructionsdemons

According to Minsky, structures represent the concepts, so they are often used inlinguistics to represent the importance of the word. However, the structures may beused for the representation of historical events, individual events and movements.

Table 1. FrameDance

SLOT

DANCE

Humans

Movements

Energy

The slot Dance has three facets: Humans, Energy, and Movements

Minsky believes that with the facets it is possible to determine a range of potentialvalues and the value of default. Default is the value parameter assumes a typicalexample that represents this concept.

e. g. (dance of the ancient Greek comedy - default)

The term frame contains even extend the concept of dance (conceptual extension).Therefore, the kordax (dance) in the ancient Greek language includes a set ofknowledge (engl. instructions), theoretical or practical (movements, steps, stories,legends and references to emotions, etc.) that determine the value of the parameters orfacets.


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The Theory of Anthropological Competence (Dell Hymes theory)

Anthropology, unlike linguistics, believes that the rules of the language are notsufficient for the creation of articulate speech, but the context, in which it lives andacts the man who speaks a language.

The linguistic - cultural diversity is a result of the historical process, and a mandevelops through time and space.To composed forms the basis for the study of dance with the help of pragmatics andanthropology.The term 'context' is a term coined and linguistics from Bloomfield (1933) (< lat.contextus)7. Contestindicates the environment where the individuals that speak onelanguage live and operate.

Linguistic and cultural differentiation is the result of a historic procedure, since manis evolving through space and time.The context forms the basis for the study of dance, supported by pragmatics andanthropology.

According to Bloomfield, the context comprises all these elements that constitute thereal linguistic frame and the communicative situation. These dataallow us to interpretthe various proposals.

For Bambiniotis (, 2002: 1672), the Greek term constitutes the rendering of the engl. Context < med. lat.contextus(gr. engl. assembled structure).

The term context comprises intralinguistic and extralinguisticfactors whichshape a wider context (facts, statements, information, etc.). In this context a piece of

information is placed. Thus it is easier to understand the factual environment, thecontext.

7Pragmatics is the area of linguistics, which explores the ways in which they contribute to the contextual meanings.This term includes the theory of linguistic acts, the theory of conversational implicature (Grice, 1975), the theoryof politeness and other approaches to language behavior in philosophy, sociology, linguistics and anthropology.For further details, cf.:http://www.greeklanguage.gr/greekLang/modern_greek/tools/lexica/glossology/show.html?id=129and Grice, P. 1975. Logic and conversation. In: Syntax and Semantics 3: Speech Acts,edit. P. Cole & J. Morgan,41-58.ew York: Academic Press.cf. also Sobrero (1993: 403 - 406) La pragmatica una disciplina dellalinguistica che si occupa dell'uso dellalingua come azione reale e concreta. Non si occupa della lingua intesa come sistema disegni,ma osserva come eper quali scopi la lingua viene utilizzata e in che misura soddisfi esigenze e scopi comunicativi. Pi nello specifico,

la pragmatica si occupa di come ilcontesto influisca sull'interpretazione deisignificati.In questo caso, per "contesto" si intende "situazione", cio l'insieme dei fattori extralinguistici (sociale, ambientalee psicologico) che influenzano gli atti linguistici.
http://www.greeklanguage.gr/greekLang/modern_greek/tools/lexica/glossology/show.html?id=129http://www.greeklanguage.gr/greekLang/modern_greek/tools/lexica/glossology/show.html?id=129http://it.wikipedia.org/wiki/Linguisticahttp://it.wikipedia.org/wiki/Lingua_(linguistica)http://it.wikipedia.org/wiki/Segnohttp://it.wikipedia.org/wiki/Contesto_(linguistica)http://it.wikipedia.org/wiki/Significatohttp://it.wikipedia.org/wiki/Significatohttp://it.wikipedia.org/wiki/Contesto_(linguistica)http://it.wikipedia.org/wiki/Segnohttp://it.wikipedia.org/wiki/Lingua_(linguistica)http://it.wikipedia.org/wiki/Linguisticahttp://www.greeklanguage.gr/greekLang/modern_greek/tools/lexica/glossology/show.html?id=129


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The theory of language functions (Jakobsons theory)

According to Jakobson (1896 - 1982), six are the functions performed by thelanguage, understood as an act of communication. Of the six constitutive factors ofcommunication (transmitter, receiver, code, object reference, message, channel), thereferential function focuses on what we mentioned, the reference object, and in thissense, informs something. Through dance moves refer to concepts such as: o love,

joy, love, sadness, resentment and human suffering.8

The dance is still associated with the poetic function (poetic function).This function focuses on the message, providing information and giving importance to

the form. The stylistic characteristics contribute to the transmission and the perceptionof the message from the public.For example, in a literary text or an advertisement, the prominent linguistic function is

poetic in the sense that it is dominated by the choice of the form to transmitinformation rather than the information itself.

The dancer dances and creates steps, movements, which in turn create forms in the airor on the ground. These express the meaning of the dance.The body of the dancer and the dance groups act as transmitters of messages, whichare then decoded by viewers in their own way.Another element that connects the dance with the inner world of man is the emotionalfunction (emotive function). This means that the dancer when dancing, take youthrough the dance his mental state or his feelings or the feelings of other people.

Dance is also associated with the conative function. This function can be identified inphrases like: whoa, whoa! Love me! Come on! Come on, get up, dance!

The wording of these phrases in conjunction with the dance movement helps to createa message on the part of the dancer to one or more viewers. Thus, by these phrases,the dancer either interacts with the human environment, or attempts to influence thereceivers, i.e. viewers.

88For the language functions, cf. :http://www.greeklanguage.gr/greekLang/modern_greek/education/dokimes/enotita_a2/03.htmlIn the Greek linguistic bibliography there is only one essay on language functions, translated into Greek by A.Berlis. For the fortune of Jakobson in Greece, cf. Jacobson, R. 1998, , ,- . , . , . 55-67.

Jakobsons theory on language functions was published for the first time in the U.S.A. in 1960 under the title"Closing Statements: Linguistics and Poetics" (inThomas A. Sebeok,Style In Language, CambridgeMassachusetts, MIT Press, 1960, p. 350377).
http://www.greeklanguage.gr/greekLang/modern_greek/education/dokimes/enotita_a2/03.htmlhttp://www.greeklanguage.gr/greekLang/modern_greek/education/dokimes/enotita_a2/03.htmlhttp://en.wikipedia.org/wiki/Thomas_A._Sebeokhttp://en.wikipedia.org/wiki/Thomas_A._Sebeokhttp://www.greeklanguage.gr/greekLang/modern_greek/education/dokimes/enotita_a2/03.html


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Table 2. Dance and its functions

Conative function

Dance Referential function

Emotive function

Poetic function


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The nttila method

ccording to Giannakis, there is a way of representing research around

language (, 2005: 263). This mode of representation was inventedby the linguist Anttila (Anttila, 1989: 21) and proposed by Giannakis for thefirst time in Greece as a method of rehabilitation of language(, 2012: 41-42).

The method Anttila may be used for dance research.


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Table 4. The Anttila Method

Context Field research

Philology

C

Reconstruction

Synchrony

Diachrony

Relation between

two locations

Confrontation

Terms in English and Greek

Context

Synchrony

Diachrony

Relation between two locations

> Field Research

> Philology

C> Reconstruction

D> Comparison -

Means of approaching data A or B or both of them as an assumption for C

Means of approaching dataor or both of

them as presupposes for C


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Dance: an etymological approach

For Chantraine (DELG, 1968: 229 - 230):

signifielangue, depuis Homre jusque au grec moderne, la langue tant considrecomme pointue[]

Dance is an art form, which belongs to the genre of 'performing arts.It is the result of the movement of the human body, in accordance with a

predetermined pattern or a improvisation (e.g. freestyle). Any plan or improvisationcalled choreography. Dancing since ancient times along with theater and music was

part of the everyday life. Peoples life was also accompaniedby music or sound

compositions.

Dance in popular language and folklore called "folk dance" or "ball" (ital. ballo).From ancient times until today, the dance is part of a ritual, a liturgy, a prayer and partof public meetings, for example, modern dance or the dance performed in theatres andclubs.

As in all ancient culture, dance played an important role in the Ancient Orient as well as in Egypt; the

documentary evidence for the latter, however, is incomparably better, both in pictures and in texts -there was hardly a part of life not involving dance: dances accompanied rites of passage were magic- apotropaic, ecstatic, worshipful, amusing, entertaining, and even eroticizing (BNP, 4: 2004: 71)

In Greek, (*chor -) indicates the dancing ground and the positive energyreleased during the dance performance. Cf. ital. coro, coreuta / engl. carol(P, 4: 2004: 71)

Beekes also relates to the noun and refers (2009: 1644):

ETYM. may originally have been a choral dance, but the original meaning of cannot beestablished with certainty. has been connected together with > , with a verb to seize,grasp in Skrt.hrati to bring, carry. On the other hand, Lith. ras row, twig, etc. Is phonetically

identical with . MeierBrgger 2002 connected the root of to rejoice, ie. ger which

seems reasonable9.

9Although Beekes makes a detailed etymological approach, on the other side Bambiniotis (, 2002:1959) s.v. , reports: [. . . , . ., .. . , , . .

. . . .. *gher, . . aras , , . . hrati , ]


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A typical example of the change that was Latin, regarding the importance of verbsdenoting the meaning of the dance, is the following.In CL the verb redamptruo indicates the dances the shawls.

Also, in CL salto, expresses the meaning of "orchoumai" (gr. )During the medieval period, the Roman Catholic Church had banned the dances of theGreeks and Romans, because they considered a relic of pagan religion and contrary tothe spirit of Christianity. This led to fall into disuse and Latin words.However, during the Holy Roman Empire, the Roman dances were introduced againin Europe with other forms of the Germans.The Germans then invented a new verb, which comes from the Old French, the verb* dintjan, danser(dance, move forward) to register any kind of dance.From this verb, a whole group of words derived in all Romance and Germaniclanguages and idioms, which express the idea of the popular dance, such as:ital. danza, danzare, fr. danser, danse, engl. dance, to dance, germ. Tanz. etc., but AG, and MSG 10.

However, during the Holy Roman Empire, the Roman dances were introduced againin Europe with other forms of the Germans.The Germans then invented a new verb, which comes from the Old French verb* dintjan, the verb danser (dance move forward) to register any kind of dance.From this verb came in all the Romance and Germanic languages and idioms

conditions: ital. danza, danzare, fr. danser, danse, engl. dance, to dance, germ. Tanz. etc.11

.The evolution of this term indicates that the German domination reintroduced danceas a cultural element and recognized its value as an artistic genre, while on the otherhand did not use the terms of Classical Latin and Ancient Greek. In this way, the termdancelost the sense of . Consequently, Western Europe lost the meaning ofdance, as this was established by the Greeks and Romans.

10cf. (2006: 987) redamptruo. , - are, , ( ).cf. (2006: 1045) salto, - avi, - atum, - are, (. salio), (

), . saltare Cyclopa, .For further details, see also salio (DELL, 2001: 590)11

cf. Dauzat (1963: 220) danser fin XIIe s., Loherains (dencier), du francique *dintjan, se mouvoir deci del(nerl. deinzen) ; les danses romaines ayant t proscrites par le christianisme, la danse, sous autres formes, duttre rintroduite par les Germains || danse XIIe s., Delb. ; danse de SaintGui, 1819, Boiste. || danseur 1440, Ch.d Orlans Devoto (1979), s.v. danzare. franco *dintjan. Il termine italiano danzare invece deriva dal franceseantico danser, da cui il francese odierno danse e l inglese dance; l origine di danser discussa; c chi pensa a

una derivazione dal franco *dintjan (dalla medesima forma deriverebbe il tedesco Tanz con la seconda rotazioneconsonantica) e molto probabilmente da un latino *deantiare andare avanti (Battisti Alessio, 195057).cf. Pianigiani (1993), s.v. danzre. prov. cat. sp. e port. dansar; fr. danser; ted. tanzen; [oland. dansen;ngl. to dance,di provenienza romanza]; [all a.a. tedesco DANSON: got. THINSAN (pass. THANS) tirare, stendere, perch

etimologicamente la voce Danzare denota stendersi in catena, in fila ed simile a tal maniera al ted. Reigen,Reihen fila: dalla rad. indoeuropea TA, TAN distendere, stirare, che nel scr. TANOMI [= gr.]stendere, TANTUS filo ecc. (v. Tendere e cfr. Coro).


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Language - Dance: verbal and non verbal way of communication

According to de Saussure (2009, 45) language is a system of signs that express ideas,but for Martinet (1985, 78) language is an instrument of communication, which has adouble articulation and character has primarily voice.

Sapir (1884 - 1939) characterizes the language as merely human, but non-instinctivemethod for transmitting ideas, emotions and symbols that produce voluntary12.

This interpretation is the best because it includes elements that are not directly

related to language, i.e. those elements that belong to the realm of human senses.One of these elements is the dance that is a special kind of language. According toHanna (4: 1987), dance is a kind of language, contributing to the non - verbalcommunication.

However, Plato (Laws 7, 816 A) is the first that defines dance as a kind of imitationof words using 'forms', i.e. gestures.

The feeling of Harmony and Rhythm distinguishes dance from the instinctivemovements, is a special gift of the gods (especially of Apollo and Dionysus)

(Lawler, 1944: 7580).In the Laws (2, 653D - E, 672 D, 673D), Plato mentions the view that dance came

from the natural desire of all young creatures to move their body in order to expresstheir emotions, especially joy. Thus, Plato says in the "Laws", the word "dance" isderived from the noun "joy" (< ).

Apart from the verb orchoumai, in ancient Greek the verb morphazo(use body movements in order to emphasize the importance of words).

The study of the dance phenomenon can also be done, using the Proxemics theory.

12cf. Sapir (1921: 8): Language is a purely human and non-instinctive method of communicating ideas, emotionsand desires by means of a system of voluntarily produced symbols.Ferraris and Marconi (1993: 1010) comment the Sapirs definition of language:Il linguaggio appare a Sapir come un fatto culturale di estrema complessit, che occorre affrontare con strumentidiversificati e nuovi di cui essenziale mettere in luce da un lato la natura radicalemente storica, dall altro linscindibilit dal pensiero. Approfonditi entrambi questi aspetti, Sapir elabora una prospettiva generale che spesso interpretata come una forma di relativismo linguistico. Linguaggio e pensiero si determinanoreciprocamente nel senso che, se vero che il primo serve a esprimere il secondo, altrettanto vero che lo

condiziona o, addirittura, contribuisce a formarlo; ogni lingua cela in s una metafisica, una concezione delmondo, una cultura, che influiscono sul pensiero dei parlanti fornendo loro l apparato concettuale attraverso ilquale essi elaborano culturalmente il reale.


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This theory was formulated by E.T. Hall (1963), who coined the term proxemics

(lat. proximus (near) + - emics).This term refers to the way in which different cultures use space and how they

perceive the distances of space associated with the communication aspect.In essence, this theory describes the way in which people use a space for important

purposes.

The spatial analysis is done through the "discrete parts" (movements, gestures, steps).These phenomena examine the branch of linguistics called Paralinguistics.

According to the Proxemics, dance and every human contact can be analyzed as

follows (Watson, 1974: 328 - 329):1. SociofugalSociopetal axis

2. Distance

3. Senses

4. Touching

5. Eye contact

6. Voice loudness


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Charles Morris (Watson, 1974: 328)refers to the semantics and argues thatevery point (hence the dance is "points system") may display the followingstructure:

Table 5. SignMovementStep

The sign vehicle(sign - movement - step )

The Designatum

The Interpreter


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Dance and nonverbal communication

Dancing is social behavior and is a key element of non - verbal communication. Evenin it is possible to identify elements and linguistic communication and social life13.

As Veloudis states (, 2008: 11):

,

, .

Social life is necessary for knowledge of the environment.Dance reflects and affects the structures of social organization (i.e. relations between

persons living in groups and the relationships that develop between social groups).The dancer is possible, for example, to play a specific role in a specific socialsituation, and this is due to the fact that the role of the dancer and social position aredetermined by society's standards, which shape the behavior of the dancer.

Therefore, the dancer is a performer of unwritten history, the values of a society,which relies either as a teacher in the classroom, either as a dancer at a social eventwith aspects of his personality.In summary, we would say that the dance is the manifestation of a communicative andlinguistic behavior is characterized Dance 'text on the move (" text in motion ") or"

body language "(Hanna, 1979: 6) (Hilda Kuper, 1968:5 ).These terms describe the structure of dance while expressing the motives and dancemovements, which reflect various acts.Linguists (philologists), dance researchers (ethnographers) and dance teachers study,each for their own reasons, language and dance.The study of language and dance inevitably involves reference to written or oral

sources, which are useful for knowledge of history and tradition.

13Dance is still used to describe methods of non - verbal communication between humans or animals (bee dance,mating dance), to represent the various movements of inanimate objects with poetic way to describe physicalphenomena in which inanimate beings seem to dancing and the musicians, in addition to musical composition or asa complement to the song.For the accented movements in Freestyle dance, cf. Jones (2013: 19): accented movements, movements that are

used to emphasize a particular piece of music, e.g., an explosion or highlight could be used for a strong piece ofmusic using, for example, a Leap or Box Splits Jump.For the eight-shaped and circular dance of bees, cf. Veloudis (, 2008: 11).


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Dance ValueIdentity

Dance is a sign system that expresses different values. It is a form of language that isbased on social and linguistic patterns. Dance is characterized by dynamic, beauty andgrace. The expressions in MSG: , expressthe dynamic and the beauty of dance movements. Every dancer expresses through its

movements some traces, , in accordance with the dance knowledge, the sense of rhythm, the ability tomove, the physique and the passion that puts( - , 2003: 9899).

This passion is also called in MSG (engl. caress) (, 2003:99). Dance is an occasion for entertainment but it is also serious ritual thatcharacterizes the identity of a population or of a nation.

Oriental dance(fr. danse du ventre /engl. belly dance)14.

The term "belly dance" (MSG. 15- is a calquea loan word inMSGin SE is the translation of the French term "danse du ventre", a term inventedduring the Victorian era.

This term was coined by the French conquerors of Algeria. This term denoted thefemale dancers Ouled Nail of Algeria that used to move rhythmically their belly,while they were dancing. Belly dancing is a kind of dance that expresses fertility andlove. The dancer is wagging the abdomen and the hips.

The abdomen symbolizes the earth and the hips the power of fertility of the motherearth (Pratelli, 2014: 4).

Today this dance has incorporated many elements from Freestyle and HipHop. Thisnew dance is called Tribal Fusion Dance (American Tribal Fusion DanceATS).

14For the history of the Oriental dance , cf. Raftis, . 2011. Orientalist Dance. , ,Bonaventura, W. 1983.Belly dancing, the serpent and the sphinx. London, Virago Press Zuhur, S. 1998.Images of enchantment: visual and performing arts of the Middle East. Cairo, American University in Cairo,Coluccia, P., Paffrath, A. and Putz, J.2005. Belly Dancing: The Sensual Art of Energy and Spirit. Rochester, Vt,Park Street Press van Nieuwkerk, K. 1995.A Trade Like Any Other: Female Singers and Dancers in Egypt.

exas, University of Texas Press.15cf. also Bambiniotis (, 2002: 910): , .


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riental dance is divided into (Pratelli, 2014: 1 - 3):

1. Raqs sharqi (Arab.: . engl. oriental dancing) is the kind of dance

that is familiar to all Europeans and Americans. Female and Masculinedancers use to dance this kind of dance in cafeterias and night clubs all aroundthe world.

This dance is taught in all the dance schools and dance studios, but also in theuniversities and it is an improvised dance.

2. Raqs baladi (Arab.: . engl. local dance or traditionaldance).This is a traditional kind of dance that pair of women and men use to dance inall the countries of the Middle East, usually in social events and weddings.

However, in Egypt, the term is used synonymously with the term Raqs sharqi,inorder to declare the belly dance16.

16Tribal dance fusion was invented in the U. S. . in the 70s byJamila Salimpour.For further information, cf.http://en.wikipedia.org/wiki/American_Tribal_Style_Belly_Danceand Tazz, R. 2000.The Belly Dance Book: Rediscovering the Oldest Dance. Concord, CA: Backbeat Press.Tribal Fusion Dance is a hybrid dance. In this dance Freestyle, Hip Hop, Breakdance, Egyptian, Cabaret,Flamenco and other influences can be found. Tribal Fusion Dance is a method of improvised choreography and

can be used as communicative mean for the dancers. Through Tribal dance fusion dancers express their feelingsand their thoughts. This dance belongs to the category of modern dances and is defined as the most dynamic andcommunicative dance in the whole world.
http://en.wikipedia.org/wiki/American_Tribal_Style_Belly_Dancehttp://en.wikipedia.org/wiki/American_Tribal_Style_Belly_Dancehttp://en.wikipedia.org/wiki/American_Tribal_Style_Belly_Dancehttp://en.wikipedia.org/wiki/American_Tribal_Style_Belly_Dance


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Freestyle dance

Is a version of hip hop. 17Combines dance patterns, discourse and music.

Freestyle is created by making a rap using modern American songs and improvising(writing rhymes) to the rhythm of music.

Freestyleis a synonym for Street dance18. Its rhythm is 4/4.According to Jones (2013: 17), Freestyle is an artistic dance and it is known throughthe video clips of the pop songs of the 80s and the 90s.

Freestyle dance is an artistic dance style that takes its roots from coordinating accentuated body movements

together with a number of basic movements and steps incorporating arm, head and hand positions.This being controlled and developed by teachers taking into account modern trends and modern music, allowingthe individual dancer freedom to express themselves from within these criteria to produce Freestyle dancing.

Moreover, freestyle dance uses repetition, connotation, metaphor, slang (rhetoric figures),which can be found in poetry in conjunction with the sounds. The sounds are created in animpromptu manner and accompanied by paralinguistic or extralinguistic elements whichshape data.

17cf. Bambiniotis (, 2002: 1953): () {.} , , , . [. < . hiphop, . .]18cf. Jones (2013: 74 ): Street Dance or Hip Hop as it also named is a form of dance that has influenced andintegrated with Freestyle over recent years.Hip hop is the combination of two separate slang terms: hip, used in African American English as early as1898, meaning "aware" or "in the know", and hop, for the hopping movement.Keith "Cowboy" Wiggins, a member of Grandmaster Flash and the Furious Five, has been credited with coiningthe termin 1978 while teasing a friend who had just joined the US Army, by scat singing the words"hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of marching soldiers. Cowboy later worked the"hip hop" cadence into his stage performance.

The group frequently performed with disco artists who would refer to this new type of music by calling them "hiphoppers". The name was originally meant as a sign of disrespect, but soon came to identify this new music andculture (cf. also JET (April 02, 2007) Grandmaster Flash and the Furious Five Inducted into the Rock and RollHall of Fame. Johnson Publishing Company, 3637). For the history of hip hop, cf.:Edwards, P. 2009.How to Rap: The Art & Science of the Hip-Hop MC. Chicago, Review Press,

Adam, B. 2011. The Anthology of Rap. Yale, Yale University Press


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Jones (2013)reformed Freestyle and organized it in structured forms, with a view toteaching it in schools or universities. According to Jones, Freestyle is a popular dancewith many dance moves. Through Freestyle dance, the dancer is able to expresshimself freely and enhance his style19:

the trendiest and most popular form of dance in the U.K today. It involves runs, spins, kicks, and leaps as well asmany other diverse steps and movements with lots of different arm and hand actions. The music can be fast andbeaty or slow and sensuous, allowing dancers of all ages to use freedom of expression to enhance their style.20.

19cf. Jones (2013: 12): Most of the class work used in schools now involves a far greater degree of activity than inthe early days. Competition dancers, particularly in the Championship grades, use the floor to its best advantage,movement and projection being an integral part of their performance.

20For the Freestyle dance and its worldwide diffusion, there is also the web site of the International DanceTeachers Association - IDTA: www. idta.co.uk/ site2/ styles. html # Freestyle Disco.


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Table 6. The structure of a dance performance

Dance performance

1. Action 2. Word 3. Context

Create the communication between the dancer and the spectator

Table 7. Freestyle Structure

Text - Rhetoric figures

Freestyle dance

ContestPerformance Freestyle routines Rap Rimes


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Table 8. Artistic dancesCategories

Artisticdances

Classic

ClassicalBallet

Modern

Contemporary

Modernjazz

Moderndance

Lyrical Jazz

Choreographical

Freestyle

Ethnic

Traditional

Folk - CharactreTap dance

Oriental dance

Traditional and popular Greekdances

Streetdance

Urban dance

Electric boogie

Breakdance

Hip hop

cademic dances


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According to Androutsopoulos (2009: 43), it is possible to study the Hip Hop usingthe sociolinguistics theories. This means that the Freestyle and Hip Hop can beapproached as texts. In the texts of the hip hop songs are emerging social reality and

knowledge around social issues and through dance are encoded and represented withthe help of technology.Androutsopoulos (2009: 43) identifies four elements in Hip Hop.These are: breaking, Djing, rapping, writing. These data are the basis of Freestyle andHip Hop and show two faces: the first, which characterizes the Freestyle and Hip Hopas a "universal language (cf. Androutsopoulos, 2009: 43) and a second, whichconsiders it as a framework (context). Within the frame of reference (social orgeneral) and the Freestyle, Hip Hop is created, danced and played.Therefore Freestyle and Hip Hop are two codes (codes). According to information

theory, the code is a key element in the semantic aspect of language (see Eco 1975).In the semantic approach, language and dance are two communicative codes.Language as a code includes dancing with the terminology and the variousmanifestations. Language and dance are two communicative codes, which consist of asign system.

Thanks to this system, the entities can be interpreted, compared with other objects orconcepts or even with other sign systems.Every message that a dancer transmits, can be interpreted according to a given code21.

21cf. Beccaria (1994: 145): [] la lingua come c costituisce un sistema di segni che possono essere interpretati,messi cio in rapporto con degli oggetti denotati, o con altri sistemi di segni. Un messaggio viene interpretatosecondo un dato c. Le due nozioni di c. e messaggio [Lepschy 1966], sono state usate anche per elaborarequelle di tradizione saussuriana e struttralista di langue (c) e parole (messaggio), e di paradigmatica (c) esintagmatica (messaggio).cf. Crystal (2011) s. v. Code (n.) The general sense of this term a set of conventions for converting one signalingsystem into another enters into the subject - matter of Semiotics and Communication Theory rather thanLinguistics.Such notions as encoding and decoding are sometimes encountered in phonetics and linguistics, but the view oflanguage as a code is not one which figures greatly in these subjects.The term has come to the fore in sociolinguistics, where it is mainly used as a neutral label for any system ofcommunication involving languageand which avoids sociolinguists having to commit themselves to such termsas dialect language or variety, which have a special status in their theories [] Several sociologists andsociolinguists have given code a more restricted definition. For example, codes are sometimes defined in termsof mutual intelligibility (e.g. the language of a private or professional group).But the most widespread special use of this term was in the theory of communication codes propounded by the

British sociologist Basil Bernstein (19242000). His distinction between elaborated and restricted codes was partof a theory of natural systems, concerned in particular with the kinds of meanings people communicate, and howexplicitly they do this, using the range of resources provided by the language.


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Table 9. The three spheres of Hip Hop (Androutsopoulos, 2013: 44)

1. Artistic Expression

2. ass Media or every mean

3. Discourse between Hip Hop fans and artists

Hip Hop

Artistic

Expression

1

Discoursebetween HipHop fans and

artists

3

Media

2


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Table 10. Performance modes of Freestyle and Hip Hop

creates Freestyle/Hip Hop

and makes it an object ofmimesis of the real or the

internal world

language

Breaking

Djing

rapping

writing

Hip Hop and Freestyleare created by:

1. visual representation

2. the sound

3. the movement

4. the technicalmanipulation of objects

1.2.3.4. form the danceperformance


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Basic Freestyle movements: KickFlick - Attitude

Freestyle dance involves a series of metaphors which are derived from the English (kick),the French (Arabesque) and Spanish.However, the in the Freestyle there is a small part of the ancient Greek dance, as shown bythe image of clay figurine, but also the dance figure called Alpha (Locking), because thedancer's body forms the letter alpha.

Picture 2. Basic Freestyle movements (KickFlick) (Jones, 2013: 47)

Picture. 3. Greek terracotta statuette of a dancing maenad, 3rd century B.C. Made in Taranto.

Metropolitan Museum of Art, New York, Inv. 12.232.13.

This movement resembles to the movement, called flick of Freestyle dance.


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Kick /kik/ - Flick /flik/

According to OED, the etymology of the above mentioned terms are the following:

Flick22

A sudden sharp movement

Kick23

Strike or propel forcibly with the foot

tymology

late Middle English: symbolic,fl-frequently beginning words denoting suddenmovement.

Kick: late Middle English: of unknown origin.

22http://www.oxforddictionaries.com/us/definition/american_english/flick?q=flick23http://www.oxforddictionaries.com/us/definition/american_english/kick?q=kickFor the term kick, there is also another etymological approach:KickEtymologykick (v.) late 14c., "to strike out with the foot" (earliest in biblical phrase now usually rendered as kick against thepricks), of uncertain origin, perhaps from Old Norse kikna "bend backwards, sink at the knees." "The doubts OEDhas about the Scandinavian origin of kick are probably unfounded" [Liberman]. Related: Kicked; kicking.Figurative sense of "complain, protest, rebel against" (late 14c.) probably is from the Bible verse. Slang sense of"die" is attested from 1725 (kick the wind was slang for "be hanged," 1590s; see also bucket). Meaning "to endone's drug habit" is from 1936. Kick in "contribute" is from 1908; kick out "expel" is from 1690s. To kick oneselfin self-reproach is from 1891. The children's game of kick the can is attested from 1891.kick (n.) 1520s, from kick

(v.). Meaning "recoil (of a gun) when fired" is from 1826. Meaning "surge or fit of pleasure" (often as kicks) isfrom 1941; originally literally, "stimulation from liquor or drugs" (1844). The kick "the fashion" is c.1700.(cf.http://www.etymonline.com/index.php?term=kick)
http://www.oxforddictionaries.com/us/definition/american_english/flick?q=flickhttp://www.oxforddictionaries.com/us/definition/american_english/flick?q=flickhttp://www.oxforddictionaries.com/us/definition/american_english/flick?q=flickhttp://www.oxforddictionaries.com/us/definition/american_english/kick?q=kickhttp://www.oxforddictionaries.com/us/definition/american_english/kick?q=kickhttp://www.oxforddictionaries.com/us/definition/american_english/kick?q=kickhttp://www.etymonline.com/index.php?term=kickhttp://www.etymonline.com/index.php?term=kickhttp://www.etymonline.com/index.php?term=kickhttp://www.etymonline.com/index.php?term=kickhttp://www.oxforddictionaries.com/us/definition/american_english/kick?q=kickhttp://www.oxforddictionaries.com/us/definition/american_english/flick?q=flick


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Attitude //atit(y)ood/ - etymology

The term attitude is used in the Freestyle. This term comes from the Italianlanguage. Denotes an open body posture.

According to OED :Attitude. Ballet. A position in which one leg is lifted behind with the knee bent at right angles and turned out,and the corresponding arm is raised above the head, the other extended to the side24.late 17th century (denoting the placing or posture of a figure in art):from French, from Italian attitudine'fitness,

posture', from late Latin aptitudo, from aptus'fit.

Picture 4. Attitudebody posture (Jones, 2013: 53)

24

cf.http://www.oxforddictionaries.com/us/definition/american_english/attitude?q=attitude
http://www.oxforddictionaries.com/us/definition/american_english/attitude?q=attitudehttp://www.oxforddictionaries.com/us/definition/american_english/attitude?q=attitudehttp://www.oxforddictionaries.com/us/definition/american_english/attitude?q=attitudehttp://www.oxforddictionaries.com/us/definition/american_english/attitude?q=attitude


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Attitudeas a linguistic term

Picture 5. Half splitFreestyle movementThe posture of the bodyindicates an opening of the feet on thefloor while looks with intense way forward.It is an attitude, which used to dance for empowerment. Reflects the strength and openness of soul and body andthrough this movement, the dancer transmits joy and positive energy.

Cooper and Fishman comment on the term attitude (1974: 5):

Attitude has served as a variable in many sociolinguistic studies. This has been true in part because

sociolinguistic phenomena are complex enough to motivate a search for equally complex productive hypotheticalconstructs.

Thus for example language attitude appears as a catalyst for a sound change (Labov, 1963), a definingcharacteristic of a speech community (Labov, 1966), a predictor of second language achievement, a reflection ofinterethnic attitudes, a determinant of interlingual intelligibility and a determinant of teachers perception of theirpupils ability

According to psycholinguistics and psychology, body postures correspond to a word.Every posture can indicate a positive or a negative sense25.

25cf. also Oosterwijk, Suzanne; Rotteveel, Mark, Fischer, Agneta H., Hess, Ursula. 2009. Embodied emotionconcepts: how generating words about pride and disappointment influences posture.European Journal of SocialPsychology39 (3), 457466.doi:10.1002/ejsp.584.

For the positive or negative sense of the opened or closed posture of the body, cf. Rossberg-Gempton, Irene; GaryPoole. 1993. The effect of open and closed posture on pleasant and unpleasant emotions.The Arts inPsycotherapy 20, 7582.doi:10.1016/0197-4556(93)90034-Y.
http://en.wikipedia.org/wiki/Digital_object_identifierhttp://en.wikipedia.org/wiki/Digital_object_identifierhttp://dx.doi.org/10.1002%2Fejsp.584http://dx.doi.org/10.1002%2Fejsp.584http://dx.doi.org/10.1002%2Fejsp.584http://en.wikipedia.org/wiki/Digital_object_identifierhttp://en.wikipedia.org/wiki/Digital_object_identifierhttp://dx.doi.org/10.1016%2F0197-4556%2893%2990034-Yhttp://dx.doi.org/10.1016%2F0197-4556%2893%2990034-Yhttp://dx.doi.org/10.1016%2F0197-4556%2893%2990034-Yhttp://dx.doi.org/10.1016%2F0197-4556%2893%2990034-Yhttp://en.wikipedia.org/wiki/Digital_object_identifierhttp://dx.doi.org/10.1002%2Fejsp.584http://en.wikipedia.org/wiki/Digital_object_identifier


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This theory is called Embodied Emotion theory

[] is the idea that mental events can be represented by states of the body. In a study showing embodiedemotion, participants were primed with concepts of pride and disappointment by a word generation task.

Researchers hypothesized there would be an observable change in participants' posture based on the word theywere primed with. This hypothesis was confirmed for the disappointment prime because participants were morelikely to decrease in their vertical height or show slumping behavior.


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Conclusions

Dance is an object of scientific study, because through dance the collective memoryof the people is preserved. Also, values, messages and sentiments are expressed.In many parts of Greece dancing in local parlance is considered "good taste"(gr. philokalia - - innate disposition for the beauty) or "passion".Passion leads the dancer to make moves simple and trivial expressing the emotion ofthe dancer.Each dance includes linguistic and social dimension and social dance down behaviors.Therefore, every dance is the result of the interactive process that evolves in spaceand time between language and society. Seach dance will say it is a text 'on the

go'or text in motion.

In the end, every dance expresses:

1. Passion

2. Joviality

3. Skill - virtuosity

4. Suppleness

5. Participation

6. Humanity

anna (1987: 19) defines dance as:

1. Human behavior

2. Purposeful

3. Intentionally rhythmical

4. Culturally patterned sequences


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According to the linguistic theories, dance is a structured system (frame), formed by

sociocultural patterns. It is a performance, a representation of linguistic, social andcultural elements.

he summation of dance figures, according to Hanna, creates phrases (< gr.lit. Spoken words).

phrase is the expression of a partial thought, a group related movements in a pattern where there arealternations of activity (speaking) and quiescence (pose, rest, energy diminution). A phrase has its own climax andis distinguished by rhythmic patterns and usual configuration of locomotion and or gesture.(Hanna, 1989: 259)

Furthermore, dance contains:

1. Linguistic elements

2. Cultural elements

3. Aesthetic elements

4. Social elements (sometimes can be under social restraints)

For this reason, a study on dance it is possible to describe all the above mentionedelements or one of them.


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As Bambiniotis states (2013):

,

, , : - - .

, , ,

,

.

, ,

, ,

, .

( ) ( ),

.

, ( ) ,

. , , ,

(, ) /.26

26cf. , . 2013. . . 1/12/2013


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Table 11. Dance structure (Hanna, 1989: 259)

Dance

Generative StructureKnowledge

Competence Langue

Surface Manifestations

Parole


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Table 12. Codified and Functional Dances

Dance

Functional movement

Folk dances

Oriental dance

Codified movement

Ballet - Hip Hop

Freestyle


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Bibliographic references

AdsheadLansdale, J., Layson, J. 1994.Dance History:An Introduction. London, RoutledgeAndroutsopoulos, J. 2009. Language and the Three Spheres of Hip Hop.In: Alim Samy, A. Awad, I., Pennycook, A. Global Linguistic Flows.Oxford, Taylor and FrancisBattisti, C. Alessio, G. 1950 - 1957.Dizionario Etimologico Italiano.Firenze, Barbera G.Beccaria, G.L. 1994.Dizionario di Linguistica. Torino, Giulio Einaudi Editore.Beekes, R. 2009.Etymological Dictionary of Greek(2 vols). Leiden, Brill

Chantraine, P.1968.Dictionnaire tymologique de la Langue Grecque(DELG).Paris, KlincksieckBury, G.R. 1926.Laws, Plato. (2 vols). Cambridge, Harvard University Press.B, . 2008. . , , . . 2012... , N.Crystal, D. 2011.Dictionary of Linguistics and Phonetics. Sussex, WileyDauzat, A. Dubois, J.Mitterand, H. 1963.Nouveau Dictionnaire tymologique et

Historique. Paris, Librairie Laroussede Saussure, F. 1916. Cours de linguistique gnrale(edit. Bally, Ch., Sechehaye,

A.). LausanneParis, Payot (ital. transl. De Mauro, T. Corso di linguistica generale.RomaBari, Laterza)Devoto, G. 1979.Avviamento all Etimologia Italiana. Milano, MondadoriEco, U. 1975. Trattato di Semiotica Generale. Milano, BompianiErnout, A. Meillet, A. 2001.Dictionnaire tymologique de la Langue Latine(DELL).Paris, Klincksieck.Ferraris, M. Marconi, D. 1993. Sapir Edward. In: Enciclopedia Garzanti di

Filosofia. Milano, Garzanti Editore.Hall, E.T. 1963. A System for the Notation of Proxemics Behavior,

American Anthropologist, LXV, 10031026.Hanna.L.J. 1979. To dance is humanThe theory of non verbal communication.

Austin, University of Texas Press.Harder, R. 2004. Dance.Brills New PaulyEncyclopedia of the Ancient World,vol. 4, 7176.Jones, A. 2013.Freestyle Dance. Brighton, International Sales LtdIDTA,., . . 2003. ,, , 98113., . 2006.. , Lawler, L.B. The Lilly in the dance.American Journal of Philology, 65,1944,7580Lawler, L.B. 1954. Phora, Schema, Deixis in the Greek dance.Transactions of the American Philological Association, 85, 1954, 148158


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Martinet, A. 1985.(. .)., , (gr.transl. of Martinet, A. 1960.lements de linguistique

gnrale, Paris, Colin).1995.. ,

, . 2002.., , . 1969. , ,. .Minsky, M. 1975. A Framework for Representing Knowledge.In: Winston, P (.), he Psychology of Computer Vision. New York, Mc GrawHill, 211277Pratelli, F. 2014.Manuale di Danza Orientale. Genova, Editore Narcissus.me, 1-2Rastall, P. 2006. Language as Communication, Pattern and Information ,

La linguistique1/ 42,19-36.URL :www.cairn.info/revue-la-linguistique-2006-1-page-19.htm.Sapir, E. 1921.Language.An Introduction to the Study of Speech, New York,

Harcourt, Brace & Company (ital. transl. Paolo Ramat.1969.Il linguaggio.Introduzione alla linguistica, Torino, Einaudi)Sobrero,A. 1993. Pragmatica. In: Sobrero, .Introduzione all'italiano contemporaneo.

Le strutture, Roma-Bari, Editore Laterza, 403406.Watson, M.O. 1974. Proxemics. In: Th.A. Sebeok (edit.), Current Trends in

Linguistics, vol.12, The HagueParis, Mouton, 328330. .

Abbreviations

BNP (Brills New Pauly)DELG (Dictionnaire tymologique de la Langue Grecque)DELL (Dictionnaire tymologique de la Langue Latin)OED (Oxford English Dictionary)SE Standard EnglishMSG Modern Standard GreekAG Ancient GreekCL Classical Latin

Key words

Language, dance, dancer, message, communication, communicational approach,

Theory of Anthropological Competence, context, pattern, phrase, routine, frame
http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htmhttp://www.cairn.info/revue-la-linguistique-2006-1-page-19.htmhttp://www.cairn.info/revue-la-linguistique-2006-1-page-19.htmhttp://it.wikipedia.org/w/index.php?title=Alberto_Sobrero&action=edit&redlink=1http://it.wikipedia.org/w/index.php?title=Alberto_Sobrero&action=edit&redlink=1http://www.cairn.info/revue-la-linguistique-2006-1-page-19.htm


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freestyle dance as a language code. english version1. sotiris.bekakos.phd.2014

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