Dance: A tool for

cultural understanding

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Dance: A Tool for Building Cultural Understanding

Rohini Dandavate, PhD

This paper aims to identify how dancers can facilitate a sympathetic

synchronization of minds belonging to different cultures and nationalities through the
medium of dance. My doctoral research focused upon understanding how cultural
exchange facilitates cultural understanding. It was observed in this study that
participation in arts activities could evoke cognitive and emotional response in human
experience, which led to an implicit exchange of meanings between those who shared the
art experience. Drawing from this observation and from reviewing literature on this topic,
this paper discusses how creative expressions facilitate understanding through a multi-
sensory and multi-dimensional experience.

Scholars have interpreted the meaning of ‘understanding’ in different ways.

Deducing from the various interpretations, I have compiled a grouping of experience
elements in the following diagram that are a part of the multi-dimensional and multi-
sensory process of “understanding”. The experience elements are as follows:

• Perceiving
• Sensing
• Becoming aware of meaning or cause of something,
• Knowing
• Remembering
• Reflecting
• Experiencing Understanding
• Retaining
• Comparing
• Imagining/ideating
• Interpreting or judging in a particular way
• Inferring or deducing a meaning of something new
through creation of mental models

Figure 1: Elements of Understanding

This group of elements suggests that understanding is grasping the intrinsic or the
essential character of something or someone and these elements together form the core

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characteristics of human understanding. The process of understanding involves explicit
and tacit acts of internalizing information in the environment with the purpose of using it
for personal and shared benefit. Personal benefit could be emotional (such as enhancing
one’s sense of self-esteem or a sense of joy) or cognitive (such as making sense of one’s
surroundings with the purpose of acting on it). Shared benefits could involve the ability
to achieve agreements or compatibility between self and other individuals, communities,
institutions or objects and events from everyday life. Understanding is the skill of the
human mind that helps maintain comfort (internal) and balance (with the environment).

In the context of this discussion it is important to explain how the process of

understanding is facilitated through the experience of art across cultures. While
experiencing an unfamiliar art form, people who are not familiar with the different
aspects of the technique, its context, main idea and relationship may not be able to
discern the meaning. On the other hand, a person who has experienced the same art form
earlier is able to abstract the meaning and enjoy the art form because he/she can
understand the work. Understanding is that area of consciousness, which can be aroused
by internal stimuli, external stimuli, experience and free association. When innate
feelings, sensations or impressions (internal stimuli) come in association with people, or
experience events, situations and objects (external stimuli) they result in building an
awareness leading to knowing or explaining the meaning of or understanding something.
In the words of Woodworth, to understand “ is to evoke certain pages in one’s own mind
” and “ a certain successful integration of pages”(Woodworth P.116&117). For the
person who was experiencing the art form for the first time, the degree of integration of
ideas regarding the art form may not occur because of: inadequate information or
description and inadequate prior association. Meike Bal in his book, ‘On Meaning
Making’ quotes Jonathan Cullen, “context consists of signs which require
interpretation…how signs are constituted (framed) by discursive practices, institutional
arrangements, systems of value, semiotic mechanisms (Cullen, 1998: xiv)”. In other
words appropriate descriptions and information helps to connect with past experience and
relate to new ones by understanding the similarity and dissimilarity in ideas.

The process of understanding has cognitive as well as sensory dimensions. The

person seeking understanding of an experience needs to achieve not only a logical
rationale or explanation of that experience at cognitive level but also an enjoyable
sensory perception of that experience at emotional level. The experience of art has the
potential to evoke a strong cognitive and emotional stimulation in human consciousness
and therefore facilitate greater understanding of that experience and of the culture where
the art originated e.g. watching a ballet on the story ‘The Swan Lake” or “The
Nutcracker” can become an experience which facilitates an understanding of the context
and culture it has been choreographed in. Cultural ideas and nuances projected through
the dance can aid in relating to similar or dissimilar experiences in one’s own context and
culture. It can lead to comparison of cultural beliefs and its expression.

If we refer to understanding as the goal, then we must identify the tools of human
consciousness that can be used to achieve this goal. I would like to propose that the three
main components of achieving understanding are Exchanging Ideas, Exchanging

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Emotions and Exchanging Meanings between people of different cultures. These three
components can be explained, within the context of an art experience, as follows:

Cultivating Understanding

Ideas

Cultivating
global
Meanings
minds

Emotions

Figure 2: Cultivating Understanding

• Exchanging Ideas: In order to comprehend the unfamiliar experience, the idea
expressed through the art needs to be understood through appreciation of the
context within which the idea originated. The result of effective exchange of ideas
is - agreement.
• Exchanging Emotions: In order to better resonate with the emotional content of an
artistic expression, one must be able to relate to the feelings of the artists that
inspired his/her creativity. The result of relating to the emotions of others is -
empathy.
• Exchanging Meanings: In order to discover the implied messages in an artistic
experience one must know the symbolic meanings embedded in the expression.
The result of greater awareness of symbolic meanings behind unfamiliar cultural
expressions is - respect.

Cultural understanding develops when one is able to comprehend the main idea, context,
emotion and meaning of the artwork. Cultural ideas and meanings manifests in the
creative expressions of people. Dance, music, paintings, ritual, sculpture, architecture,
and language reflect the traditions, practices and beliefs of the people. Arts and artistic
expressions “ are not merely a tool giving rise to consumer products but one which opens
up the gates of a wider vision, a supramental consciousness of beauty and inner
perception of a world order”(Pathy, 1998, Para 6). Artistic expressions convey the vision
of the creator and the context in which the art is created.

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 As a mode of expression and communication art facilitates understanding and
imagination. As discussed in the previous paragraphs, a person seeking understanding of
an experience looks not only for a logical rationale or explanation of that experience at
explicit cognitive level but also a recognizable visual mental model and an enjoyable
sensory perception of that experience at the emotional level. The language of dance
covers both the cognitive and the emotional dimensions of understanding. Experiencing
dance or participating in dance helps people feel a range of emotions such as enjoyment,
curiosity, wonder, delight, frustration and sense of mystery, and evokes appreciation for
excellence or effort that has gone into making of the dance sequence. Since
communicative and creative abilities vary from person to person every dance becomes an
expression in relation to one’s own environment.

Margaret N. H’Doubler, a professor and author of innumerable books on dance

writes “ dance as an art, when understood, is the province of every human being” (1985).
Dance it can be said is an amalgamation of human ideas and practices. For example
people danced to express change in seasons, celebrate the different events of life,
represent the various human occupations, and replicate movements of birds, animals and
other elements of nature. History records dance as an essential part in the social and
religious practices of people around the world. Though the motive, inspirations and
feelings behind dance can be similar in different parts of the world, the form and
technique of these expressions vary. As Margaret N. H’Doubler writes in her book Dance
- A Creative Expression, “ Feeling is constant. Only form is variable”. To grasp the
diverse ideological and technical aspects of dance forms from world cultures it becomes
necessary to know its history (in terms of context and time) and the social forces that
contribute to the form and structure of the dance style. In the following paragraphs I have
presented a framework that can facilitate studying and understanding these aspects of a
dance form.

A framework for understanding cultures through dance

Ideological, cultural and social conditions drive people to use different artistic
elements in the creation of dance and as an expression of the people it becomes a creative
human activity that has a purpose, place and an intention. In order to identify the cultural
beliefs and ideas reflected in a dance it is vital to ask questions about the context or place
in which the dance originates and understand its function in the society. Professor June
Layson, in her essay on ‘Historical perspectives in the study of dance’ presents a simple
three-dimensional figure for the study of dance.

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Dance Types B

Communal
Educational C
Recreational Dance Contexts
Religious
Social
Therapeutic Psychological
Aesthetic
Traditional Anthropological
Artistic
Cultural
Geographic
Political (Marxist, feminist etc)
Social

Dance through time A

Systemic study OR Period based OR

isolated period

Figure 3: Dimensions of Understanding dance

This figure illustrates three dimensions that can facilitate an in-depth enquiry and study
of a dance style. Professor Layson explains:

Dimension A- ‘dance through time’ is a period based study that provides an

understanding of events in chronological order that lead to the growth or decline of the
dance form

Dimension B- ‘Dance Types’- is explaining dances based on their function and time.

Dimension C- ‘Dance Contexts’- is understanding dance keeping in view the place,

location, artistic or social contexts of performance.

Professor Layson’s method for learning about dance using the historical, cultural,
and social perspectives enables determining the scope, rationale and defining
characteristics of the dance style. Dimension A, the systemic study on dance begins from
knowing the pre-historic background of the dance and finishes with the most recent and
encompasses learning about all the important aspects in the evolution of the dance style.
A period based study of dance includes exploring the important reasons/events, causes
and effects in the growth and decline of the dance style through certain eras or periods in
time. In comparison, an in-depth study of dance during an isolated period lends an

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opportunity to look at particular events in relation to the time span of the selected area
(Layson, p.6) and understanding how it affects the structure of the dance. Keeping in
view the method suggested by Prof Layson I have in the following table listed questions
that can enable understanding a dance as a reflection of the culture in which it is created.

Context: The historical background and purpose of the dance

When was the dance performed?
Where was the dance performed?
Identify the events that contributed to the evolution of the form?
What is the function of the dance?
Does it communicate aspects of tradition?
Is it a religious practice or a ritual? (Spiritual/ Ritualistic)
Is the dance recreational?
Does it celebrate any day or time or practice? (Celebratory)
Does it emulate an occupation?
Does it communicate political ideas?
Is it an expression of patriotism? (Patriotic)
Does it explain history? (Historical)
Does it bring the community together? (Social)
Is the dance used as a therapy? Or a physical exercise?

The dance: as an art form

How is the dance structured?
Describe the movement, in terms of use of the body components, design, and elements?
What is the length (time) of the dance? Organization and phases of presentation,
Is it performed solo or in groups? Identify the group relations.
Are the audience groups large or small? Is it a formal or informal setting?
What is the age, gender, personality of the dancers and discuss aspects of their artistry,
Where are the dancers from urban/rural areas?
Describe the music or sound accompaniment and the relation of the dance to the aural
aspects including time and flow?
What are the rhythmic patterns and tempo variations at aspects such as body attitude,
stance, relation of foot to ground, use of space and use of effort, intensity of involvement,
What are the modalities used? Is the organization of effort divided into sequences?

Musical accompaniment
What is the predominant form of music making?
Does it combine vocal and instrumental? What are the types of instruments used?
Is it a combination of music and dance? Or is it separate?
Is it a chorus? What is the structure of the songs? Is there a leader in the chorus, or does
everyone take an equal role?

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Personal/previous experience
Did the dance remind you of any other dance style you know about?
What are the similarities and dissimilarities with other dance experience you have had
earlier?
Describe your familiarity with the music.
Where you familiar with the language used in the dance?
Did you relate to the symbolism/gesticulation in the dance?
Were the movements and expressions in the dance simple, complex or communicative?
What are the costume, props, and make up like and how does it complement the theme or
the main idea of the dance presentation.

Prof Layson’s method of studying dance can guide in acquiring the complete
metamorphosis of a dance form on one hand and on the other it can be a meaning making
process. Clifford Geertz brings into light this point in his book, ‘The Interpretation of
Cultures’ when he gives the example of the cathedral Chartres. He writes:

Chartres is made of stone and glass. But it is not just stone and glass; it is a
cathedral, and only a cathedral, and but a particular cathedral built at a
particular time by certain members of a particular society. To understand
what it means, to perceive it for what it is, you need to know rather more
than the generic properties of stone and glass and rather more than what is
common to all cathedrals. You need to understand also- and, in my
opinion, most critically- the specific concepts of the relations among God,
man, and architecture that, since they have governed its creation, it
consequently embodies (Geertz, 1973, p50).

Both these scholars have amply emphasized how and why identifying the connections to
the context in which the art is made and knowing the meaning is important. A deeper
understanding enables people to recognize and relate to diverse cultural concepts. The
meaning making process further leads to translating these concepts in relation to one’s
own life experience and comparing it to one’s own cultural ideas. This process
contributes in cultivating minds and assists in developing relationships amongst diverse
people.

Urs Fuhrer in his book ‘Cultivating Minds’ introduces the concept of identity as a
meaning-making practice which refers to people’s use of a range of cultural artifacts as
opportunities towards I – world relationships”. According to him, identity as a meaning
making practice is a process of cultivating minds, which is constituted through the
medium of culture. He views culture “as a medium for generating possibilities i.e. a
generative medium for the agentic, self referential, creative self”(2004, P 92). Given
below is Fuhrer’s Tetradic Mediational Model of Identity formation, which illustrates his
concept that “in this process meaning emerges from the effect that a sign or symbol
triggers in the consciousness of its interpreter”(2004, P. 93). The four interrelated
systems in this diagram are:

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 • The subject, with a distinctive biological makeup and a unique history of
experience
• The social partners with whom the subject collaborates
• The culture represented through the artifacts/artistic activity
• The objective world

Subject

Social Meanings as
partners action Artifacts
possibilities

World

Figure 4:The Tetradic Mediational Model of Identity Formation

The links or the mediational process between the subject and the world, through the
medium of cultural representation in artifacts or artistic activity result in co creation and
co construction of cultural meanings. George Simmel in his cultivation principle has
discussed a similar idea that individuals together with their artifacts experience
themselves as agents of their own meaning making activities or practices to cultivate their
selves. Identity and the character of one’s thoughts and feelings are substantially a
construct of one’s social context. I therefore propose that the process of understanding
includes formation of identity and relationship with others. The challenges in fostering
understanding should be viewed in terms of challenges in negotiating a sense of identity
between two or more groups of people belonging to different cultures.

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As David Best (1986) says in his article ‘Culture Consciousness’,

One explores, with humility, the relevant activities of another culture, in

terms of one’s own artistic conceptions. But the other side of the dialectic
is that the new conception may modify one’s own, and thus the terms of
the exploration. Each side may have a progressively critical and enriching
effect on the other (1986, p.87).

The process of negotiating the identities would require a medium that lends itself
to reconciliation and appreciation of the other side. I propose that dance is one such
medium that is more likely to evoke a sense of reflection (about one’s own identity) and
reconciliation (towards a shared experience). Identity development can be compared to
building a wall. Every new experience/idea becomes an added brick in the process of
identity construction. In reference to this discussion I would like to share the results of a
research study conducted in the year 2001 with the students of the Denison University in
Granville, Ohio. This study was done to understand students’ experience in learning
Odissi, a classical dance form from India offered under the World Dance Program. The
World Dance Program is offered in the Department of Dance with the objective of
providing undergraduate students an opportunity to explore, experience and understand a
world culture through its dance forms. Two courses on Odissi dance were offered. While
one of the courses focused on the technique of this classical dance form, the other
(Honors) course was designed to help students understand the Indian culture through its
dance forms. There were 14 students in the technique class, and eight students in the
Honors class, a majority of the students were non-dance majors. All 14 students from the
technique class and five students from the Honors course participated in the assessment.
Each student was given a scrapbook to record his or her feelings at different points during
the five month long semester. The synthesis of the response received from the students
revealed common benefits as a result of the experience of the unfamiliar art form. The
students reported that the experience of learning Odissi dance:

• opened my mind to an unfamiliar experience/art form

• prepared me to be less hesitant/fearful of new/ unfamiliar experiences in future.
• gave me greater understanding of the Indian culture
• gave me greater understanding of my own body
• taught me the value of working with others

While describing the experience of learning an unfamiliar dance form like Odissi,
one of the students said, “This experience will encourage me to not be afraid of new or
unfamiliar in my future. Instead of disregarding things that are different from my usual
life I will be curious about them and interested to learn about them”(2001, Elizabeth
Johnson). Responses received from the students reflected the overall value students
derived from this unfamiliar experience and how they developed the ability to understand
and accept the unfamiliar. Most students reported that they would be less hesitant in
seeking unfamiliar experiences from other cultures in the future. The impact of exposure
to an unfamiliar dance form on the students was two fold: internal transformative impact

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that prepared them to better understand and enjoy an unfamiliar experience and secondly,
it enhanced their social skills in dealing with diversity.
Drawing from this study it is observed that participation in dance activities assists
people in overcoming cultural differences and in reaching out to each other. In 1954, at
the height of the Cold War, great American dancers, namely Jose Limon, Martha
Graham, and Alvin Ailey, traveled to many countries as cultural ambassadors of America
and through their artistic work demonstrated and reflected the ideals of liberty, freedom
of speech, equality, diversity and tolerance. Innumerable examples from various parts of
the world can be listed to support the view that dance and other art forms can be a tool for
communicating values, facilitating cultural understanding, cultivating ties between
countries, building relationships between people and initiating appreciation, respect and
mutual understanding.

As Jennifer Williams states “experiencing art is a prelude to understanding each

other and the future” (1996, P 17). A well planned and presented dance experience can
provide an opportunity for people to understand and appreciate values, customs and
worldviews. In the process of understanding the meaning and function of the dance form
people enhance their knowledge, build awareness of each other’s culture and contribute
towards fostering a sense of reciprocity and equality.

References

Adshead-Landsdale, Janet & Layson, June. (1983). Dance History- An

Introduction. Routledge, New York.

Bal, Meike. (1994). On Meaning –Making. Polebridge Press, Sonoma, California.

Best, D. Culture Consciousness: Understanding the Art of other Cultures. Journal

of Art and Design Education, Vol 5, Nos.1&2, 1986

Cornwell, Grant H. & Stoddard Walsh, Eve. (2001) Global Multiculturalism,

Rowman and Littlefield Publishers, Inc., Maryland.

Cowen, Tyler (2002). Creative Destruction- How Globalization is Changing the

World’s Cultures, Princeton University Press, New Jersey

CsikszentMihalyi, Mihaly & Robinson, Rick. (1990). The Art of Seeing, Getty
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Eysenck, Michael W. (1993). Principles of Cognitive Psychology, Lawrence

Erlbaum Associates, Publishers, Hillsdale, USA

Fuhrer, Urs. (2004) Cultivating Minds, Routledge Taylor & Francis Group, New
York, NY

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 Gardner, Howard. (2004) Changing Minds, Harvard Business School Press,
Boston, MA

Graham, McFee. (1992). Understanding Dance, Routledge, London and New

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Age of Globalization, Zed Books Ltd, New York, NY

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Available: http://onlinedictionary.datasegment.com/word/understanding

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