Belly Dance as an Artifact - Coursework Example

Belly Dance as an Artifact An artifact may take the form of a social or cultural artifact and has the general definition of artists creation and is used to communicate on the culture and social behavior of the society. Various forms of artifacts have been used across the social divide over the years since the civilization of humans. One such form to have been adopted and used in different societies has been dancing. It is acknowledged that dances vary from a community to another and because of cultural importance as defined by the communities. Belly dance is such an illustration of dances that have been perceived as part of artifacts across various cultures in the world. This paper therefore focuses on studying current use of belly dance in relation to intercultural communication. Intercultural communication theory is applied in explaining the processes that naturally characterize the interaction of persons with differing ethnic backgrounds, different religions, different educational backgrounds as well as different social systems in manners of exchanging information or messages (communication). Although used synonymously with cross-cultural communication, the latter relates to how people with different ethnic backgrounds, nationalities as well as cultures perceive and interpret the world within which they live. Introduction Originating from the Middle East, belly dance means a kind of a dance that involves a single or even many persons, has its basis on ‘torso articulation’, and adopts varying forms dependent on country and or region. The main differences are brought out by costumes, style of dancing and popularity. This has the implication that the dance as is practiced within different regions of the globe has difference in meaning as influenced by body moves and the styles that are adopted. This is because, as the intercultural theory in communication shows, interpreting non-verbal language may vary from one region to another or from one culture to another. However, just as is required of any other form of dance style, general correct moves must be emphasized and the belly-dance emphasizes kinesiological posture. The dance also adopts definite styles, which include percussive, fluid, shivers as well as vibrations kind of movements depending on the region it is practiced. Various artifacts found within many regions in the world show attributes of belly dancing with slight and particulate differences being established with the regions of their discovery. Besides, the name belly dance is ascribed to western culture as distinct names were in use within other regions such as in the Arab regions of Middle East. Discussion Differences in cultures influence what kind of message is intended to be conveyed, how the messages are conveyed as well as how the messages are interpreted. Besides alluding to the language of communication, intercultural theory focuses on attributes of social nature, patterns of thought as well as background of cultures of people while examining the process of communication through such means as mass media (Schuch, nd). Various factors influence the application of intercultural communication such as globalization, glocalization, international terrorism, increased travel as well as trade. Interaction between cultures is however dominant in most of the modern day society and hence the necessity to be well equipped with the necessary skills and competencies of communication. Improvement in communication systems, transport systems and general ease in which people interact across media explains the necessity of understanding the role that communication theory plays inn intercultural communication. This is because, just as is obvious, cultural differences would present challenges in communication between persons from varying cultures both in verbal as well as non-verbal communication practices. A good example of intercultural communication theories is the general ‘communication theorem’ that explains communication as dependent on capacity of exchange of information between persons at any level (Kitao, 2004). This therefore explains the main feature that ‘communication theorem’ brings about in understanding intercultural communication in that diversity in cultures has the capacity to influence communication by varying perceptions, belief systems, as well as verbal and nonverbal interpretations. Besides, the theory shows that social organization has the capacity to influence how people communicate with perception being more on how an individual collects evaluates and organizes information as dictated by the environment. In belief systems, the communication theorem shows that individuals are affiliated to various systems and as such, the disparities in systems would have effect on how they perceive and interpret other person’s language. The overlap of cultural inclination has therefore definite effects while people interact. Intercultural competence has a direct relation with relationships between persons as tolerance, empathy as well as recognition of multiple perspectives in interactions is necessary for effective communication (Anon, nd). Traditionally, the start and use of belly dance is shown to vary as some cultures used the dance for different purposes like in mimicking planting and or crop harvesting, childbirth preparation, wedding ceremony preparations as well as for secular entertainment among other uses. Instruments were in use for the dances with particular attires accompanying the serpent movements, which characterized the dances (Darrow, 2013). However, it should be noted that the way the dances were done and how music was incorporated into the belly dance across the various regions would show the difference. For instance, in Middle East regions as well as within the Mediterranean areas, belly dance was and has been in use as part of the cultural traditions. While there was little medium (if any) to capture the dances right from the ancient times, historical artifacts depicting the dance moves as gotten from archeological sites as well as persevered among indigenous cultures makes belly dance be regarded as an artifact for culture. However, despite being regarded as an important artifact for such cultures, belly dance has been adopted across cultures for other purposes among which are conveyance of particular message from the past and maintaining individual social cultural heritage. The recent past have seen the dance adopted and used for emotional and physical healing, weight loss, meditation as well as for muscle relaxation among other purposes (Aya, 2007). Various literatures show that communication is a complex process and that various tools have been in use for conveyance of information and messages (Bauman, 1992). Bauman defines dance as a form of communication, which is distinct in the manner it combines kinesthetic, visual as well as aesthetic aspects in human movements that are in accompaniment of music and or some form of poetry. Social as well as religious understanding explains the use of dancing, as dance must be created from culturally understood religious and social symbols. This equally illustrates how belly dance would be adopted as an artifact in interpretation of symbols and meaning of some features exhibited through the dancing styles incorporated within belly dance. One major feature stands out concerning dances and it is that audiences need to understand the cultural conventions involved in dances. Dances have been shown and studied in depth over years and shown to be useful medium of communication and are tools that can be studied in order to learn on historical perspectives of the cultures. Skills in handling human body in space and time to produce body movements would be understood as the basic explanation of a dance and would require skills in interpreting the non-verbal language for communication purposes. Formalization of language in use within the dance enables the audience to interpret and understand the message conveyed through such body movements. Social relations and cultural attributes have been the best-known kind of messages to be communicated through cultural dances as illustrated by the belly dance. The dance would therefore be interpreted as an art, ritual, work and ceremony or even combination of all as interpreted within a social set-up. This therefore explains the position by Bauman that dance language is not universal and thus cross-cultural understanding of dances would be varying. For a dance to be interpreted as a communication tool, it must adhere to grammatical principles, which just as the language grammar implies that dance has language, structure as well as meaning which requires learning in order to familiarize with the syntax. The communication by dance may be by drama and realism. The spectator is required to have an understanding of a particular culture to which the dance belongs in order to identify easily with the epic being presented. In order for one to understand dancing as a cultural artifact, both the audience as well as the performer needs to master communicative competence of the medium which is constituted cognitively as well as socially. Participating as well as watching are main methods by which communication by dance is learnt and thus, a formal context is involved with a student-teacher scenario. However, it should be noted that communication and especially through non-verbal means might differ across cultures. This would therefore imply that while a facial sign may mean a particular thing within a specific culture, a completely different meaning might be accorded to the sign elsewhere across cultures hence pointing to a possible barrier to effective communication. Communication would be best described to be the process through which information passes from one person to another through a specific media (like the dance). It involves the basic components, which are the information, sender, receiver, as well as the media through which it takes place. Its effectiveness is realized only when the recipient understands the intended meaning and reciprocates through feedback. Three steps are involved in the process, which are conception of the idea, the feeling or information, by the person intending to communicate, relaying of the information is passed through words or symbols (verbal and or non verbal). Finally, the recipient decodes or translates the symbols or words into understandable pieces, which can be responded to and therefore responds through what is the feedback to complete the cycle. The study of interpretation and understanding of dances is aided by theoretical frameworks, which have been in use over years in understanding and interpreting syntax and grammar in use within dances. Some scholars use emic/etic distinctions for deriving kinemes or units through movement observation, which are then grouped into thematic contributions (Bauman, 1992). This therefore enables interpretation of meanings as depicted by particular dance moves. Through such creations, dance movements are interpreted into meanings and thus, any observer or participant with such understanding helps one evaluate grammatical correctness of the dance moves. Such meanings as ‘pure dance’ and emotions can be conveyed through dancing as interpreted in a cultural context. Linguistic analogies and semantics of body languages assist in interpreting human actions through body language as illustrated through dances. Some pragmatic dance moves are therefore viewed as particulate medium through which dances communicate to and from people who are able to identify with the cultural context. Belly dance in particular has been described as being sensual in the forms of movements adopted and practiced. Rib slides, hip movements, snake arms as well as shoulder shimmy presents the main moves that are adopted for the dance (Clark, 2001). Communication being the exchange of messages and or information from a person to another and reciprocating response is one thing that defines humans and language goes hand in hand. Communication system however incorporates various types of languages such as verbal and or nonverbal languages, which rely on body movements. The facial expressions as well as other body movements characterize non-verbal language as are represented within dances. Culture pays a significant role in influencing understanding non-verbal languages such as by dances and are particular to individual countries. Moreover, literature shows that such particular dances like the belly dance show influence to social collectivism as well as cohesion. Samovar, Portar and McDaniel (2012) show that collectivistic cultures show higher cohesion in adopting and practicing particular dance moves. In contrast, however, such other dancing as the rock dancing has evolved to adopt the individualistic natures, which are often furthered by non-cohesive cultures. Dances therefore stand distinctly to characterize cultural orientation of a people and would therefore be useful to be used for understanding intercultural communication. However, as McDaniel shows, understanding intercultural communication would be aided by understanding the influence of cultural dimensions as explained by Hofstede. These dimensions include cultural identity, power distance, gender, immediacy as well as uncertainty. In linking belly dance to cultural artifacts, literature on the origin and use of the dance shows that the dance the dance is among the oldest especially within the Middle East region dating back to five or six thousand years with initial practice dedicated to a particular goddess. Images of the dance as represented within some artifacts gotten within these regions dating many years back although with controversies of exactly how old the dance was and the purpose into which the dance was put. Besides, the critiques of the position that the dance would have been dedicated to worship of a particular god reason that artifacts and such old paintings f ail to capture images of women and or priests practicing the worship. According to Shira (nd), a critique of the position of the age of such artifacts and the dance itself and the purpose the dance was meant for, the position that the dance was the oldest as claimed by some literature is not supported theoretically. Besides, he also questions the position of belly dance being practiced in worship of a god, as no such supportive materials from the literature as well as from artifacts exist. The critical theory enables people to critique the society by analyzing the changing world as against the tradition with two main concepts being paramount; historical specificity as well as integrating all social sciences in order to have a good understanding of the society and the culture (Heydebrand, 2004; Price, 2010). Dialectical enlightenment as well mass culture are main aspects emphasized by the theory and feature in understanding of hermeneutics as an art in interpreting texts and human expressions. It therefore presents a form of self refection in knowledge as pertains to interpreting and explaining and hence is little concerned with transforming what would be perceived as traditional or positivistic approach to communication. Glocalization on the other hand illustrates embracing products form a locality as meant for a particular culture (Shamsuddoha, 2009). Artifacts as have been studied have much identification or association with particular cultures as against generalization. In this analysis, much has been show to be identified with the different regions where the belly dance have been practiced over years. For instance, in the Middle East and many parts in North Africa, the dance was associated with particular significance and would be practiced for ceremonies, harvest and planting season as well as in particular occasions. Naming of the dance have had associations towards the different cultures to which it is associated with only the term ‘belly-dance being’ from America through westernization. It would therefore be noted that depending on where the dance as an artifact was practiced it carried a particular title. However, globalization brings about the attributes of merging and bringing together people as necessitated by interchanging views, ideas and products as part of defining cultures. Interdependence of cultural as well as economic attributes of nations, regions have contributed to the diffusion of cultures, and this has been enabled by technological advancement and improvement in communication. Ease in movement of persons enables intercultural sharing of such indigenous features in culture as shown by the spread of belly dance from the ancient Middle East regions to almost all parts of the world. However as the theory of communication shows, culture has a critical role to play in influencing communication between persons from different cultures. In understanding the intrigues in communication across cultures, identity plays a significant role in helping a person identify with particular cultures, ethnicities, individual socialization as well as identifying with gender and family (Cruz & David, 2014). Primary ‘family system’ enables individuals identify and acquire systems of believes on cultures and value patterns. In identity theory therefore, individuals are able to establish personal as well as social identities, which not only accords an individual emotional attachment but also a sense of belonging. History therefore shows us that we hail from particular social set-ups as identified with systems of beliefs and practices. Intergenerational differences are illustrated through social creations such as by art and historical monuments. Dances and acted arts are part of such wide arrays of creations that individual cultures adopts to pass on particular cultural values from a generation to another and would therefore be studied as artifacts which would depict rich history of a culture or society. This therefore explains the essence of using the identity theory in understanding belly dance as an artifact that can be studying over generations to have an understanding of cultures that practiced the dance. The identity would also enable one to understand how such an artifact would be used for communication purpose across cultures. Conclusion Humans have varying ways through which they communicate and the differences may be dependent on personal background in culture, education, age as well as on gender among other factors. It is however worth noting that different societies and cultures have well developed verbal as well as non-verbal strategies of communication, which in most instances are distinct from those that are in use within another society and or culture. Non-verbal language in some societies is much pronounced where majority of the people freely express themselves through gestures as against other cultures in different region (s). This paper has evaluated on the perception of belly dance as an artifact with special reference to communication. The dance has been shown to be old and hence much of the historical attributes of the dance can only be gotten from the historical artifacts with dancing styles associated to the dance enabling one to make meanings from such a dance. However, the art in dance have been carried down across generations and across cultures where now, unlike the representation by such historical materials to have dominance in Middle East region, the dance has been adopted across many other regions of the world (King, 1992). Communication however through belly dance has been shown to depend on intercultural factors and hence the theory of intercultural communication plays important role in understanding this. Understanding the influence of culture in communication is paramount for the correct interpretation of messages passed on though the dance. References Anonymous. (nd). Intercultural communication. Retrieved from http://highered.mcgraw-hill.com/sites/dl/free/0070140049/854065/crossman_ch03.pdf Aya. (2007) About Belly Dance. Retrieved from: http://www.turkishbellydancer.com/Belly_Dance_History_Facts_O.html. Bauman R.(1992). Folkrole, cultural performance, and popular entertainments: a communications centered handbook. 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At the crossroads: Critical race theory and critical geographies of race. Progress in Human Geography, 34(2), 147-174. Samovar L. A., Portar R. E. and McDaniel E. R. (2012). Intercultural communication: A reader (12 ed.) Boston amss: wads worth Cengage learning. Schuch E., (nd). Intercultural communication theory at the crossroads: different views on approaching the concept of culture. Retrieved from < http://www.napier.ac.uk/faculties/business/study/research/Documents/ICWCslides/ESchuch.pdf> Shamsuddoha, M. (2009). Glocalization: A theoretical analysis. Rochester: Social Science Research Network. doi:http://dx.doi.org/10.2139/ssrn.1409561 Shira (nd). Middle Eastern Dance: The Spiritual Connection. Retrieved from: http://www.shira.net/advice/lifestyle/spiritual.htm Read More