{"id":1787,"date":"2019-05-06T15:06:52","date_gmt":"2019-05-06T14:06:52","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=1787"},"modified":"2026-02-05T12:54:53","modified_gmt":"2026-02-05T12:54:53","slug":"analysis","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/analysis\/","title":{"rendered":"How to Analyse Dance, Laban and Semiotic Levels, and Analysis (4.6.1)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-large\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/measuring-dance-min.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/measuring-dance-min.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/measuring-dance-min-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Measuring dance data\" class=\"wp-image-1799 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/measuring-dance-min.jpg\" alt=\"Measuring dance data\" class=\"wp-image-1799\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/measuring-dance-min.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/measuring-dance-min-300x169.jpg 300w\" sizes=\"(max-width: 560px) 100vw, 560px\"><\/noscript><\/figure>\n\n\n\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_88 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6ab5be56efc6b\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6ab5be56efc6b\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#How_to_Analyse_Dance\" >How to Analyse Dance<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Semiotic_Levels_in_Dance\" >Semiotic Levels in Dance<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Using_Laban_Analysis\" >Using Laban Analysis<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Laban_Movement_Analysis_LMA\" >Laban Movement Analysis (LMA)<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#The_Body\" >The Body<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Weight\" >Weight<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Time\" >Time<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Space\" >Space<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Raqs_Sharqi_Movements_and_Laban\" >Raqs Sharqi Movements and Laban<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Emotional_Characteristics_and_Quality_of_Movement\" >Emotional Characteristics and Quality of Movement<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Kinemes_and_this_Dance_Heritage_Research\" >Kinemes and this Dance Heritage Research<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Using_Visual_Materials\" >Using Visual Materials<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#1st_Phrase_of_Video_Analysis\" >1st Phrase of Video Analysis<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#2nd_Phrase_of_Movement_Video_Analysis\" >2nd Phrase of Movement Video Analysis<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Limitations_of_this_Dance_Analysis\" >Limitations of this Dance Analysis<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-16\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Videos_Only_Show_Dance_from_a_Specific_Angle\" >Videos Only Show Dance from a Specific Angle<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-17\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#The_Context_of_the_Video_as_Part_of_a_Movie\" >The Context of the Video as Part of a Movie<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-18\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Using_Laban_Analysis_for_Non-Western_Danmce\" >Using Laban Analysis for Non-Western Danmce<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-19\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Studying_Raqs_Sharqi_Egyptian_Style_Belly_dance_as_a_Non-Egyptian\" >Studying Raqs Sharqi (Egyptian Style Belly dance) as a Non-Egyptian<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-20\" href=\"https:\/\/worlddanceheritage.org\/analysis\/#Footnotes\" >Footnotes<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"How_to_Analyse_Dance\"><\/span>How to Analyse Dance<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The analysis of the different data sources happened in overlapping phases. The videos were the first data set I started analyzing as the study revolved around the dance as physical performance and movement.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The analysis followed Adshead (1988, p. 13), who states that:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\"><em>Making sense<\/em> of a dance requires . . . that an interpretation is made, derived from a rigorous description of the movement and supported by additional knowledge of the context in which the dance exists.<\/p>\n<cite>Adshead (1988)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Adshead, to describe dance, we need to consider four elements:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>movements<\/li>\n\n\n\n<li>dancers<\/li>\n\n\n\n<li>visual settings<\/li>\n\n\n\n<li>and aural elements.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">To interpret dance, for Adshead, it is also necessary to consider elements such as the:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>socio-cultural background<\/li>\n\n\n\n<li>context<\/li>\n\n\n\n<li>genre and style and the subject matter<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, from the videos, I analyzed the movements of the dance and also the context in which it was taking place, the people, the physical and social location, the props and costumes, and the technology involved in the reproduction of dance. <\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Semiotic_Levels_in_Dance\"><\/span>Semiotic Levels in Dance<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In addition to the elements highlighted by Adshead, dance has semiotic levels.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Giurchescu (2001, p. 112) posits that dance is a \u2018cultural text\u2019 in which social interactions and dance elements coexist and influence each other in various ways, according to the style.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dance communicates through movement, as well as non-choreographic means of expression, such as props, text\/poetry, music, costumes, staging, social rules, pantomime, gestures, verbal expressions, facial expressions, and proxemics (use of space).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Giurchescu then identifies five interacting and coexisting semiotic levels:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>A\ntranscultural level related to psychosomatic perceptions of the self (emotions,\nfeeling, moods, intentions). Transcultural because human emotions transcend\ncultural boundaries.<\/li>\n\n\n\n<li>A\nconceptual level. This refers to acquired knowledge about dance.<\/li>\n\n\n\n<li>A\nritual level, where dance has symbolic and mythical meaning.<\/li>\n\n\n\n<li>A\nlevel of social interaction. At this level, dance reflects the position of\npeople in society and it includes reference to gender (and it could be added\nbody types), kinship, social status, age.<\/li>\n\n\n\n<li>An\nartistic level, where dance is valued as a performance to entertain an\naudience.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Most of these levels can be observed in the videos, while written texts and interviews provide the discursive element, shedding more light on the observations gathered from the videos.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I found that texts and interviews were useful to discover the commonly held views and beliefs among practitioners about Raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Similarly, Butterworth (2012, p. 44) identifies four layers for the semiotic of dance:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>The\nmeaning that the choreographer brings such as intention, concept, ideas,\ncontent, form.<\/li>\n\n\n\n<li>The\ndance itself and the signs that reside in it once it is completed (the dancers,\nquality, patterns, vocabulary, the context).<\/li>\n\n\n\n<li>The\nfeelings, experiences and interpretations of the performers.<\/li>\n\n\n\n<li>Reading,\nperceiving and making sense by the audience.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Following the analysis of videos and textual elements, it became clear that, although Raqs sharqi has all these elements, some levels were more evident and powerful than others in the discourse around it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It emerged that the feelings and emotions were particularly significant for Raqs sharqi practitioners and audiences, as well as the individuality of the dancers and how their dance reflected their personalities. <\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Using_Laban_Analysis\"><\/span>Using Laban Analysis<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">As I started to analyze the movements from the videos, the type of analysis most suited to investigating the emotional aspects of movements (both with regards to individual dancers and to the qualities specific to a certain genre as a culturally influenced movement system), was <a label=\"Laban analysis (opens in a new tab)\" href=\"https:\/\/labaninstitute.org\/\" target=\"_blank\" rel=\"noreferrer noopener\">Laban analysis<\/a>.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe class=\"lazyload\" data-src=\"https:\/\/www.youtube.com\/embed\/d8fORKlNYFA?feature=oembed\" title=\"Laban\/Bartenieff Movement Analysis - The 5 Developmental Movement Patterns\" width=\"1080\" height=\"608\"   allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">I did not use a dance notation technique, as the dance was already documented in the videos. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Instead, I observed and analyzed the movements qualitatively and then compared my observations with observations by other practitioners available online and from interviews with participants.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/unique-dance-moves.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/unique-dance-moves.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/unique-dance-moves-300x200.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/unique-dance-moves-768x512.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/unique-dance-moves-600x400.jpg 600w\" decoding=\"async\" width=\"800\" height=\"533\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Unique dance moves.\" class=\"wp-image-1831 lazyload\"  sizes=\"(max-width: 800px) 100vw, 800px\" \/><noscript><img decoding=\"async\" width=\"800\" height=\"533\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/unique-dance-moves.jpg\" alt=\"Unique dance moves.\" class=\"wp-image-1831\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/unique-dance-moves.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/unique-dance-moves-300x200.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/unique-dance-moves-768x512.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/unique-dance-moves-600x400.jpg 600w\" sizes=\"(max-width: 800px) 100vw, 800px\"><\/noscript><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Laban_Movement_Analysis_LMA\"><\/span>Laban Movement Analysis (LMA)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Laban\u2019s theory of movement includes a notation system and an analysis system, called Laban Movement Analysis (LMA).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Within LMA, there are many aspects and concepts that can be drawn upon but, for the purpose of this thesis, I will only elaborate on the ones which were relevant for this work.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">The concept I have employed for my raqs sharqi analysis is the Laban\u2019s \u2018effort system\u2019, based on the ideas of body, weight, space, time and flow (Horton Fraleigh and Hanstein, 1999; Newlove and Dalby, 2003; Butterworth, 2012).<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Body\"><\/span>The Body<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">In LMA, weight, space, time, and flow as expressed by the body, are connected to each other, and together they produce a variety of movement qualities, depending on the combination of these elements. <\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Weight\"><\/span>Weight<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Weight refers to the resistance that the body (or one or more of its parts) opposes to gravity, whether it resists or gives in to gravity (Raqs sharqi, for example, often displays a quality of being earthy, connected to the ground with the feet, but also lifted at the same time, especially in the upper body).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So, a movement can be more or less heavy (strong) or light.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Time\"><\/span>Time<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Time refers to the movement speed, which can be more or less quick (sudden) or slow (sustained).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, in Raqs sharqi, there can be quick movements of the hips to mark a drum accent or slow hips figures of eight to embody a slow melody.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Space\"><\/span>Space<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Space refers to the pattern followed by a movement, which can be in a straight line (direct) or waiving in and out (indirect).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Raqs_Sharqi_Movements_and_Laban\"><\/span>Raqs Sharqi Movements and Laban<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Most Raqs sharqi movements are typically indirect, such as figures of eights, circles, and snake-like movements of torso and arms, but a dancer can decide to make gestures with straight arms or travel in space in a direct trajectory.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Movement qualities of weight, space, and time combine together in \u2018qualitatively oppositional descriptions to indicate functional and expressive aspects of the lived body\u2019 (Kaylo, 2009, p. 1). Figure 8 (Clara, 2012) illustrates the eight types of movement resulting from the combination of these oppositional combinations of qualities.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-movement-efforts.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-movement-efforts.jpg 456w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-movement-efforts-300x261.jpg 300w\" decoding=\"async\" width=\"456\" height=\"397\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Laban Movement Efforts and Qualities\" class=\"wp-image-1835 lazyload\"  sizes=\"(max-width: 456px) 100vw, 456px\" \/><noscript><img decoding=\"async\" width=\"456\" height=\"397\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-movement-efforts.jpg\" alt=\"Laban Movement Efforts and Qualities\" class=\"wp-image-1835\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-movement-efforts.jpg 456w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/laban-movement-efforts-300x261.jpg 300w\" sizes=\"(max-width: 456px) 100vw, 456px\"><\/noscript><figcaption class=\"wp-element-caption\"> <br><strong>Figure 8<\/strong> \u2013 Laban Movement Efforts and Qualities <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Another attribute\nthat contributes to the quality of movement, is flow, which can be free or\nbound. As Newlove and Dalby explain (2003, p. 127):<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Flow is mainly concerned with the degree of liberation in movement . . . To understand and describe flow it is necessary to consider its complete opposite: movement which is broken up and jerky with the quality of \u2018starting and stopping\u2019.<\/p>\n<cite>Newlove and Dalby explain (2003)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In Raqs sharqi vocabulary, both types of flow are seen (to embody the expressions of the music), but different dancers (depending on their individual style, but also on the prevalent trend during their lifetime) may have a distinct preference for one or the other.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Free flow can be sweeping movements of the limbs or free-flowing hips and torso articulation, while bound flow is often seen in the hips and stomach, with slow contractions and quick releases of the muscles.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">All these movement qualities need to be analyzed in combination, to create a holistic picture of the movement. As Foster (2016, p. 5) points out:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Laban&#8217;s mode of thought permits both analysis and synthesis. Every movement traverses space, and this takes time, the one implies the other, and every movement involves a degree of energy: but the three elements are inseparable, one cannot be altered without modifying the others and therefore the whole.<\/p>\n<cite>Foster (2016)<\/cite><\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Emotional_Characteristics_and_Quality_of_Movement\"><\/span>Emotional Characteristics and Quality of Movement<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The qualities of movement do not just describe movement per se, but also express the emotional characteristics of a genre, as well as the inner feelings of the dancer.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This was Laban\u2019s intention when devising his analysis system as, according to Preston-Dunlop (2010, p. 66), \u2018Laban asserted that the factors of motion, its weight\/force content, its spatial form, its timing, and its flow content are signifiers in all human performance . . . the embodiment of inner states of mind\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another\nconceptual tool that guided the analysis of dance for this research is\nKaeppler\u2019s (1972, 2001) idea of kinemes, morphokines, motif and\nchoremes, which she devised for the analysis of dance, drawing from\nlinguistics. As Kaeppler (2001, p. 51) explains:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Kinemes are minimal units of movement recognised as contrastive by people of a given dance tradition (analogous to phonemes in a spoken language). Although having no meaning in themselves, kinemes are the basic units from which the dances of a given tradition are built. Morphokines are the smallest units that have meaning as movement in the structure of a movement system (meaning here does not refer to narrative or pictorial meaning).<\/p>\n<cite>Kaeppler (2001)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kaeppler then mentions allokines, which are variations on a kineme; motifs, which are \u2018sequences of movement made up of kinemes and morphokines that produce short entities in themselves\u2019 (2001, p. 51) and choremes, which are \u2018motifs choreographed in association with meaningful imagery\u2019 (2001, p. 52).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Motifs and choremes together form a dance, which can have a structured choreography or can be improvised. Table 9, on the following page, gives further definitions and illustrations of these concepts.<br><\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><strong><a rel=\"noreferrer noopener\" aria-label=\"Click the graphic below to see larg (opens in a new tab)\" href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/kaeppler-terminology.jpg\" target=\"_blank\">Click the graphic below to see larger version!<\/a><\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/kaeppler-terminology.jpg\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/kaeppler-terminology.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/kaeppler-terminology.jpg 992w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/kaeppler-terminology-300x157.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/kaeppler-terminology-768x403.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/kaeppler-terminology-800x419.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/kaeppler-terminology-600x315.jpg 600w\" decoding=\"async\" width=\"992\" height=\"520\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-1841 lazyload\"  sizes=\"(max-width: 992px) 100vw, 992px\" \/><noscript><img decoding=\"async\" width=\"992\" height=\"520\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/kaeppler-terminology.jpg\" alt=\"\" class=\"wp-image-1841\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/kaeppler-terminology.jpg 992w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/kaeppler-terminology-300x157.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/kaeppler-terminology-768x403.jpg 768w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/kaeppler-terminology-800x419.jpg 800w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/kaeppler-terminology-600x315.jpg 600w\" sizes=\"(max-width: 992px) 100vw, 992px\"><\/noscript><\/a><figcaption class=\"wp-element-caption\"><strong>Table 9<\/strong> \u2013 Kaeppler\u2019s terminology and examples <\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Kinemes_and_this_Dance_Heritage_Research\"><\/span>Kinemes and this Dance Heritage Research<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">For the purpose of this study, the elements analyzed have been limited to the levels of kinemes and, in some cases, motifs.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Kaeppler, a dance ethnologist can take note of the movements of a dance tradition (by using, for example, Labanotation) and then subject the resulting kinetic notation to \u2018\u201cemic&#8221; analysis to obtain an inventory of the significant movements\u2019 (1972, p. 174) and identify the kinemes, by consulting the participants who practice a certain dance tradition.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For this research though, the researcher\u2019s point of view was already emic, because of my inside knowledge of the movements\u2019 tradition of Raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">By isolating small units of movement (kinemes and allokines  (see footnote), it was possible to identify the basic Raqs sharqi movement vocabulary, which identifies this genre from a movement point of view.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is important from a cultural heritage perspective, to start assessing authenticity since, as argued when outlining the research questions (3.8), to safeguard heritage we need to know what the object of this safeguarding is.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In analyzing the videos, my main focus was on the dance and its context.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, the dimension of the videos as visual artifacts could not be ignored and these videos provided other types of data.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Using_Visual_Materials\"><\/span>Using Visual Materials<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">I did not do an in-depth analysis of the videos as artifacts and carriers of meaning, as this would be outside the scope of this thesis, but some elements were considered.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Rose (2012, p. 19), visual materials include three sites: \u2018the site of production . . . where the image is made; the site of the image itself . . . its visual content; and the site where the image encounters its spectators . . . its audiencing\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">On top of these three sites, according to Rose, there are three aspects or modalities, which each of these sites has, and they are:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>technological<\/li>\n\n\n\n<li>compositional<\/li>\n\n\n\n<li>and social modalities<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Figure 9, illustrates how these sites and modalities overlap.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In analyzing the data from the videos, some of these elements have been touched on.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, the social modality of the audiencing site is in part expressed by the comments available under the YouTube videos.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The technological modality of all three sites was also taken into consideration in trying to understand how technology influences the recording, representation, perception, and transmission of dance. <\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/visual-sites-modalities-rose.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/visual-sites-modalities-rose.jpg 636w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/visual-sites-modalities-rose-300x282.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/visual-sites-modalities-rose-567x533.jpg 567w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/visual-sites-modalities-rose-425x400.jpg 425w\" decoding=\"async\" width=\"636\" height=\"598\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Visual Sites and Modalities by Rose.\" class=\"wp-image-1848 lazyload\"  sizes=\"(max-width: 636px) 100vw, 636px\" \/><noscript><img decoding=\"async\" width=\"636\" height=\"598\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/visual-sites-modalities-rose.jpg\" alt=\"Visual Sites and Modalities by Rose.\" class=\"wp-image-1848\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/visual-sites-modalities-rose.jpg 636w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/visual-sites-modalities-rose-300x282.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/visual-sites-modalities-rose-567x533.jpg 567w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/visual-sites-modalities-rose-425x400.jpg 425w\" sizes=\"(max-width: 636px) 100vw, 636px\"><\/noscript><figcaption class=\"wp-element-caption\"><strong>Figure 9<\/strong> \u2013 Visual Sites and Modalities  <\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"1st_Phrase_of_Video_Analysis\"><\/span>1st Phrase of Video Analysis<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">The first phase of the video analysis took place as I watched the videos for the first time (just over 1,000 videos).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As I watched and observed the videos, I wrote notes and, while doing so, I selected a smaller number of those videos, as being the most significant.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">After watching a certain number of videos for each dancer, certain patterns emerged, which showed each dancer\u2019s style and signature moves, as well as trends in the presentation and context of dance for each chronological timeframe.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As most videos showed a repetition of patterns for each dancer, only some of the videos watched in the first phase were selected for the second round of analysis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In addition to making notes in Word, I created an Excel table with four tabs (see the screenshot in Figure 10).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the first tab, I listed the most common basic Raqs sharqi movements (kinemes\/morphokines) that I noticed in the first column on the left and the names of the dancers across the top in the first row and, in each column, whether each dancer used each movement or not.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the first column, I also listed the Laban qualities, to check which ones each dancer expressed the most.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the remaining three tabs, I listed, for each dancer, respectively: the dance styles; the costumes styles, and which props they used.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dancers-movement-spreadhseet.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dancers-movement-spreadhseet.jpg 730w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dancers-movement-spreadhseet-300x233.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dancers-movement-spreadhseet-686x533.jpg 686w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dancers-movement-spreadhseet-515x400.jpg 515w\" decoding=\"async\" width=\"730\" height=\"567\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Dancers movement spreadsheet created during the research.\" class=\"wp-image-1851 lazyload\"  sizes=\"(max-width: 730px) 100vw, 730px\" \/><noscript><img decoding=\"async\" width=\"730\" height=\"567\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dancers-movement-spreadhseet.jpg\" alt=\"Dancers movement spreadsheet created during the research.\" class=\"wp-image-1851\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dancers-movement-spreadhseet.jpg 730w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dancers-movement-spreadhseet-300x233.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dancers-movement-spreadhseet-686x533.jpg 686w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dancers-movement-spreadhseet-515x400.jpg 515w\" sizes=\"(max-width: 730px) 100vw, 730px\"><\/noscript><figcaption class=\"wp-element-caption\"> <strong>Figure 10<\/strong> \u2013 Screenshot of movements and dancers Excel spreadsheet <\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"2nd_Phrase_of_Movement_Video_Analysis\"><\/span>2nd Phrase of Movement Video Analysis<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The second phase of the movement analysis overlapped with the writing of the dance analysis (Chapter 5) and with the analysis of some of the written texts and other visual material gathered online and offline.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">After the first phase of the analysis, a well-defined timeline emerged, with specific timeframes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, this called for a chronological presentation of the dance analysis, which led to a history of Raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As I wrote the dance analysis, I referred to the analysis table in Excel and to the notes I had written for the first phase of the video analysis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the same time, I watched again only the videos which I selected from the first phase of the analysis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the second phase of the video analysis, I also coded the videos and the notes taken while watching them, using <a href=\"https:\/\/www.zotero.org\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Zotero (opens in a new tab)\">Zotero<\/a> (I will explain more of this process in 4.6.3).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the same time, I read, annotated, and coded some of the online and offline texts, especially anything that related to the dancers whose dance was being analyzed or any associated emerging themes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As I re-watched videos, explored more textual data, and coded this material, I was writing the dance analysis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For this chapter, I also used material from the interviews I had coded, where there was a reference to the dancers who appeared in the videos.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the dance analysis write-up, I narrowed down videos further, quoting only the most representative ones in the text.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">While I watched the selected videos a second time, I also took screenshots of certain scenes, in order to use them in the thesis. This procedure helped me to focus and immerse myself even more in the data. <\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Limitations_of_this_Dance_Analysis\"><\/span>Limitations of this Dance Analysis<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Before moving on to explain how I analyzed texts, I would like to discuss the limitations of this dance analysis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 2.5 and 4.4.1, I already mentioned that in dance studies it is widely acknowledged that videos, for documenting and analyzing dance, are very useful but also limited, as they mediate the dance and provide just a point of view of the performance.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Videos_Only_Show_Dance_from_a_Specific_Angle\"><\/span>Videos Only Show Dance from a Specific Angle<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Videos allow the dance to be seen from a specific angle only. For this reason, Farnell (1994, p. 963) advises writing a Labanotation score, as well as recording videos, in order to capture \u2018the spatial relationships between participants, and between participants and objects, and the organization of space internal and external to the rite\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, Farnell (ibid.) posits, in order to write a Labanotation score, the researcher cooperates with the performers \u2018to record the action from each agent&#8217;s perspective\u2019 as videos are used as a base for discussions with participants while writing the score.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As the majority of the videos I used are from a distant past, I could not be present to notate a score and also it was impractical for me to discuss the videos with the performers, as they are not accessible (the majority of them have passed away and the few who are still alive are difficult to contact). Thus, I had to settle with analyzing videos only.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Context_of_the_Video_as_Part_of_a_Movie\"><\/span>The Context of the Video as Part of a Movie<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Another issue to take into consideration is that the majority of these videos are part of a movie.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, the ways in which these films were shot, the techniques, the director\u2019s point of view, and the language of cinematography as a medium in itself will have influenced the way in which the dance was represented.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe class=\"lazyload\" data-src=\"https:\/\/www.youtube.com\/embed\/oWzlIu-vFI0?feature=oembed\" title=\"Nadia Gamal Belly Dance  from the movie &quot; Qalbi Yahwak&quot; 1955\" width=\"1080\" height=\"608\"   allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Many old belly dance scenes on Youtube are from movies.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">For example, as Bacon (2003) discusses, dancers in movies tend to dance for the camera, thus creating a front similar to a stage rather than moving around facing different directions as they would do in a social setting.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nevertheless, in Egyptian movies, even if, as Dougherty (2005) states, many dance numbers were actually representations of dance on stage, there are many representations of dance in different settings.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, there are many dance scenes during weddings or at nightclubs with the dancer performing amongst the tables.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">While in some of these performances the dancer faces the camera, often the camerawork tries to present the dancers from different angles as well, in a way that is similar to what a spectator in a club or wedding setting would see the dancer.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Overall, in my analysis, I tried to always be aware of how being part of a film would influence the dance.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Using_Laban_Analysis_for_Non-Western_Danmce\"><\/span>Using Laban Analysis for Non-Western Danmce<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Another consideration focuses on the use of Laban analysis for dance forms that are not Western. Johnson Jones (1999), for instance, points out that Labanotation, although useful for notating African dances, is considered limited as it fails to represent elements that are necessary for African dance\u2019s interpretation, such as empathy and storyline.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Similarly, Sklar (2006, p. 103) drawing on the dance critic Marcia Siegel, acknowledges that Laban analysis is biased towards extremes (i.e. tends to ignore movements that, for example, are neither quick nor sustained) and tends to emphasize Western aesthetic categories, such as \u2018shape and spatial design, with little attention given to rhythm, interaction, continuity and change\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, Sklar (ibid.) adds, Laban analysis does not cover \u2018all possible kinds of vitality\u2019 nor \u2018social interaction or cultural constructions of meaning\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nevertheless, Sklar (ibid.) acknowledges that the Laban system is the best system we have, for the moment, to capture qualitative elements of movement that go beyond shapes and patterns.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">With this in mind, I used Laban analysis as a tool to capture some of the feelings and energy of the movements of Egyptian raqs sharqi, whilst being mindful that Laban analysis does not cover everything.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">By analysing videos and using Laban analysis, I tried to overcome what Farnell (1994, p. 929) laments as being a \u2018stumbling-block with regard to Western ways of \u201cseeing\u201d or not seeing human body movement\u2019 by representing it only through a series of static images such as \u2018photographs, sketches, diagrams, or positions of limbs plotted on a two dimensional graph\u2019.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Studying_Raqs_Sharqi_Egyptian_Style_Belly_dance_as_a_Non-Egyptian\"><\/span>Studying Raqs Sharqi (Egyptian Style Belly dance) as a Non-Egyptian<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The last point I would like to cover here is the fact that, although I have been practicing Egyptian raqs sharqi for over 15 years, I am not Egyptian and I do not speak Arabic.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Farnell (1999, p. 147), it is not possible to understand a movement system without an understanding of the spoken language as \u2018human beings are language users, and the mind that uses spoken language does not somehow switch off when it comes to moving\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, Farnell (ibid.) argues, the way in which we think through language influences the way we move, and not acknowledging this means perpetuating the Cartesian body\/mind division.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">While I accept Farnell\u2019s (1999) argument, I would argue that having practiced Egyptian Raqs sharqi for many years and having trained often with Egyptians who also communicated in words (even if in English) their understanding of the dance, helps my understanding of it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There are limitations though, as my being an Italian who lives in the UK will always influence my way of interpreting any dance system.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nevertheless, this thesis focuses on the international and transcultural dimensions of Egyptian Raqs sharqi. Thus, a transcultural influence in its analysis is not entirely out of place.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Footnotes\"><\/span>Footnotes<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">1 &#8211; I did not use morphokines, as kinemes and morphokines are usually indistinguishable in raqs sharqi (Table 9).<\/p>\n\n\n\n<p class=\"has-vivid-red-color has-white-background-color has-text-color has-background wp-block-paragraph\"><strong>Next Page >> <span style=\"text-decoration: underline;\"><a href=\"https:\/\/worlddanceheritage.org\/texts-analysis\/\">Texts and interviews analysis<\/a> techniques.<\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Learn how to analyse dance and the semiotic levels. Using Laban movement analysis (LMA), kinemes, video and belly dance heritage.<\/p>\n","protected":false},"author":2,"featured_media":1799,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[19],"tags":[],"class_list":["post-1787","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-methods"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>How to Analyse Dance, Laban and Semiotic Levels, and Analysis (4.6.1)<\/title>\n<meta name=\"description\" content=\"Learn how to analyse dance and the semiotic levels. Using Laban movement analysis (LMA), kinemes, video and belly dance heritage.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worlddanceheritage.org\/analysis\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How to Analyse Dance, Laban and Semiotic Levels, and Analysis (4.6.1)\" \/>\n<meta property=\"og:description\" content=\"Learn how to analyse dance and the semiotic levels. Using Laban movement analysis (LMA), kinemes, video and belly dance heritage.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worlddanceheritage.org\/analysis\/\" \/>\n<meta property=\"og:site_name\" content=\"World Dance Heritage Research Centre\" \/>\n<meta property=\"article:published_time\" content=\"2019-05-06T14:06:52+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-02-05T12:54:53+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/measuring-dance-min.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"560\" \/>\n\t<meta property=\"og:image:height\" content=\"315\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Valeria\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@danceperception\" \/>\n<meta name=\"twitter:site\" content=\"@danceperception\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Valeria\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"16 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/analysis\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/analysis\\\/\"},\"author\":{\"name\":\"Valeria\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/person\\\/a5061c4e7e43b91e456683b9699ebb42\"},\"headline\":\"How to Analyse Dance, Laban and Semiotic Levels, and Analysis (4.6.1)\",\"datePublished\":\"2019-05-06T14:06:52+00:00\",\"dateModified\":\"2026-02-05T12:54:53+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/analysis\\\/\"},\"wordCount\":3337,\"publisher\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/analysis\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/05\\\/measuring-dance-min.jpg\",\"articleSection\":[\"Methodology\"],\"inLanguage\":\"en-GB\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/analysis\\\/\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/analysis\\\/\",\"name\":\"How to Analyse Dance, Laban and Semiotic Levels, and Analysis (4.6.1)\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/analysis\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/analysis\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/05\\\/measuring-dance-min.jpg\",\"datePublished\":\"2019-05-06T14:06:52+00:00\",\"dateModified\":\"2026-02-05T12:54:53+00:00\",\"description\":\"Learn how to analyse dance and the semiotic levels. Using Laban movement analysis (LMA), kinemes, video and belly dance heritage.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/analysis\\\/#breadcrumb\"},\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/worlddanceheritage.org\\\/analysis\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/analysis\\\/#primaryimage\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/05\\\/measuring-dance-min.jpg\",\"contentUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/05\\\/measuring-dance-min.jpg\",\"width\":560,\"height\":315,\"caption\":\"Measuring dance data\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/analysis\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/worlddanceheritage.org\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Dance Research\",\"item\":\"https:\\\/\\\/worlddanceheritage.org\\\/research\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Methodology\",\"item\":\"https:\\\/\\\/worlddanceheritage.org\\\/research\\\/methods\\\/\"},{\"@type\":\"ListItem\",\"position\":4,\"name\":\"How to Analyse Dance, Laban and Semiotic Levels, and Analysis (4.6.1)\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#website\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/\",\"name\":\"World Dance Heritage Research Centre\",\"description\":\"World Dance Heritage. Traditional dance, tourism and preservation.\",\"publisher\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/worlddanceheritage.org\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-GB\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#organization\",\"name\":\"World Dance Heritage\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2020\\\/05\\\/heritage-logo.png\",\"contentUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2020\\\/05\\\/heritage-logo.png\",\"width\":1276,\"height\":294,\"caption\":\"World Dance Heritage\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/x.com\\\/danceperception\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/person\\\/a5061c4e7e43b91e456683b9699ebb42\",\"name\":\"Valeria\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g\",\"caption\":\"Valeria\"},\"description\":\"Hi - I'm Dr Valeria Lo Iacono &amp; I am a dance researcher with a PhD in dance as a form of living heritage. I also teach belly dance and love to travel to discover new dances around the world. I have worked also as an academic and in the UK and in Korea. Thank you for visiting my site.\",\"sameAs\":[\"https:\\\/\\\/worlddanceheritage.org\\\/about-us\\\/\",\"https:\\\/\\\/www.pinterest.co.uk\\\/danceheritageuk\\\/\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"How to Analyse Dance, Laban and Semiotic Levels, and Analysis (4.6.1)","description":"Learn how to analyse dance and the semiotic levels. Using Laban movement analysis (LMA), kinemes, video and belly dance heritage.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/worlddanceheritage.org\/analysis\/","og_locale":"en_GB","og_type":"article","og_title":"How to Analyse Dance, Laban and Semiotic Levels, and Analysis (4.6.1)","og_description":"Learn how to analyse dance and the semiotic levels. Using Laban movement analysis (LMA), kinemes, video and belly dance heritage.","og_url":"https:\/\/worlddanceheritage.org\/analysis\/","og_site_name":"World Dance Heritage Research Centre","article_published_time":"2019-05-06T14:06:52+00:00","article_modified_time":"2026-02-05T12:54:53+00:00","og_image":[{"width":560,"height":315,"url":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/measuring-dance-min.jpg","type":"image\/jpeg"}],"author":"Valeria","twitter_card":"summary_large_image","twitter_creator":"@danceperception","twitter_site":"@danceperception","twitter_misc":{"Written by":"Valeria","Estimated reading time":"16 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/worlddanceheritage.org\/analysis\/#article","isPartOf":{"@id":"https:\/\/worlddanceheritage.org\/analysis\/"},"author":{"name":"Valeria","@id":"https:\/\/worlddanceheritage.org\/#\/schema\/person\/a5061c4e7e43b91e456683b9699ebb42"},"headline":"How to Analyse Dance, Laban and Semiotic Levels, and Analysis (4.6.1)","datePublished":"2019-05-06T14:06:52+00:00","dateModified":"2026-02-05T12:54:53+00:00","mainEntityOfPage":{"@id":"https:\/\/worlddanceheritage.org\/analysis\/"},"wordCount":3337,"publisher":{"@id":"https:\/\/worlddanceheritage.org\/#organization"},"image":{"@id":"https:\/\/worlddanceheritage.org\/analysis\/#primaryimage"},"thumbnailUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/measuring-dance-min.jpg","articleSection":["Methodology"],"inLanguage":"en-GB"},{"@type":"WebPage","@id":"https:\/\/worlddanceheritage.org\/analysis\/","url":"https:\/\/worlddanceheritage.org\/analysis\/","name":"How to Analyse Dance, Laban and Semiotic Levels, and Analysis (4.6.1)","isPartOf":{"@id":"https:\/\/worlddanceheritage.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/worlddanceheritage.org\/analysis\/#primaryimage"},"image":{"@id":"https:\/\/worlddanceheritage.org\/analysis\/#primaryimage"},"thumbnailUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/measuring-dance-min.jpg","datePublished":"2019-05-06T14:06:52+00:00","dateModified":"2026-02-05T12:54:53+00:00","description":"Learn how to analyse dance and the semiotic levels. Using Laban movement analysis (LMA), kinemes, video and belly dance heritage.","breadcrumb":{"@id":"https:\/\/worlddanceheritage.org\/analysis\/#breadcrumb"},"inLanguage":"en-GB","potentialAction":[{"@type":"ReadAction","target":["https:\/\/worlddanceheritage.org\/analysis\/"]}]},{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/worlddanceheritage.org\/analysis\/#primaryimage","url":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/measuring-dance-min.jpg","contentUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/measuring-dance-min.jpg","width":560,"height":315,"caption":"Measuring dance data"},{"@type":"BreadcrumbList","@id":"https:\/\/worlddanceheritage.org\/analysis\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/worlddanceheritage.org\/"},{"@type":"ListItem","position":2,"name":"Dance Research","item":"https:\/\/worlddanceheritage.org\/research\/"},{"@type":"ListItem","position":3,"name":"Methodology","item":"https:\/\/worlddanceheritage.org\/research\/methods\/"},{"@type":"ListItem","position":4,"name":"How to Analyse Dance, Laban and Semiotic Levels, and Analysis (4.6.1)"}]},{"@type":"WebSite","@id":"https:\/\/worlddanceheritage.org\/#website","url":"https:\/\/worlddanceheritage.org\/","name":"World Dance Heritage Research Centre","description":"World Dance Heritage. Traditional dance, tourism and preservation.","publisher":{"@id":"https:\/\/worlddanceheritage.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/worlddanceheritage.org\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-GB"},{"@type":"Organization","@id":"https:\/\/worlddanceheritage.org\/#organization","name":"World Dance Heritage","url":"https:\/\/worlddanceheritage.org\/","logo":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/worlddanceheritage.org\/#\/schema\/logo\/image\/","url":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/05\/heritage-logo.png","contentUrl":"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2020\/05\/heritage-logo.png","width":1276,"height":294,"caption":"World Dance Heritage"},"image":{"@id":"https:\/\/worlddanceheritage.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/x.com\/danceperception"]},{"@type":"Person","@id":"https:\/\/worlddanceheritage.org\/#\/schema\/person\/a5061c4e7e43b91e456683b9699ebb42","name":"Valeria","image":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/secure.gravatar.com\/avatar\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/1704c134fff0eaaf6f8ab3d25266b26a22b1ccfb44137b7eb56a2813d41e2900?s=96&d=mm&r=g","caption":"Valeria"},"description":"Hi - I'm Dr Valeria Lo Iacono &amp; I am a dance researcher with a PhD in dance as a form of living heritage. I also teach belly dance and love to travel to discover new dances around the world. I have worked also as an academic and in the UK and in Korea. Thank you for visiting my site.","sameAs":["https:\/\/worlddanceheritage.org\/about-us\/","https:\/\/www.pinterest.co.uk\/danceheritageuk\/"]}]}},"_links":{"self":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts\/1787","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/comments?post=1787"}],"version-history":[{"count":0,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/posts\/1787\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media\/1799"}],"wp:attachment":[{"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/media?parent=1787"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/categories?post=1787"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worlddanceheritage.org\/wp-json\/wp\/v2\/tags?post=1787"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}