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Dance in Visual Art - DRAWN FIGURES., REPRESENTING DANCERS., CHOOSING POSES., TEXTUAL SOURCES., SOURCES

artists represented tomb texts

The great majority of the evidence for dance in ancient Egypt comes from visual art. As early as the Nagada II Period (3500–3300 B.C.E. ), sculptures and paintings on pots represented dancers. In the Fifth and Sixth Dynasties (2500–2170 B.C.E. ), relief sculpture in mastaba tombs included scenes of dance. The artists who decorated many New Kingdom Theban tombs (1539–1075 B.C.E. ) included dancers in banquet scenes. When artists represented dancers, the rules, or canon, of Egyptian art used to depict the tomb owner and his or her family did not apply for the following reason. The canon for artistic representation was in place because the deceased and his or her family needed to be depicted in a very specific way in order to activate the magic that transported them to the next world. Dancers depicted in the tomb, however, were not being transported to the next world, and so could be represented more freely in drawings than the deceased. Thus, there is a great difference between representations of dancers in the act of performing and the canonical representation of the human form. The canonical Egyptian representation of a human in two dimensions requires the head in profile with the eye represented frontally, as if the viewer saw the whole head from the side but the eye from the front. The artists depicted the shoulders from the front, but the figure seems to twist at the waist so that the legs and feet are again in profile. Additionally, artists used hieratic scale, meaning that size indicated importance rather than the visual reality of the relative size of human beings. In the canon, finally, there was little use of overlap and no simulation of visual depth as practiced in most of Western art. These rules, if observed, would have made representations of dance impossible since the rules exclude motion and emphasize timelessness. Thus artists experimented with a number of techniques to represent dancers in the act of performing.

REPRESENTING DANCERS.

Dancers could be represented differently from the tomb owner and his or her family because the dancers were not the figures whose eternal life was guaranteed through this tomb. Thus artists represented dancers in a manner closer to true profile than the figures allowable under the official canon. They also developed methods for showing dancers beside, in front of, and behind each other using overlap. Often, artists elongated arms to allow them to reach to the other side of a group of partners.

CHOOSING POSES.

Artists also chose characteristic poses in order to represent a dance. Wall space limited the number of steps and figures that artists could include from one dance. For example, in the relatively small tomb of Iy-mery, six dancing figures represent parts of the same dance that artists portrayed with 31 figures in the very large tomb of Watetkhethor. Iy-mery’s artists had much less wall space, so they found ways to condense and abbreviate the action. Watetkhethor’s very large tomb accommodated a more detailed portrayal of the dance. During the Fifth and Sixth Dynasties, artists first represented these characteristic movements from each dance in the order they were executed. This technique was the beginning of narrative in Egyptian visual art.

TEXTUAL SOURCES.

The Egyptians left inscriptions in relief scenes and the texts of funeral liturgies that further explain the meaning and significance of dance. The captions that sculptors carved in relief scenes are extremely abbreviated. Often only two-or three-word sentence fragments stood for a whole sentence that was part of a wellknown song. Unfortunately, modern scholars cannot always make sense of these highly abbreviated inscriptions. Sometimes, though, scholars have connected the words in the captions to fuller texts in the liturgy of the Pyramid Texts, carved in the royal pyramids of King Unas and the kings of the Sixth Dynasty, and Coffin Texts, the rituals written on the inside of many Middle Kingdom coffins. These two sets of spells recited during a funeral often can illuminate both the captions and thus the meaning and significance of dance steps or even entire dances.

SOURCES

Emma Brunner-Traut, Der Tanz in alten Ägyptischen nach bildlichen und inschriflichen Zeugnissen (Glückstadt, Germany: J. J. Augustin, 1938).

Jonathan Van Lepp, “The Dance Scene of Watetkhethor.” Unpublished master’s thesis (Los Angeles: University of California at Los Angeles, 1987).

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