Dance History Research: Investigating Primary and Secondary Sources (A Lecture with Jazzy Hands)
Alright, dance history detectives! 🕵️♀️🕵️♂️ Get your magnifying glasses and pointe shoes ready because today, we’re diving deep into the thrilling world of researching dance history! Forget dusty textbooks and boring lectures (well, mostly). We’re going to explore the secrets hidden within primary and secondary sources, learning how to sniff out the truth, the myths, and the fabulousness of dances past.
Think of me as your dance historian guide, leading you through the archives of time. We’ll be twirling through libraries, pirouetting around museums, and leaping over theoretical hurdles. So, stretch those mental muscles, because this is going to be a tour de force of historical exploration! 💃🕺
Lecture Outline:
- Why Bother with Dance History? (More Than Just Fancy Footwork)
- Primary Sources: The Horse’s Mouth (Or, the Dancer’s Foot!)
- What are Primary Sources? (Definition & Examples)
- Types of Primary Sources in Dance History
- Finding Primary Sources: The Hunt Begins!
- Analyzing Primary Sources: Deciphering the Dance
- Secondary Sources: Standing on the Shoulders of Giants (And Choreographers!)
- What are Secondary Sources? (Definition & Examples)
- Types of Secondary Sources in Dance History
- Evaluating Secondary Sources: Is This Legit?
- Primary vs. Secondary: The Ultimate Showdown! (With Bonus Points for Accuracy)
- Advantages and Disadvantages of Each Source Type
- Using Both Types Together: The Power Couple of Research
- Ethical Considerations: Don’t Be a Plagiarist! (Or a Bad Historian!)
- Putting It All Together: From Research to Revelation!
- Resources for Dance History Research: Your Treasure Map!
- Q&A: Ask Me Anything (Except What’s My Favorite Ballet!)
1. Why Bother with Dance History? (More Than Just Fancy Footwork)
Before we get bogged down in the nitty-gritty of sources, let’s answer the crucial question: Why should dancers (or anyone, really) care about dance history? Is it just a bunch of dates and dead people doing weird movements? Absolutely not!
Understanding dance history is like having a backstage pass to the evolution of human expression. It allows us to:
- Appreciate the present: Knowing where dance comes from helps us understand its current forms and trends. What looks like a new movement might be a reincarnation of something old! ♻️
- Connect with the past: Dance is a powerful reflection of the social, political, and cultural contexts in which it was created. It’s a window into the lives of people who lived long ago. 🕰️
- Inform our own artistry: Studying the masters can inspire our own choreography, performance, and teaching. It’s like having a secret cheat sheet to creativity! 💡
- Develop critical thinking skills: Analyzing historical sources teaches us to question, evaluate, and interpret information – skills that are valuable in all aspects of life. 🤔
- Celebrate diversity: Dance history reveals the rich tapestry of cultures and traditions that have shaped the art form. It’s a journey around the world without ever leaving the library! 🌍
In short, dance history isn’t just about the past; it’s about understanding the present and shaping the future of dance!
2. Primary Sources: The Horse’s Mouth (Or, the Dancer’s Foot!)
Alright, let’s get down to the real meat and potatoes – or, in our case, the pliés and pas de bourrées – of dance history research: primary sources!
2.1 What are Primary Sources? (Definition & Examples)
Think of primary sources as the original evidence. They are materials that were created during the time period you’re studying, directly related to the event, person, or phenomenon you’re investigating. They offer a firsthand account or direct evidence.
Examples of Primary Sources (General):
- Diaries and letters
- Photographs and film footage
- Original artwork and music scores
- Legal documents and government records
- Newspaper articles from the time period
- Artifacts (clothing, tools, etc.)
2.2 Types of Primary Sources in Dance History
When it comes to dance history, primary sources can be particularly fascinating (and sometimes frustrating, because they can be incomplete or hard to interpret). Here are some key types:
| Primary Source Type | Description | Examples | Challenges |
|---|---|---|---|
| Dance Notations | Systems for recording dance movements. | Labanotation, Benesh Movement Notation, Feuillet Notation. | Can be difficult to learn and interpret. Notations may be incomplete or focus on only certain aspects of the dance. |
| Costume Designs & Sketches | Visual representations of costumes used in dance performances. | Original sketches, fabric swatches, receipts for materials. | May not fully represent the actual costumes worn due to alterations or limitations in the designs. |
| Photographs & Film Footage | Still and moving images of dance performances, rehearsals, or dancers in their daily lives. | Performance stills, rehearsal footage, documentary films featuring dancers. | Photographs can be staged or lack context. Film footage may be edited or incomplete. |
| Personal Letters & Diaries | Written accounts of dancers’ experiences, thoughts, and feelings. | Letters between dancers, diary entries reflecting on performances or choreography. | Subjective and may be biased. May not provide a complete picture of the event or situation. |
| Programs & Playbills | Printed materials that provide information about dance performances, including the dancers, choreographers, and music. | Original programs from ballet performances, contemporary dance concerts, or folk dance festivals. | Can be incomplete or inaccurate. May not provide detailed information about the dance itself. |
| Interviews & Oral Histories | Recorded conversations with dancers, choreographers, or audience members who witnessed dance performances. | Audio or video recordings of interviews conducted with dance pioneers or members of a specific dance community. | Memory can be unreliable. Oral histories may be influenced by personal biases or agendas. |
| Choreographer’s Notes | Writings by choreographers that outline their creative process, intentions, and instructions for dancers. | Notebooks containing choreographic ideas, sketches of movement patterns, or notes on music and staging. | Can be fragmented or difficult to decipher. May not fully capture the choreographer’s vision. |
| Reviews & Criticisms | Written evaluations of dance performances published in newspapers, magazines, or journals. | Reviews of ballets, modern dance concerts, or other dance events. | Subjective and may reflect the critic’s personal preferences or biases. May not provide a comprehensive analysis of the dance. |
| Music Scores & Libretti | Musical scores used in dance performances and the texts or stories that accompany them. | Original scores for ballets, operas, or other dance-related productions. Libretti outlining the plot and characters of a ballet. | May not fully capture the nuances of the dance or the choreographer’s intentions. |
| Objects & Artifacts | Physical objects related to dance, such as costumes, props, or dance shoes. | Tutus worn by famous ballerinas, masks used in traditional dances, or tap shoes belonging to a renowned tap dancer. | Can be difficult to interpret without additional context. May be damaged or incomplete. |
2.3 Finding Primary Sources: The Hunt Begins!
So, where do you find these precious primary sources? Think of yourself as Indiana Jones, but instead of a bullwhip, you’re armed with a library card! 📚
- Libraries and Archives: These are treasure troves of historical documents, including letters, diaries, programs, and photographs.
- Museums and Special Collections: Many museums have dance-related artifacts, costume designs, and performance memorabilia.
- University Dance Departments: Often house collections of dance notations, choreographic notes, and oral histories.
- Online Databases: Digital archives are making primary sources more accessible than ever. Look for databases dedicated to dance, theater, or music.
- Personal Collections: Sometimes, the best primary sources are found in the attics and basements of dancers and their families!
2.4 Analyzing Primary Sources: Deciphering the Dance
Finding a primary source is only half the battle. You also need to analyze it critically. Ask yourself:
- Who created this source? What was their perspective, and what biases might they have had?
- When was it created? Is it contemporary to the event you’re studying, or was it created later?
- Why was it created? What was the purpose of this source? Was it meant to inform, persuade, or entertain?
- What does it tell you about the dance? What does it reveal about the choreography, the music, the costumes, the dancers, and the audience?
- What are the limitations of this source? What information is missing? What biases might be present?
Remember, primary sources don’t speak for themselves. You need to interpret them carefully and consider their context.
3. Secondary Sources: Standing on the Shoulders of Giants (And Choreographers!)
Now that we’ve tackled the primary sources, let’s move on to their helpful (but sometimes unreliable) cousins: secondary sources!
3.1 What are Secondary Sources? (Definition & Examples)
Secondary sources are interpretations and analyses of primary sources. They are created after the event has taken place and offer a second-hand account. Think of them as someone else’s take on the dance.
Examples of Secondary Sources (General):
- Books and articles
- Biographies
- Documentaries
- Textbooks
3.2 Types of Secondary Sources in Dance History
- Dance History Books: Comprehensive overviews of different periods, styles, and figures in dance history.
- Biographies of Dancers and Choreographers: In-depth accounts of the lives and careers of prominent dance artists.
- Academic Articles and Journals: Scholarly analyses of dance performances, choreographic works, and dance theory.
- Documentary Films: Visual narratives that explore dance history through interviews, archival footage, and performance excerpts.
- Critical Essays and Reviews: Interpretations and evaluations of dance performances, choreographic works, and dance scholarship.
3.3 Evaluating Secondary Sources: Is This Legit?
Not all secondary sources are created equal. It’s crucial to evaluate them critically to determine their reliability and credibility. Ask yourself:
- Who is the author? What are their qualifications and expertise in dance history? Are they a respected scholar, a seasoned critic, or just someone with an opinion?
- What are their sources? Do they cite their sources properly? Do they rely on primary sources, or are they just repeating what someone else said?
- What is their perspective? Do they have a particular bias or agenda? Are they trying to promote a certain viewpoint?
- Is the information accurate? Can you verify the information in other sources? Are there any factual errors or inconsistencies?
- Is the argument convincing? Does the author present a clear and logical argument? Do they provide sufficient evidence to support their claims?
Don’t blindly accept everything you read in a secondary source. Do your own research and draw your own conclusions!
4. Primary vs. Secondary: The Ultimate Showdown! (With Bonus Points for Accuracy)
So, which type of source is better? The answer, of course, is: it depends! Both primary and secondary sources have their strengths and weaknesses.
4.1 Advantages and Disadvantages of Each Source Type
| Source Type | Advantages | Disadvantages |
|---|---|---|
| Primary | Direct evidence, firsthand accounts, provides unique insights into the past. | Can be incomplete, biased, difficult to interpret, may lack context. |
| Secondary | Provides context and analysis, synthesizes information from multiple sources, can be easier to access and understand. | Second-hand accounts, may be biased, can be inaccurate or incomplete, relies on the interpretation of others. |
4.2 Using Both Types Together: The Power Couple of Research
The best approach to dance history research is to use both primary and secondary sources in conjunction with each other.
- Start with secondary sources: This will give you a broad overview of the topic and help you identify key figures, events, and issues.
- Then, delve into primary sources: This will allow you to examine the evidence for yourself and form your own conclusions.
- Use secondary sources to contextualize primary sources: This will help you understand the historical context in which the primary source was created and its significance.
- Use primary sources to challenge secondary sources: If you find evidence in a primary source that contradicts a claim made in a secondary source, be sure to investigate further.
By combining the strengths of both types of sources, you can create a more nuanced and accurate understanding of dance history.
5. Ethical Considerations: Don’t Be a Plagiarist! (Or a Bad Historian!)
Before we move on, let’s talk about ethics. As dance historians, we have a responsibility to be honest, accurate, and respectful in our research. That means:
- Always cite your sources: Give credit where credit is due! Plagiarism is a serious offense, and it’s also just plain lazy.
- Be accurate: Don’t misrepresent or distort the evidence. Be fair to the people and events you’re studying.
- Be respectful: Treat the people you’re studying with dignity and respect. Avoid making generalizations or stereotypes.
- Acknowledge your biases: Be aware of your own biases and how they might influence your interpretation of the evidence.
- Seek diverse perspectives: Don’t rely solely on one source or one viewpoint. Try to get a variety of perspectives on the topic.
Remember, dance history is not just about uncovering the past; it’s about understanding it in a way that is ethical and responsible.
6. Putting It All Together: From Research to Revelation!
Okay, you’ve gathered your sources, analyzed them critically, and considered the ethical implications. Now what? It’s time to put it all together and share your findings with the world!
- Develop a thesis statement: What is the main argument you want to make about dance history?
- Organize your evidence: Structure your argument logically, using primary and secondary sources to support your claims.
- Write clearly and concisely: Communicate your ideas in a way that is easy to understand.
- Cite your sources properly: Use a consistent citation style (e.g., MLA, Chicago).
- Revise and edit: Proofread your work carefully before submitting it.
Whether you’re writing a research paper, giving a presentation, or creating a dance performance inspired by history, the process is the same: do your research, analyze your sources, and share your insights with the world!
7. Resources for Dance History Research: Your Treasure Map!
To help you on your quest, here are some valuable resources for dance history research:
- The Dance Heritage Coalition: A national alliance dedicated to preserving and promoting America’s dance heritage.
- The Congress on Research in Dance (CORD): An international organization that fosters research and scholarship in dance.
- The Society of Dance History Scholars (SDHS): An organization that promotes the study of dance history and culture.
- Online Databases: JSTOR, ProQuest, Google Scholar.
- University Libraries: Many universities have extensive dance collections.
8. Q&A: Ask Me Anything (Except What’s My Favorite Ballet!)
Alright, dance history explorers, we’ve reached the end of our journey! Now it’s your turn to ask questions. I’m here to help you navigate the world of primary and secondary sources and become a true dance history detective! What’s on your mind? Don’t be shy – there are no bad questions (except maybe asking me my favorite ballet… that’s a loaded question!). Let the questions pirouette! 🩰
