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The Mantle Dancer in the Hellenistic Period: Glorification of the Himation*

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The Mantle Dancer in the Hellenistic Period: Glorification of the Himation* THE MANTLE DANCER IN THE HELLENISTIC PERIOD The Mantle Dancer in the Hellenistic Period: Glorification of the Himation* Elisabet Friesländer Department of Art History, Tel Aviv University This article focuses on the continuity and change in artistic representations of the female veiled dancer in the Hellenistic period, compared to Classical originals and neo-Attic copies. I shall refer to this type of dancer as the “mantle dancer”, a term coined by previous researchers in the field.1 The mantle dance as a specific category is not mentioned in those ancient sources that attest to the existence of several kinds of dance in ancient Greece, though it has on occasion been related to the baukismos dance mentioned by Pollux.2 Knowledge on this dance is therefore based mainly on its abundant portrayal in works of art. The function and meaning of the mantle dance, though not completely clear, can be related to various contexts: religious, cultic, theatrical and popular. Thus, the scope of the artistic depictions comprises both cultic figurines and votive reliefs depicting Nymphs, Horai, Charites and Hesperides, as well as representations of professional dancers. Differentiation among representations of these divinities in works of art is often vague, and based mainly on their attire and attributes, the context of the scene and the accompanying figures. Identification becomes even more difficult in works by neo-Attic artists, who used to adapt and transform figures to suit them to other media and different artistic purposes, such as the production of serial reliefs. Though literary sources frequently refer to the Nymphs, Horai, Charites and Hesperides, with a profusion of detail concerning their attributes, nature and functions, and with emphasis on their dancing, visual representations reflect the literary concepts only to a very limited degree. Personifications of these charming goddesses in the visual arts are known mainly from descriptions of lost ancient representations and a few painted vases, such as the Francois krater.3 Another 1 ELISABET FRIESLÄNDER important source, which may have influenced the visual arts, is related to the seasonal festivities and pageants, which included dancing and theatrical processions.4 The attire worn by all performers of the mantle dance is similar: an ample cloak, enwrapping the body and on some occasions drawn closely over the head, or covering the lower part of the face as well, leaving only the eyes unveiled. This mantle, which is often depicted as extremely thin and transparent, and worn over a long full chiton, becomes the most expressive component of the composition, both concealing and revealing the bodily shape and identity of the dancer. The works of art that refer to this dance portray female dancers, mainly in relief and round sculpture, appearing in small groups or as solo performers. Some painted vases also depict mantle dancers, such as the red-figure Apulian pelike, in Copenhagen (Fig. 1).5 The crowded, sophisticated composition decorating this pelike includes in the upper zone a richly clad and veiled mantle dancer, performing to musical accompaniment provided by auloi, lyra, xylophon and harp players. The rhythm of her dancing appears swift and impetuous and comprises large and well defined movements, such as the throwing of the head backwards and the lifting of the right elbow towards the head. Her embroidered drapery, which includes a himation and a chlamys covering her head, mouth and nose, sweeps in large, undulating folds behind her and is clearly differentiated from the plain chiton worn by the musical performers. As will be seen in the following examples, illustrations of the mantle dance comprise a wide range of movement motifs, from poised and rather static stances, to animated spinning motions performed while standing on the toes, and many sophisticated gestures with the mantle. The strong appeal these dancers must have had in reality, and which may have influenced their popularity in art, seems related to their potential to create a broad range of expressions and emotions, and hold the interest of the audience by means of their concealment. In this sense, the main instrument of the dance - the mantle - may be considered as an attribute, performing the role of a mask. I consider this idea to be fully developed in the bronze statuette known as the Baker Dancer (Fig. 14),6 who is depicted wearing an himation that completely enfolds her body, head and face, so that only the eyes are visible. A similar concept can be found in the cloak of the Hellenistic actor, a cloak that did not so much mould the body as conceal it, suggesting that it covered a hidden psyche.7 The covering of head and hands has been interpreted by most researchers in terms of both an “oriental” custom, and as reflecting the fashion worn by 2 THE MANTLE DANCER IN THE HELLENISTIC PERIOD Fig. 1: Mantle dancer and musicians, red figured pelike (after Wegner 1949, Pl. 24). Greek matrons in public.8 With regard to the veiling of women’s faces, an Assyrian Code of about 1500 BCE, published by Jastrow,9 shows that the original intention of this custom was to distinguish between married women, harlots and unmarried women.10 To what extent can this Assyrian regulation be applied to women in ancient Greece? As far as we know, courtesans in Athens had no recognizable uniform.11 Nevertheless, Plutarch too states that the veiling had the purpose of protecting married women from the eyes of strangers,12 and a traveller of the 3rd century BCE quotes Herakleides Kritikos, who mentions that Theban women wrap their head in such a manner that only the eyes remain uncovered.13 It seems that the habit of wearing a fold of the himation as covering for the head was occasional and prescribed more by convention than by law. We find women veiling their faces in various circumstances, such as in a gesture of mourning and sorrow (e.g. the “Sarcophagus of the Mourning Women” in Constantinople14 and the figure of Auge on the Telephos frieze of the Pergamon Altar15), in depictions of brides,16 and as protection in cold weather.17 Similarly, the significance of the veiling in depictions of the mantle dance is in some instances religious and cultic,18 while in others it serves as a means to enhance the sense of mystery behind the veil, emphasizing the hidden attractiveness of the performer. 3 ELISABET FRIESLÄNDER The motif of covering the hands with the himation is also used in different connotations, both lay and religious. Several painted vases dated to the 5th century BCE depict Bacchic nymphs wearing a long, fluttering peplos with wide sleeves, which completely cover their arms and hands.19 The shape of these sleeves resembles wings,20 and they seem to belong to a ritual dance. A different example of cultic hand veiling can be found in a Roman relief that depicts a religious procession.21 With regard to mantle dancers in the Hellenistic period, in some instances – such as figurines found in sanctuaries – the meaning of the hand covering seems to be cultic,22 while in others it is clearly used for the sake of its artistic appeal. The motif of holding the drapery under the covered hand became extremely popular in Hellenistic sculpture, and appeared for the first time in several female draped figures dated to the end of the 4th century BCE.23 By means of gathering, stretching and lifting the material upwards and forwards, the structure of the folds is altered, and new foci are created, which do not depend on the movement or rhythm of the body.24 The veiling of the head, face and hands appears to be related to traditional rules of purity, which reflect the fear of offending the gods through touching or contaminating a sacred place or object.25 Many acts and devices designed to keep away and to expel evil, unclean powers formed part of the belief in the magic or demoniac force of uncleanness. This belief originated numerous apotropaic-cathartic provisions directed towards the enhancement of purity and the frightening of demons, such as washing hands and wearing a clean garment, dancing and playing loud music, etc.26 Another feature, which has also been interpreted as apotropaic, is that of a high conic peak of hair or peaked hood, which forms part of the attire of Hellenistic terracotta mantle dancers from Troy and Cyprus. These figurines are also heavily veiled, to the point that we only see their eyes, and their origin has been interpreted as Oriental, mainly on account of their hairstyle, which displays a conic hood (Fig. 2).27 The leading artistic motif of the dance, the long, wide and enveloping himation which appears as a constant attribute of the mantle dancers, may have developed from an original type used to portray winter dances performed during a season festival. Ancient sources mention festivities of this sort in connection with Demeter, Cybele, Dionysus and Adonis.28 A terracotta figurine from the sanctuary of Demeter at Corinth,29 which depicts a mantled woman, may be interpreted as pertaining to the cult of the goddess. As described by Mommsen,30 the original winter feasts were subject to significant changes and possibly 4 THE MANTLE DANCER IN THE HELLENISTIC PERIOD Fig. 2: Cultic dancer, terracotta figurine (after Queyrel 1988, Pl. 32, Fig. 304). developed into Bacchic rituals. An eventual illustration of these winter festivities is depicted on an Athenian relief calendar, sculptured in marble and illustrated with figures, showing the feasts being celebrated each month.31 The first upper register on the right side of the calendar represents the feast of the Maimakteria,32 which took place in November/December.
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