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Speaking and Sensing the Self in Authentic Movement: the Search for Authenticity in a 21St Century White Urban Middle- Class Community University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Speaking and Sensing the Self in Authentic Movement: The Search for Authenticity in a 21st Century White Urban Middle- Class Community Seran E. Schug University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Anthropological Linguistics and Sociolinguistics Commons, and the Theatre and Performance Studies Commons Recommended Citation Schug, Seran E., "Speaking and Sensing the Self in Authentic Movement: The Search for Authenticity in a 21st Century White Urban Middle-Class Community" (2010). Publicly Accessible Penn Dissertations. 110. https://repository.upenn.edu/edissertations/110 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/110 For more information, please contact [email protected]. Speaking and Sensing the Self in Authentic Movement: The Search for Authenticity in a 21st Century White Urban Middle-Class Community Abstract Speaking and Sensing the Self in Authentic Movement The Search for Authenticity in a 21st Century White Urban Middle-Class Community Seran Endrigian Schug Asif Agha and Rebecca Huss-Ashmore This ethnography is about Authentic Movement, a ritual form of dance and self-narrative in which a participant performs free association through trancelike movement in the presence of a “compassionate” witness as a means toward the discovery of an authentic self. Rooted in anti-modernist social movements in late 19th century urban middle- and upper-class communities in the United States, Authentic Movement brings to light a central paradox of modern life—though it is through liberal social institutions of modernity that individuals are purportedly able to achieve the freedom to be who they aspire to be, it is to an imagined non-modern past that many look toward to know and define the authentic self. The dissertation shows how cultural icons of authenticity come to be interpreted as both universal symbols and personal experiences of an authentic self. Performances of authenticity embodied in highly stylized modes of introspection and narration, enhanced by intense alterations in the bodily experiences of space and time, explicitly call participants’ attention to the sensorial experience of movement as the source of the authentic self. In fact, it is the high degree of poetic patterning of performances that is the key to Authentic Movement’s power to evoke emotionally powerful experiences of authenticity. However, this study shows that the search for the authentic self as an imagined private, internal, radically subjective self is not, in actuality, a journey into a private enclosed world. The experience of authenticity is, rather, a public performance. Subjectivity, even when centered in one’s own experience of the body, is intelligible as authentic only insofar as privately felt sensations point to socially circulating discourses of authenticity. The integration of cultural historical research and a multidimensional performance analysis within a reflexive ethnographic project represents a unique approach toward resolving contradictions between older romanticizing and newer constructivist anthropological perspectives on authenticity. Ultimately my analysis reveals how participants, through performance, come to authentically experience and, thus, bring into being the socially constructed ideologies of authenticity they envision. Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group Anthropology First Advisor Asif Agha Second Advisor Rebecca Huss-Ashmore Keywords Authentic Movement, Performance, Dance, Ritual, Semiotics, Sensorial Anthropology Subject Categories Anthropological Linguistics and Sociolinguistics | Theatre and Performance Studies This dissertation is available at ScholarlyCommons: https://repository.upenn.edu/edissertations/110 Speaking and Sensing the Self in Authentic Movement The Search for Authenticity in a 21st Century White Urban Middle-Class Community Seran Endrigian Schug A Dissertation in Anthropology Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2010 Supervisor of Dissertation Co-Supervisor Signature ______________________________ Signature_________________________ Asif Agha, Rebecca Huss-Ashmore, Professor, Anthropology Associate Professor, Anthropology Graduate Group Chairperson Dissertation Committee Signature_______________________________ Fran Barg and Stanton Wortham Deborah A. Thomas Associate Professor, Anthropology Speaking and Sensing the Self in Authentic Movement The Search for Authenticity in a 21st Century White Urban Middle-Class Community COPYRIGHT 2010 Seran Endrigian Schug iii Dedication This dissertation is dedicated to my husband, Jonathan, and children, Jorin and Ani, my precious loves whose bright smiles, brilliant minds, and enthusiasm for knowledge are my deepest source of inspiration. And to my parents, Peter and Sirvart, and brother George, whose enduring love gives me hope to achieve my dreams. iv Acknowledgements I extend my gratitude to Dr. Huss-Ashmore who throughout my graduate education nurtured my interests, indulged my enthusiasm, and supported my learning with her witty, smart, and incisive logic. I will fondly remember our conversations about ritual, the self, and the performance of healing that find an afterlife here in this dissertation. I thank Dr. Asif Agha who patiently spent hours with me in my first year of graduate school, answering my thousands of questions about linguistic anthropology. Dr. Agha’s dynamic lectures opened my mind to the intricacies of language. He taught me that speaking is not really about experience, but, at its essence, is experience, a principal that is at the core of my analysis. I greatly appreciate his inspirational guidance which pushes me to think boldly and confidently. I am grateful to Dr. Fran Barg for taking the time to calmly guide me through the dissertation process and for providing me with insightful feedback and useful advice on how to make the transition from student to professional. I thank Dr. Stanton Wortham who I could always rely on to ask the hard questions that ultimately produce a more cohesive and well-developed argument. I greatly appreciate the support from my graduate group chair, Dr. Deborah Thomas, who also guided me through the dissertation process. I thank the department of anthropology—Amy Zoll who recovered my lost comprehensive exam on the computer and has always made sure that technologies were a help rather than a hindrance to my progress; Linda Lee, Larysa Carr, James Ashmore, v Charlene Kwon, and Zoe Beckerman who always responded to my many questions with a smile, and gave me very smart advice. Thank you! I thank my colleague Costas Nakassis, not only for his sense of humor and calm and friendly demeanor, but for his conscientious and very helpful critical reading of the dissertation; and Genevra Murray, with whom I organized a panel for the AAA meetings in 2007 on Performances of Authenticity. Our discussions on the performance and politics of authenticity were of great help in centering my understanding of authenticity in American culture. I thank my friend Elizabeth for her thoughtful and engaging discussion of my dissertation. As my long time cohort in the dance therapy community with our mentor Talia, Elizabeth knows how to keep me real. I thank the Authentic Movement community for allowing me to be a part of their world. I hope that this dissertation recognizes the seriousness and commitment they bring to their work. I thank my family—Ana, Peter, Christian, Elliana, my aunts and uncles, and the Schugs for their love and support; and my dear friends, Margie, Nancy, Jude, and Melineh, who encouraged me, listened to me, read my work, and loved me when I needed it. And, especially, I acknowledge my friend and writing partner Ginny. The Mondays, Wednesdays and Fridays when we worked together made the hundreds of hours of writing not only less isolating and less difficult, but enriching and fun. Our many vi hours of lunchtime conversations, whether about the aqllakuna or Authentic Movement, have a subtle but deep presence in this dissertation. vii ABSTRACT Speaking and Sensing the Self in Authentic Movement The Search for Authenticity in a 21st Century White Urban Middle-Class Community Seran Endrigian Schug Asif Agha and Rebecca Huss-Ashmore This ethnography is about Authentic Movement, a ritual form of dance and self-narrative in which a participant performs free association through trancelike movement in the presence of a “compassionate” witness as a means toward the discovery of an authentic self. Rooted in anti-modernist social movements in late 19th century urban middle- and upper-class communities in the United States, Authentic Movement brings to light a central paradox of modern life—though it is through liberal social institutions of modernity that individuals are purportedly able to achieve the freedom to be who they aspire to be, it is to an imagined non-modern past that many look toward to know and define the authentic self. The dissertation shows how cultural icons of authenticity come to be interpreted as both universal symbols and personal experiences of an authentic self. Performances of authenticity embodied in highly stylized modes of introspection and narration, enhanced by intense alterations in the bodily experiences of space
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