An Ethnographic Study of Two Folk Social Dance Settings
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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Liverpool Repository Social Dance and Wellbeing – an ethnographic study of two folk social dance settings Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy by Paul Alexander Kiddy March 2015 1 Table of Contents Abstract 5 Acknowledgements 6 Introduction 7 Studies of Music and Dance Practices 10 The Context of Folk Music and Social Dance 15 i. The Notion of Folk 15 ii. The Study of Folk Dance 19 iii. The Study of Folk Music 20 Cajun and Zydeco Music and Dance 22 Scandinavian Folk Music and Dance 24 Music, Dance, Health and Wellbeing 27 Theoretical works 30 The Notion of Wellbeing 31 Social Settings 34 Chapter Structure 38 Chapter 1 - The Search for Meaning – Methodology, Perspectives, and Research Context 40 A Way of Looking - An Overview of Ethnographic Methodology 41 The Ethnographic Gaze Turned On Itself 47 Methods and Perspectives – The ethnography used in this study 49 i. Curiosity and the Dance – background to the research 49 ii. Application of methodology – Immersive involvement 54 iii. Application of methodology – detachment of interviews. 60 The Ethnographic Report – an approach to writing up 71 Critical self-reflection 76 Chapter 2 - Organisation and Social Setting 81 This is folk social dance – ‘no, I don’t wear a costume’ 81 Folk Social Dance in Contemporary UK 85 2 Participation in Cajun and Zydeco Folk Music and Social Dance 88 i. Growth in Popularity 88 ii. Current Participation, Festivals and Events 96 iii. The Framework of Involvement 100 Participation in Scandinavian Folk Music and Social Dance 104 i. Growth of Interest 104 ii. Current Participation, Festivals and Events 109 iii. The Framework of Involvement 111 Conclusion 114 Chapter 3 – Folk Social Dance Practice 118 Reference points for practice - Learning to do it properly 119 Practice back home – learning from experience 124 An Historic Perspective to Learning and Teaching practices 128 i. Scandinavian folk music and dance as revivalist folk practice 129 ii. Cajun and Zydeco as evolving folk practice 135 Learning the Style – adapting to the local 141 Pursuing the Social in Social Dance 146 Conclusion 148 Chapter 4 – Participation More than the dance 150 The role of workshops - Involvement, friendship, and formalising intimacy 150 Introduction to a Dance – Events and Festivals 158 Give and Take – generosity and participation 169 A Network of Temporary Communities 174 Conclusion 180 Chapter 5 – A Delicate Dance – the dance experience 182 Marmite music – connecting to the music 185 Creating the Performance – the connection between musicians and dancers 196 3 Enacting the dance 198 i. Connecting with the dance style 198 ii. Connecting through the dance 203 A Vertical Expression of a Horizontal desire ? – connecting with an other 207 Dance as Communicating and Understanding 212 Conclusion 216 Conclusion 219 Findings 221 i. Personal wellbeing 223 ii. Social wellbeing 224 Limitations 225 Implications 227 Appendix A Events Attended 230 Appendix B Details of Interviewed Participants 232 Appendix C Standard Occupational Classifications (2010) 234 Appendix D Pre- Interview Information Sheet 236 Appendix E Post-Interview Consent Form 238 Bibliography 240 4 Abstract Social Dance and Wellbeing – an ethnographic study of two folk social dance settings Paul Alexander Kiddy Sociable folk dancing in the UK is an organised group activity in which a significant number of people take part, often practising folk styles which have their origins in other countries. These groups are generally not run for profit, operate under the radar of media attention, and consequentially their activities remain largely hidden from view. This thesis addresses the fact that there have been no in-depth studies of these groups. It reports on the findings of a detailed ethnographic research project, to offer in-sights into the practices and motivations of participants in social dance. The thesis answers the key question: ‘What is the meaning and significance of participation in these folk music and social dance styles to those taking part?’. An interdisciplinary and ethnographic research approach was adopted to investigate two such folk styles: Cajun and Zydeco, and Scandinavian. This approach allowed research participants to make a significant contribution to the focus of the research, and to inform the subsidiary questions: ‘What are the concerns and interests of those involved in social folk dance?’, ‘What is it that makes involvement in these dance practices so appealing?’, and ‘What are the overall benefits of being involved?’ The research produced an interpretive account of these practices, through investigating sites of participation in these dance styles in the UK, which were explored by means of immersive involvement in their dance practices. This gave an insight into the way in which participation was organised and managed, and allowed for introductions to be made which were followed up with thirty in-depth interviews. The study revealed that despite the stylistic differences between the two dance styles and how they are practised, both nevertheless benefitted participants in similar ways. That dance events are organised on a not-for-profit basis was particularly important to participants, and encouraged loyalty and cooperation, promoting feelings of empowerment and ownership. An atmosphere of supportive inclusion was also built in to the loose organisation of events and activities, which allowed a consensus to develop where social attitudes and ideas could be negotiated, cultivated, and shared. This created a sense of belonging to an unboundaried, and fluid community or social network, a safe environment in which participants were able to experience dance as a communicative and expressive dialogue between individuals and within the group. This thesis argues that participants found their involvement in these dance styles socially and personally satisfying, and that this made a considerable contribution to their individual wellbeing. The research found that sociable folk dancing served as a vehicle for community, improving participants’ sense of self-worth, supporting creativity, and well-being. These findings complement clinical research that champions dance, and social dance in particular, as a healthy and worthwhile leisure activity. This thesis supports the results of such scientific studies into the benefits of dance by providing supporting evidence from within a social setting. This has implications for further research, and for policy and practice, whether dance activities are pursued formally or informally and whatever their aim. 5 Acknowledgements Dedicated to the Cajun and Zydeco, and Scandinavian folk social dancers and musicians who welcomed me into their worlds. This project would not have been possible without the generosity of a considerable number of people. I would especially like to thank the 30 anonymous musicians and dancers who were happy to talk to me about their involvement in folk social dance, without them I would have not had anything to write, and many of who have also been very supportive and encouraging as the project progressed. I would also like to thank my supervisors, Dr Marion Leonard, Prof. Sara Cohen, and Dr Hae-kyung Um for their continued support. I also owe a great deal to Susan Young, my Study Skills Tutor, who helped me to tame and understand my demon dyslexia, and for always being encouraging, patient, and supportive. For their kindness, and wise council, thanks must also go to Dr Lina Adinolfi, Dr Eduardo Coutinho, Nancy Bruseker and of course, to Dr Nedim Hassan, who inspired me to take an ethnographic view of the world around me. Finally, I must also not forget to thank my mother Winifred Kiddy, and my two sons, Tom and Osmund, for their support, encouragement, and sense of humour. 6 Introduction The roots of this thesis are in my own un-questioning participation in European folk social dance for over fifteen years, as both a musician and dancer. This type of sociable folk dancing is popularly understood as being part of a continuing tradition from former times that has been enjoyed by people in rural communities in various parts of Europe. My initial thought was to investigate for my own benefit, so that I would then be able to explain to others, who are not in these circles, what it is all about. I had found that what I was involved in was difficult to describe, and I became fascinated by the preconceived ideas and perceptions about folk social dance that I encountered, when speaking to people who had not come across it before. I also felt challenged by, and curious about some of the views that I encountered, which led me to question my own understanding of these activities, and also to appreciate how little was known about folk social dance. I found many parallels with Ruth Finnegan’s study of local amateur music making, The Hidden Musicians (1989), in that for most people, folk social dance was almost invisible. However, meetings of dancers and musicians, and events and activities to do with folk dance, folk social dance in particular, are organised on a regular basis throughout the country. Currently in the UK what is referred to as folk music and social dance covers a great variety of dance styles, some of which are only practiced in a small number of locations or by few participants. Dance styles include Irish and Scottish set dance, Scottish and English country-dance, Playford, Contra, American Square Dance, Bretton, Cajun, Zydeco, Salsa, Argentinean Tango, Klezmer, and Scandinavian folk dance to name but a few, and each regularly organises its own distinctive events and activities. There is some crossover of participants between dance styles, but overall, each dance style attracts its own following and participants tend to be conservative in their choice of which dance styles to be involved in.