INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 8207202 Kane, Thomas Anthony RITUAL MAKING: PHENOMENA AND PROCESS The Ohio State University Ph_D. 1981 University M icrofilm s International300 N. Zetto ftxmO. Aaa AAcr. Ml «0 6 Copyright 1981 by Kane, Thomas Anthony All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identifieda check here with mark V 1. Glossy photographs or ______pages 2. 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Other _______ _______________________________________________________ __ University Microfilms International RITUAL MAKING: PHENOMENA AND PROCESS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Plilosophy in the Graduate School of The Ohio State University BY Thomas Anthony Kane, B.A., M.A., S.T.L. ***** The Ohio State University 1981 Reading Committee: Approved By U/. ^ T // Charles M. Galloway Co-Adviser Department of Photography Daniel T. Hughes and Cineg Joseph J. Pilotta ;o-Atm Robert W. Wagner ;nt df Communication In Memory of my Parents, Thomas and Helen 11 ACKNOWLEDGEMENTS I would like to thank Nina Wiener and her dancers, Timothy Buckley, Alison Pearl, Bebe lllller and Glenna Hamm for their open and receptive spirit in welcoming me as a member of their company; to Carla DeSola and members of the Omega Liturgical Dance Company, especially Arthur Eaton, Judy Graves and Dorlta Beh for their prayerful cooperation. In making my One-of-a-Klnd Program a truly vibrant real­ ity, I would like to thank the members of my committee, Robert Wagner, Joseph Pllotta, Daniel Hughes and Charles Galloway for their gentleness, critical spirit and abiding trust. I would also like to thank Vera Maletlc who helped with the dance notation, the Dance Department at Ohio State, Hebner and the expanded artists for their friendship and ideas. Special thanks go to Elmer Baumer of the Graduate School, who challenged me to continue; to the Paulist Fathers in New York, Washington, D.C., and Columbus for their en­ couragement; and to Msgr. Mouch of the Josephinum for a quiet place to reflect and write. For the use of their wonderful photographs, I thank Beverly Hall, Lois Greenfield, Nathaniel Tileston and Johan Elbers. For their editorial assistance, I thank Jim and Pat Ennis, Roger and Judy Harvey, Regina Stefanic and Christopher Witt. VITA June 27, 1945 ......... Born, Philadelphia, Pennsylvania 1967................... B.A., St. Charles Borromeo Semi­ nary, Philadelphia, Pennsylvania 1970 ................. M.A., University of Notre Dame, Notre Dame, Indiana 1973 ................. S.T.L., The Catholic University of America, Washington, D.C. 1975-1980 ............. Lecturer, Department of Religion and Religious Education, The Catholic University of America, Washington, D.C. 1977-1978 ............. Visiting Lecturer, The Josephinum Pontifical Institute, Department of Theology, Worthington, Ohio 1979-1981 ............. Associate Director of Liturgical Formation, Saint Paul's College, Washington, D.C. PUBLICATIONS 1980: The Year of the Spirit, Paul1st Press, New York, T95TT------------- ----------------------- Celebrating 1980: A Ministry DayBook/Planner. Winston Press, Milwaukee, Wisconsin, 1980. Celebrating 1979. Winston Press, Milwaukee, Wisconsin, TET7ST ----- "Psalm Dance 36." Liturgy, Volume 24, September-October, 1979, pp. 23-28. "Textures of the Spirit: The Arts of Fantasy" with Diane Apostolos Cappadona. Liturgy, Volume 24, January-February, 1979, pp. 20-25. FIELDS OF STUDY Major Field: Ritual Communication Studies in Visual Arts and Cross-Cultural Communication. Professor Robert W. Vagner. Studies in Communications, Phenomenology, and Hermeneutics. Professor Joseph J. Pilotta. Studies in Non-Verbal Communication. Professor Charles M, Galloway. Studies in Movement and Space Harmonics. Professor Vera Maletic. Studies in Performance Art and Expanded Arts. Professor E. F. Hebner. v TABLE OF CONTENTS Page ACKNOWLEDGMENTS ............................... ill VITA............................................. iv LIST OF PLATES................................. xii LIST OF F I G U R E S ............................... xiv INTRODUCTION.................................... 1 Chapter I. THE PHENOMENON OF RITUAL UNDERSTANDING RITUAL.................. 4 Ritual as Human Behavior........... 5 Ritual as Event .................... 6 Ritual and Symbolization........... 7 Ritual and Art...................... 8 Ritual and Theatre................. 10 Ritual and P l a y ................... 17 Ritual Communication................ 22 RITUAL MAKING AND ITS LIMITATIONS . 25 Hereditary Symbols.................. 25 Ritual Blinders .................... 29 Ritual F e a r ......................... 32 Ritual as Impersonal................ 34 II. METHODS AND PRINCIPLES FOR THE STUDY INTRODUCTION........................... 40 Ritual Performance............. 40 Performance Ritual.................. 42 Developing a Method ................ 44 Focus for the S t u d y ............. 45 The Participant Observer......... 46 Data Gathering.................... 48 Preparing for Observation ......... 49 Movement Observation............. 50 Theoretical Leads ................ 51 Human Subject Review............. 52 vi Page RITUAL PERFORMANCE: NINA V1ENER AND D A N C E R S ............. 54 Strategy for Entering ............. 54 Searching for a Field Site. 54 Locating a Field S i t e ........... 55 Entering the Field............... 57 Research N o t e .................... 59 Strategy for Watching ............. 59 Field N o t e s ...................... 60 Aspects of Observation............. 60 The Choreographic Process .... 61 The Reconstruction Phase......... 63 Individual Rehearsals ........... 65 The Lecture Demonstration .... 66 Rehearsal of the Entire Work. 67 Performances...................... 69 Using Videotape.................... 69 Strategy for Listening............. 72 Interviewing........................ 72 PERFORMANCE RITUAL: THE OMEGA LITURGICAL DANCE COMPANY............. 75 Strategy for Entering ............. 75 Searching for a Field Site. 75 Locating a Field S i t e ........... 76 Entering the Field............... 77 Research N o t e .................... 79 Strategy for Watching ............. 99 Field N o t e s ...................... 80 Data Gathering...................... 81 The Staff M e e t i n g............... 82 The Planning Session............. 82 Dance Rehearsals................. 83 Spacing Rehearsals............... 85 Church Performances ............. 85 Evaluations...................... 86 Using Videotape.................... 87 Strategy for Listening............. 89 Interviewing...................... 89 ANALYZING THE DATA.................... 91 vii Page III. OBSERVATION STUDY OF NINA WIENER AND DANCERS INTRODUCTION........................... 94 Ritual Performance.................. 94 Focus of the Study.................. 96 Performance Aspects ............. 96 Ritual Aspects.................... 96 The Observations.................... 98 BACKGROUND OF THE STUDY ............. 100 The D a n c e ........................... 100 The Choreographer.................. 102 The C o m p a n y ......................... 104 The Rehearsal S p a c e ................ 106 THE CHOREOGRAPHIC PROCESS ........... 107 Developing Core Material........... 108 "Bugsy” ......................... 109 "Christopher's Song"............. 110 "Down on the F l