Every dance representation is forever

If the dance accomplished in the three dimensions all the potential to carry out the objectives for which it was established (social identity, luck in hunting, fertility of the fields etc.), what could the image possibly add since it’s the least indicated medium to achieve the desired effect?

tiout2
Tiout, Atlas Mountains (Sahara Desert, ca. 3500 bC, from Anati). A hunter is shooting the arrow towards an ostrich. Behind him a feminine entity whith raising hands is standing near an ox, she is performing her gesture of cosmic mediation in order to promote the success of the hunt. The link between the two anthropomorphs is the line that connects their sexual organs.
russia asiatica
Gobustan, Azerbaijan, Southern Russia. Performing the gesture of the cosmic man, the anthropomorph, drawn with large hands (power) and deer horns (identity with the animal world), performs its function as a cosmic mediator between the superior entity, identified in the circle with internal rays ( the sky oriented), the circle with external rays (the sun) the simple circle (the full moon?) and the semicircle (a phase of the moon?).

An episode from the Bible, even if it is part of a narrative and not figurative context, allows us to understand the ways of the transition from the context of real life on to the figurative one: “Moses said to Joshua:” Choose your men and go to fight Amalek. Tomorrow I shall stand straight on the top of the hill with the stick of God in my hand. “Joshua executed what Moses ordered him to do and went to fight Amalek, while Moses, Aaron, and Cur went up to the top of the hill. When Moses was raising his hands Israel was stronger, but when he dropped them, Amalek was stronger. Moses was tired of holding his hands so the other two, took a stone for him to sit down, while Aaron and Cur, from both sides, supported his hands. So his hands remained steady until sunset. Joshua defeated Amalek and his people with his sword (ex. 17.8-13). The episode from the Bible clearly describes the cosmological point we are interested in: in the first phase, the elder Moses, on the top of the hill, with very little strength, performs the cosmological gesture of the adoring, by doing this action he receives the divine force to be transferred to the army of Israel. But the action of Moses is conditioned by its mortal nature. In the second phase, Aaron and Cur make Moses sit on a stone (the support) and they help him to hold his arms until the end of the battle. It’s this action of “fixation” that transforms the gesture of Moses into a superhuman mechanism capable of producing an unlimited amount of energy. If in the first phase we are facing a meaningful gesture, which is part of a ritual act (the same act of cosmic mediation is performed by the Christian priest during the Mass), in the second phase the same gesture is transformed into a unique act with no end.

ruvo1
Ruvo, Tomba del Guerriero (IV sec. a.C.). Water colour by Vincenzo Cantatore in 1838, this was painted just after the tomb was discovered. In the tomb there are the warriors’ bones and his treasure. All around the walls is painted a dance by women; the idea was to make his journey pleasant. Some of these parts are kept in the Archaeological museum of Napoli.

This occurs when an image is stuck to a support with a sacral function. By virtue of the eternal and unchangeable nature that archaic religions attribute to many supports (the surface of the rock, the walls of a cave or tomb or the vase containing the ashes of the deceased, etc.), an image is placed in the condition of producing its effects that last forever and without interruption. If a dance is danced effectively in a real time frame it will have measurable effects with the amount of energy actually produced, a dance represented will never stop producing unlimited energy that lasts forever due to the nature of the support on to which it has been represented. By virtue of its linguistic structure (closed code), the image can’t be mistaken and also lacks of the components that define a concrete life therefore it follows the same cosmological mechanisms that move the Universe. In this way a representation will be able to infallibly achieve the desired result and its effects will have a perpetual duration.

Autore: Gaudenzio Ragazzi

(English). My name is Gaudenzio Ragazzi, a long time ago I graduated in Philosophy with a master in History of Theater. To realize my thesis on the "origins of dance", a theme that still today boasts only two or three specialized researchers in the world, I became a scholar of Prehistoric Iconography. In the last thirty years I have not been able to escape the responsibilities of life. So, after the death of my father, I led the family artisan company that produces tailored shirts. A few years ago I decided that it was time to resume my studies and complete the research I had started as a young man (that nobody else had yet completed). Good luck Gaudenzio! Mi chiamo Gaudenzio Ragazzi, molto tempo fa ho conseguito la laurea in Filosofia con specializzazione in Storia del Teatro. Sono diventato uno studioso di Iconografia Preistorica per realizzare la mia tesi di laurea sulle "origini della danza", argomento che ancora oggi vanta nel mondo solo due o tre studiosi di una certa levatura. Negli ultimi trent'anni non ho potuto sottrarmi alle responsabilità della vita. Così, dopo la morte di mio padre, ho guidato l'azienda artigiana di famiglia che produce camicie su misura. Alcuni anni fa ho deciso che era arrivato il momento di riprendere i miei studi e di fare da vecchio quello che non ho potuto fare da giovane (e che nessun altro nel frattempo aveva completato). Buon lavoro Gaudenzio !

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