By Carrie Noland, Sally Ann Ness
Derived from the Latin verb “gerere”-to hold, act, or do-“gesture” has collected severe foreign money yet has remained undertheorized. Migrations of Gesture addresses this absence and gives a fancy conception at the price of gesture for realizing human signal creation. Gestures migrate from physique to physique, from one medium to a different, and among cultural contexts. Juxtaposing distinctive methods to gesture in an effort to discover the ways that they right away form and are prompted by means of tradition, the individuals study the works of writers Henri Michaux and St?phane Mallarm?, photographers Henri Cartier-Bresson and Robert Frank, and filmmakers Hou Hsiao-Hsien and Martin Arnold, besides cultural practices equivalent to gang jogging, ballet, and classical Indian dance. The authors circulate deftly among an natural, extraordinary appreciation of human expression and a historicist, semiotic figuring out of the way the “human” is itself created via gestural exercises. Contributors: Mark Franko, U of California, Santa Cruz; Ketu H. Katrak, U of California, Irvine; Akira Mizuta Lippit, U of Southern California; Susan A. Phillips, Pitzer collage; Deidre Sklar; Lesley Stern, U of California, San Diego; Blake Stimson, U of California, Davis. Carrie Noland is affiliate professor of French literature and demanding concept on the collage of California, Irvine. Sally Ann Ness is professor of anthropology at collage of California, Riverside.
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Additional info for Migrations of Gesture
Sample text
Performers embody these symbols as they study and gain expertise in that tradition. In the mastery of the technique, dancers learn to “come to terms” within their bodies so as to perform the form’s action vocabulary articulately and consistently. Let us turn back to the idea of inscription. In the case of the more private and personal forms of inscription, linguistic symbols of this basic term type may often stand alone and constitute an inscription of a relatively simple kind. Such is the case when a pocket watch, for example, is inscribed only with the name of its recipient and dates that mark the beginning and ending of her working life.
However, not all symbols are linguistic signs. Dance’s gestures have generally been assumed to belong to nonsymbolic sign types. Most often, they have been interpreted as iconic in character, representing their objects by virtue of a relationship of resemblance. 7 Theoretically, icons are characterized as being furthest from symbols in their manner of operating. Their signiWcation is based on relatively transparent forms of recognition. In addition to iconically oriented approaches, some analysts of dance, and of symbolic action more generally, have also noted that danced gestures can operate indexically as well.
They were not attempts to replicate how an informed spectator might interpret what was THE INSCRIPTION OF GESTURE – 15 being expressed to an audience in Balinese dance. Rather, they were observations of what the mastery of Balinese classical technique embodied in Bateson’s understanding. In Peircean terms, he interpreted Balinese dancing as presenting a set of term relations that were continuously testing the truth of what balance as a movement experience could be and mean within the speciWc context of this classical genre.