Dr Linda E Dankworth
Linda E. Dankworth is an Independent Dance Ethnographer and Ethnochoreologist and was awarded
a PhD in Dance Ethnography in 2010 at De Montfort University, Leicester. Publications include: Dance, Performance and Visual Art: Intersections with Material Culture (2024), Linda E Dankworth, Henia Rottenberg, Deborah Williams (eds). Palgrave Macmillan: Switzerland. Dance Ethnography and Global Perspectives: Identity, Embodiment and Culture (2014), Linda E Dankworth and Ann David (eds). Palgrave Macmillan. Articles in CORD, ICTMD Proceedings, and Journal of Tourism Consumption and Practice.
A Lecturer in Dance Histories that I established and taught at the University of Gloucestershire (2019).
A Co-Director of the workshops of the World Folk Dance Festival (WFDF) in Palma Mallorca ( 2005–11). Performance Studies Lecturer at the Arts Educational School's 6th Form College London (2004-07), and Camden and Westminster Colleges, AE and FE Institutes in London (2002-03). An Assessor for London Arts Dance Unit (2001-02). Training has included ballet, contemporary dance, folk dance, jazz, and tap dance; Ethnochoreology/Dance Analysis 7.5 Credit Course DANS2011 (60, ECTS) Norwegian University of Science and Technology (NTNU) (2003).
a PhD in Dance Ethnography in 2010 at De Montfort University, Leicester. Publications include: Dance, Performance and Visual Art: Intersections with Material Culture (2024), Linda E Dankworth, Henia Rottenberg, Deborah Williams (eds). Palgrave Macmillan: Switzerland. Dance Ethnography and Global Perspectives: Identity, Embodiment and Culture (2014), Linda E Dankworth and Ann David (eds). Palgrave Macmillan. Articles in CORD, ICTMD Proceedings, and Journal of Tourism Consumption and Practice.
A Lecturer in Dance Histories that I established and taught at the University of Gloucestershire (2019).
A Co-Director of the workshops of the World Folk Dance Festival (WFDF) in Palma Mallorca ( 2005–11). Performance Studies Lecturer at the Arts Educational School's 6th Form College London (2004-07), and Camden and Westminster Colleges, AE and FE Institutes in London (2002-03). An Assessor for London Arts Dance Unit (2001-02). Training has included ballet, contemporary dance, folk dance, jazz, and tap dance; Ethnochoreology/Dance Analysis 7.5 Credit Course DANS2011 (60, ECTS) Norwegian University of Science and Technology (NTNU) (2003).
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Papers by Dr Linda E Dankworth
(2014, in Linda E Dankworth and Ann R David (eds), Dance Ethnography and Global Perspectives: Identity, Embodiment and Culture: Palgrave Macmillan)
dance in two distinct styles and repertoires on the Mallorcan island parallels the establishment of tourism with the organization Fomento del Turismo de Mallorca
(Promotion of Tourism) in 1905. I question if aesthetic principles derived from oral transmissions of dance and myths from past historical events enhance the kinetic qualities
of movement in the present, or do they restrict their social development? What effect, for example, does tourism impart on narratives of gender roles of men and women's embodied
representations of Mallorquin dance?
professional fieldwork spans several continents and includes studies of the dance and
movement systems of varied global communities. It offers a selection of dance
ethnographies that represent individual approaches to fieldwork through the medium of
traditional dance from around the globe – Bali, Croatia, Japan, Mallorca, Okinawa, the
Philippines, Serbia, the United Kingdom, and West Africa. This fascinating collection is
divided into three parts that represent different theoretical approaches to the study of
dance and identity through the methodology of ethnography. With backgrounds in a wide
range of disciplines, such as religious studies, social and cultural anthropology, folklore,
history, psychosocial work, and tourism, the authors include various media of film and
photographs to enrich their methodologies.
performances, produces in them a sense of representing a double identity: one for
themselves in social contexts performing improvised dances as a contemporary image to
each other, and another that is more ancient and projects the romantic nationalism
associated with the dances' origins in stage presentations for tourists. It is the stage
presentations that are a focus of this paper, where an ancient identity is created in the visual
imagery of the Mallorcan dancers’ performances as a reconstruction of their past. This paper
explores the relationship between the embodied agency of the dancers and the influences of
tourism as part of the cultural production of historical representation of the island's cultural
traditions. Embodiment is in this sense construed through the influences of tourism, which is
concomitant with the Mallorcan dancers' performative identities and embodying
Mallorquinness.
Dance Festival) staged in Mallorca. I explore what this cultural event conveys to the
participants in their scheme of values on issues of authenticity and identity, as well as
the understanding brought about by these terms, set within the context of festival
politics and behaviour. Does European historicism impinge on third world countries'
cultural and nationalist representations of dance and their adjudications in the
competitive sphere of international dance festivals? It represents the views of the
Mallorcan community and international competitors, and speaks of a spatial enclave of
ethnicity and diversity, conflict, and above all else, the need for cultural exchange. I
consider that the adjudications of dance at the WFDF are to some extent dependent on
the individual adjudicator's personal preferences over and above the traditions that
they are evaluating. This occasionally resulted in a historicist (Chakrabarty 2000)
approach that seemed to manifest in a particular juror's privileging of the dance's
'authenticity' related to its European origins.
Conference Presentations by Dr Linda E Dankworth
(2014, in Linda E Dankworth and Ann R David (eds), Dance Ethnography and Global Perspectives: Identity, Embodiment and Culture: Palgrave Macmillan)
dance in two distinct styles and repertoires on the Mallorcan island parallels the establishment of tourism with the organization Fomento del Turismo de Mallorca
(Promotion of Tourism) in 1905. I question if aesthetic principles derived from oral transmissions of dance and myths from past historical events enhance the kinetic qualities
of movement in the present, or do they restrict their social development? What effect, for example, does tourism impart on narratives of gender roles of men and women's embodied
representations of Mallorquin dance?
professional fieldwork spans several continents and includes studies of the dance and
movement systems of varied global communities. It offers a selection of dance
ethnographies that represent individual approaches to fieldwork through the medium of
traditional dance from around the globe – Bali, Croatia, Japan, Mallorca, Okinawa, the
Philippines, Serbia, the United Kingdom, and West Africa. This fascinating collection is
divided into three parts that represent different theoretical approaches to the study of
dance and identity through the methodology of ethnography. With backgrounds in a wide
range of disciplines, such as religious studies, social and cultural anthropology, folklore,
history, psychosocial work, and tourism, the authors include various media of film and
photographs to enrich their methodologies.
performances, produces in them a sense of representing a double identity: one for
themselves in social contexts performing improvised dances as a contemporary image to
each other, and another that is more ancient and projects the romantic nationalism
associated with the dances' origins in stage presentations for tourists. It is the stage
presentations that are a focus of this paper, where an ancient identity is created in the visual
imagery of the Mallorcan dancers’ performances as a reconstruction of their past. This paper
explores the relationship between the embodied agency of the dancers and the influences of
tourism as part of the cultural production of historical representation of the island's cultural
traditions. Embodiment is in this sense construed through the influences of tourism, which is
concomitant with the Mallorcan dancers' performative identities and embodying
Mallorquinness.
Dance Festival) staged in Mallorca. I explore what this cultural event conveys to the
participants in their scheme of values on issues of authenticity and identity, as well as
the understanding brought about by these terms, set within the context of festival
politics and behaviour. Does European historicism impinge on third world countries'
cultural and nationalist representations of dance and their adjudications in the
competitive sphere of international dance festivals? It represents the views of the
Mallorcan community and international competitors, and speaks of a spatial enclave of
ethnicity and diversity, conflict, and above all else, the need for cultural exchange. I
consider that the adjudications of dance at the WFDF are to some extent dependent on
the individual adjudicator's personal preferences over and above the traditions that
they are evaluating. This occasionally resulted in a historicist (Chakrabarty 2000)
approach that seemed to manifest in a particular juror's privileging of the dance's
'authenticity' related to its European origins.