Analyzing Old Way Category: A Comparative Study of Dance Realizations in Düsseldorf, Germany through the Lens of Anthropological Inquiry

Since 2010, Old Way as Ballroom category has become an essential and popular dance form, reaching almost the entire world. Looking closely at its history, it was born as a cultural expression in response to the American cis-white hetero-normative culture. At its origin, Ballroom Culture was a communal cultural event that functioned within a House system, where different houses participated/competed and partied together. However, these structural aspects give a particular perspective in our attempt to analyse Old Way category within a battle based on improvisation during a Ball. As an event where many realisations take place, and at the same time, to consider these realisations as a basis for a comparative study of the expression of the performance dance categories.

Thus, the term realisation will be used here to refer, as Bakka and Karoblis (2010:172-73), to the fact that dance has two dimensions: realisation and concept. While the realisation is the actual dancing of a dance, the concept of the dance is the potential of skills, understanding, and knowledge that enables an individual or a community of dancers to dance that ‘particular dance’ and to recognise and relate to each ‘particular realisation’. Correspondingly, when looking at the catwalks in the Balls, we can see that it depends exclusively on the competitive interaction between the contestants. Short but constant performances allow us to know more about a particular dance, the dancer, and the ‘particular category’.

Therefore, according to Bakka and Karoblis (2010:173), it is possible to consider the catwalks as an illustrated demonstration or explanation and indications as a full expression of the dance expression of Voguing. Thus, it is possible to see complete and average realisation as the primary source and the only fully valid form of dance. Bakka and Karoblis argue that realisation makes dance perceptually available. The skills and knowledge of the dance concept are invisible but must be integrated into the realisation. They claim there is an interdependence between realisation and concept.

In principle, each dance realisation can influence the ‘dance concept’, and this controlled concept will, in turn, affect the subsequent realisation (Bakka and Karoblis, 2010:173). Therefore, these statements support considering a catwalk as a dance expression with several realisations.

During this essay, these factors have been used in dance analysis to study the Old Way category further. The Old Way is considered a first category of Voguing, characterised by the formation of lines, symmetry, and precision in executing formations with graceful, fluid-like action. This style contains diverse elements from the Army, Martial Arts, Egyptian hieroglyphs, and fashion poses that serve as choreographic sources and artistic inspiration. We can identify three specific movements in this category: cutting, pushing, and framing. The Old Way category is characterised by striking a series of poses as if one is modelling for a photo shoot. Arm and leg movements are angular and rigid and move swiftly from one static position to another. The specific form of hands simulates a sword that simultaneously works to frame and highlight the identity of those who perform in this category (Ramírez, 2022:18).

In addition, I learned the motion capture model of investigation as part of the practical test, which is an optical, infrared, marker-based system. Such a system usually comprises at least six cameras around the capture space. Each camera contains a ring of infrared light sources, which is reflected on small markers and captured by the cameras. The system then calculates the exact position in space by triangulating each camera’s marker positions (Jensenius, 2018:15). The result is a three-dimensional tracking of the markers in space, captured at high speeds and a high spatial resolution. This can allow me to visualise the activity of my hands directly and collect data for further analysis. This method could not be used in my research since the competitive/festive element and the improvisation character of this dance cannot be captured in these highly technical conditions. However, comparing several performers conducting the Old Way dance can give us much information. From this, the following research question arises:

How frequent is hand movement, and how does it contribute to the realisation of the Old Way category in a battle?

I applied the Theory and Method of Dance Form Analysis to resolve this empirical research question, a revised version by the ICTM Study Group on Ethnochoreology. Since such a system can be applied to various aspects of folkloric dance, it can relate to functional, structural, or historical features; likewise, it can be used to investigate the relationship of music and different factors of folk life with which dance is tightly bound. Therefore, such a comprehensive classification will disclose the dance and its tradition and open the possibility for comparative studies (Reynolds, 1974:119).

Thus, firstly, in search of giving some coherence to three realisations from two contestants (Appendix II-III) and secondly, to understand the improvisational aspect that characterises Vogue dance performance forms focusing on the Old Way category. Hence, the video selected was recorded on 25th July 2019 during ‘The Inside Out Mini Ball’ as part of the Asphalt Festival and organised by Mother Leo Saint Laurent and Teresa Zschernig at the Weltkunstzimmer, an interdisciplinary cultural centre of the Hans Peter Zimmer Foundation in Düsseldorf, Germany.

The Structural Levels for Dance Analysis of Old Way category.

According to the Theory and Method of Dance Form Analysis, Giurchescu and Kroschiowl (2007:24) mention that the structural units are named by the analytical segmentation procedure as methodology, which concentrates on the syntactic level of dance considering its systematic makeup. Thus, the segmentations are written down by changes in one or more constitutive factors of the dance (Appendix I). Segmentation starts with the larger units and progresses to the most minor and indivisible constituents (Appendix II). Therefore, the Old Way category will be considered for this purpose as the Dance (T). Giurchescu and Kroschiowl (2007:24) claim that the Dance is at the highest structural level. This results in an organic and autonomous entity summating all the integrated structural units with their ‘particular compositional’ patterns and functional interrelationships.

However, as Reynolds (1974:132) mentions, the structure of the choreographic pattern is closely related to the structure of the accompanying music. For this reason, the Old Way category will be divided into Phrases (Ph); therefore, each participation in a Ballroom will be considered realisation. Furthermore, Giurchescu and Kroschiowl (2007:30) explain the Phrase as the most straightforward compositional unit that makes sense for the people and by which different dances or dance genres (types) are named; they say that the Phrase is the unit that makes the dance be recognised as this genre. The Phrase is the first concrete realisation of the dance because the Motifs (M) can exist only as components of Phrases. The Phrase is not only a quantitative summation of Motifs. Still, it stands at a qualitatively higher level and has a well-defined individuality, carrying more information on the dance form and aesthetics.

This dance analysis has three Phrases, two performed by an individual realisation (Appendix III and IV) and the third in a competitive realisation duet (Appendix V) that will be broken down directly into five Motifs: Catwalk, Duckwalk, Dip, Spin, and Hands Performance (Appendix VI). These were set up as Giurchescu and Kroschiowl (2007:29) mention the content of a Motif, where it is not necessarily a simple movement. Still, it may be a combination of more than one kinetic element performed simultaneously on one beat. Corresponding to Giurchescu and Kroschiowl (2007:29), a Motif may be simple, mono-kinetic, made up of a single kinetic element, complex, or poly-kinetic. As Reynolds (1974:129) declares, within the dance, the Motif stands for an absolute creative factor; it is an expression of artistic creativity and is fixed in the dancer’s awareness.

Consequently, it will be divided into two Motif-cell (c): arms and steps. To Giurchescu and Kroschiowl (2007:29), the Motif-cell is the most straightforward configuration of Motif-elements that are organised rhythmically, plastically, and dynamically, and generally are focused on one strong accent. Biomechanically, the Motif-cell is always limited. Considering its temporal makeup, the Motif-cell makes up minimally two, mainly three, phases (including pauses) that may be described as Motif-elements.

Finally, these elements will be divided into ten Motif-elements (e): for example, cross legs, bending knees, bending elbows, rotation hands, up shoulders, bending torso, kick, jump, twist feet, and pause. According to Reynolds (1974:127), the Motif-element is dance’s most minor movement phase. All movement possibilities of the human body and its postures and positions can be considered motif elements. Nevertheless, he highlights that the motif element is not divisible but can be described and analysed in time and space. In addition, it is the result of an impulse. Thus, in agreement with this segmentation in the Old Way category, it is possible to see participation and effect of the hands as the essential motif element with an improvisational character during our three analysed Phases.

Improvisation as Structural Composition

More importantly, I would like to mention a determinate aspect that features in this dance genre: improvisation. As Reynolds (1994:75) mentioned, improvisation is a term that implies excellent freedom of choice and a sensation of chaos. However, this concept reveals that this chaos is distinctly structured. Thus, every Vogue dance is under strict music choreological rules, constantly assessed by one judges’ group. This suggests how different Motif elements enrich a Motif in the Old Way category through improvisation.

However, in my investigation, I focus on hand movements. The hands’ role in the Old Way category implies rotations, flexions, and extensions, highlighting concrete parts of the contestant’s body position. Thus, it is usually emphasising face, shoulders, and hips movement. However, Hart (2012) states that each one of these forms is starkly different from the next. All relied heavily on pronounced angularity in the arms and legs, punctuating twirls and flips of the wrists, and an exaggerated feminine expression. A feminine expression that relates to the fashion industry as an aesthetic force gives new meaning to something considered imbued with weakness and disdain. Therefore, Grau (2011:5) states that dance is a somatic, kinetic, and linguistic phenomenon, that those three domains are inextricably intertwined, and that all are culturally and socially rooted.

To summarise, the segmentation as methodology emphasises a specific identity performed by poly-kinetic Motifs, where hand movement as a Motif-element enjoys the protagonist and an improvisational character. For this reason, the hand movements, as a Motif-element, play with different kinds of framing, pointing, and alignment. According to Reynolds (1994:75), during realisations with improvisation, the Motifs are relatively stable, recognisable, and repeatable units of dance movement (seemingly analogous to words of language). That explains why contestants use Catwalk, Duckwalk, and Hand movement as recurrent compositional Motifs during the Phases—indicating that improvisation is not entirely open and accessible. Nevertheless, there is another choreographical strategy; consequently, it creates a narrative and dramatic effect with an overloaded use of Motif-elements in this occasion. In addition, Reynolds (1994:75) highlights types of improvisation, such as personal modification within Motif-elements that contrast contestants’ realisations, even with an emphasis on some individual modifications between first-second and third phrase rounds. Notwithstanding, Bakka and Karoblis (2010:172) debate that if we ignore the ‘particular performances’, is there a dance to be accessed ‘in its pure’ state’? How can the ‘mannerisms and expressions of performers’ be separated from the choreography? They argue that this can happen only by comparing many realisations.

Due to these Phrases, this dance analysis essay was made to study this competitive setting. These three Phrases by two contestants figure out an interesting finding that is important to pay attention to. As Bakka and Karoblis (2010:173) mention, each realisation of a dance can, in principle, add to the ‘dance concept’, and this influenced concept will, in turn, affect the following realisation. Thus, superficially, comparing the first two phrases (Appendix III, IV), the second contestant seems more trained than the first contestant in the Old Way category. Nonetheless, looking closer at the third phase (Appendix V), it is possible to see strategies from the first contestant to wealth Motifs-elements through active participation of hands movement. The first contestant includes hand performances, dips as nuclear Motifs, and repetitive use of arms as Motif-cells. While reducing its movements through catwalk space, it can perceive the importance of hand movement as Motif-element. However, as Bakka and Karoblis (2010:173) mention, these findings prove that realisations are a continuous process for a dancer (contestant). Their concept is not fixed but can be influenced by each new realisation, whether their own or another contestant experiencing somebody else’s realisation. The changing concept will, in turn, affect each new realisation.

Musical Interaction as an Improvisational Setting

Notwithstanding, do not forget Voguing’s music framework a non-stop dynamic in every Ballroom event yet setting short realisations by contenders. All this activity is executed in combination with DJs and commentators. The commentator’s task includes calls for each category, accompaniment to music, announcements from the judges, and managing any problem that emerges during the competitions. However, in the musical aspect, the genre used by the Old Way Category is House music. House is a music genre with a repetitive musical motif, four-on-the-floor beat, and a typical tempo of 120 beats per minute (BPM) (Wikipedia, 2023).

Nevertheless, to Voguing beats, speed is an important thing to be aware of. Some DJs start to get carried away with the Ball and end up increasing the music’s BPM, which is not a good thing because it can end up making it more and more difficult for contestants. According to Zion (2020), the Old Way category recommendation is 116 to 120 BPM. Respect Four-on-the-floor (or four-to-the-floor) is a rhythm pattern used primarily in dance genres such as disco and electronic dance music. It is a steady, uniformly accented beat in 4/4 time in which the bass drum hits on every beat (1, 2, 3, 4) (Wikipedia, 2022).

Nonetheless, voguing beats were included, such as ‘Ha crash’. From the choreo-musical perspective, it is possible to consider ‘Ha crash’ as a musical motif element ideally located on count eight closely related to a pose or a Dip (Motif-element) functioning as a ‘caesura’ (Fügedi, 2020). However, in Zion (2020), it is possible to put it on a count of 4 and on a count of 8, creating a sense of subdivision in the choreographic phrase. The electronic accords with a compass of 4/4 in a repetitive mood support the event. At the same time, the commentator sings and calls to contestants and serves as a regulator of all norms of the event.

Nevertheless, for contestants, the time of participation is restricted. Usually, it is only possible to do its Phrases approximately during 32 musical bars. In this brief period, they must prove their abilities to combine Voguing’s Motifs, demonstrate their Elements, and coordinate or create correspondence with the music. It is considered a duty to be on the beat, work appropriately on Voguing Motif-elements and show abilities in improvisation. Their relevance in the field resides in their intangible affection for every Ballroom event and the adjusted limitations that set the Ballroom scene. During these transcriptions, the coincidence parameter is notable.

According to Damsholt (2009:50), the coincidence parameter refers to the beginnings and endings of dance and music. Notwithstanding, Giurchescu and Kroschiowl (2007:40) state that dancing commonly ‘does not begin simultaneously with the musical accompaniment because a short period is needed for dancers to ‘feel the music’ and catch the rhythm’. A relevant issue in this analysis is determining the beginning of a contestant during competitions. However, Damsholt (2009:50) mentions that while the form units of dance and music might be dimensionally congruent, they do not necessarily begin and end simultaneously. The coincidence parameter entails two possible categories, or modes, of relationships: coincidence and (periodic) non-coincidence. Thus, it is possible to argue that these realisations of the Old Way category oscillate between coincidence and non-coincidence as part of an intrinsic queer in-determination related to Ballroom culture.

Conclusions

It is undeniable that the ballroom culture has a competitive/festive character. However, due to its constant evaluation, it is under rigorous choreomusical aspects. In the case of the Old Way category, the contestants find the strategy or formula with the motif elements under the logic of improvisation. Since there is no method of analysis for urban or street dances, I will use the Theory and Method of Dance Form Analysis from various perspectives to answer my research question. It has been a very enlightening tool to identify a comparative micro-study of the short performances and understand the frequency and effect of the hands in the Old Way category. The most exciting aspect of this study is that the Theory and Method of Dance Form Analysis can help in future research to analyse more categories performed in a Ballroom Culture. Such analysis can even be complemented by video material and video elicitation to go deeper from an emic perspective.

References

Bakka, E. and Karoblis, G. (2010) Writing a Dance: Epistemology for Dance Research in Yearbook for Traditional Music XLII, pp.167-193.
Damsholt, I. (2008) The Only Music for the Danish Lanciers in Danish Yearbook of Musicology 36: 43-62.
Fügedi, J. (2020) Györgi Martin’s Method for Analysing Dance Structures in Select Papers of György Martin, Fügedi, J., Quigley, C., Szony, V. and Varga, S. eds. In Foundations of Hungarian Ethnochoreology: Selected papers of Györgi Martin, Magyarország: MTA Bölcsészettudományi Kutatóközpont Zenetudományi Intézet, Hagyományok Háza, pp. 311-320.
Giurchescu, A. and Kröschlová, E. (2007) Theory and Method of Dance Form Analysis in Dance Structures: Perspectives on the Analysis of Human Movement, edited by Adrienne L Kaeppler and Elsie Ivancich Dunin, Budapest, Akadémiai Kiadó, pp. 21-52.
Grau, A. (2011) Dancing bodies, spaces/places and the senses: A cross-cultural investigation in Journal of Dance & Somatic Practices 3: 1+2, pp.
Hart, B. (2012) Vogue Studies: Imagining Creative, Inclusive Movements Through a Study of the Ballroom Scene in Radical Fagot. Available at: https://radfag.com/2012/03/31/vogue-studies-imagining-creative-inclusive-movements-through-a-study-of-the-ballroom-scene/ (Accessed: 26/03/23).
House of Saint Laurent (2019) Inside Out Mini Ball – Old Way (YouTube). Available at: https://www.youtube.com/watch?v=DZ90M9IubzM&list=PLSicIpu724dhx6jEnyZ1H_J3lfUW0A0fn&index=6 (Accessed: 01/03/23).
Jensenius, A.R. (2018) Methods for Studying Music-Related Body Motion. In: Bader, R. (eds) Springer Handbook of Systematic Musicology. Springer Handbooks. Springer, Berlin, Heidelberg. pp 805–818
Ramirez, D. (2022): There are no more acronyms in the Fieldwork, Archiving and Diaspora Essay. Choreomundus: International Master in Dance Knowledge, Practice, Heritage, pp. 4-5.
Reynolds, W. (1974) Foundations for the Analysis of the Structure and Form of Folk Dance: A Syllabus in Yearbook of the International Folk Music Council, Vol. 6, Cambridge University Press, pp. 115-135.
Reynolds, W. (1994) Improvisation in Hungarian folk dance: Towards a generative grammar of European traditional dance in Acta Ethnographica Academiae Scientiarum Hungariae, 39, 1–2, pp. 67–94.
Wikipedia (2022) Four on the floor (music). Available at: https://en.wikipedia.org/wiki/Four_on_the_floor_(music) (Accessed: 27/03/23).
Wikipedia (2023) House music. Available at: https://en.wikipedia.org/wiki/House_music (Accessed: 27/03/23).
Zion, U. (2020), Ha – O Som da Ballroom. Available at: https://www.cobtv.net/osomdaballroom (Accessed: 27/03/23).

Appendix I: Dance Segmentation considers changes in all relevant structural factors, which are listed as follows.

Region: Germany	Formation: Free	Type of movement: linear, angular, poses.	Lines of patterned movements: Poly-kinetic	Rhythm:
District: Düsseldorf	Components: single, duets and improvisation.	Type of movement: linear, angular, poses.	Lines of patterned movements: Poly-kinetic	Rhythm:
Participants: Limited to 2	Grouping: non-grouped	Direction of movement (related to the dance): forward, backward and lateral	Relationship between dance and music (in structural terms): Congruent/Non-congruent	Tempo: Moderate
Gender: Cis women	Geometrical formation: line.	Direction of path (orientation in space): forward, backwards and lateral	Relationship between dance and poetry: Non-congruent	BPM: 120
Specifications: two women (contestants)	Connection (between dancers): Not existent	Movement quality (Laban Terms): Space: Direct Weight: Strong Time: Quick Flow: Bound	Relationship dance and implements: No relation	Meter: 4/4

Appendix II: Segmentation starts with the larger units and progresses to the most minor and indivisible constituents.

T	Dance (Latin totus) Dance name	Old Way category
Ph	Phrase (Latin phrasis)	A = Contestant 1, B = Contestant 2, C = Contestant 1, D = Contestant 2
M	Motif (Latin motivus)	a = Catwalk, b = Duckwalk, c = Dip, d = Spin, e = Arms performance
Mc	Motif-cell (Latin cella	a’= arms, b’= steps
Me	Motif-element (Latin elementum)	α = cross legs, β = bending knees, γ = bending elbows, δ = rotation hands, ε = up shoulders, στ = bending torso, ζ = kick, η = jump, θ = twist foots, 0 = pause

Appendix III: Individual realisation by Contestant 1.

Old way category

A / Contestant 1 (1:08-1:38)

1:08

1:11

1:12

1:14

1:17

1:20

1:22

1:24

1:25

1:27

1:29

1:31

1:33

1:35

1:37

a’ b’

1:08 1:09

a’ b’

1:11 1:12

b’

1:12-13

b’

1.14-1.16

a’ b’

1:17 1:18-19

a’ b’

1:20 1:20-21

a’ b’

1:22 1:23-

a’ b’

1:24 1:25

a’

1:25-27

a’

1:27

a’

1:29

a’

1:31

a’

1:33

a’ b’

1:35 1:36

a’

1:37

0 γ δ δ α

1:08 1:08 1:09 1:10 1:10

γ δ γ δ α

1:11 1:11 1:12 1:12 1:12

γ δ α γ δ α ε

1:12 1:12 1:12 1:13 1:13 1:13 1:13

δ α δ α ε ε ε

1:14 1:14 1:15 1:15 1:16 1:16 1:16

δ γ δ α γ δ α β

1:17 1:17 1:17 1:18 1:18 1:18 1:19 1:19

α β γ δ α β γ δ

1:20 1:20 1:20 1:20 1:21 1:21 1:21 1:21

γ δ γ δ α

1:22 1:22 1:22 1:23 1:23

δ δ α β α β γ

1:24 1:24 1:25 1:25 1:26 1:26 1:26

β γ δ β γ δ

1:25 1:25 1:25 1:26 1:26 1:26

β γ δ β γ δ στ

1:27 1:27 1:27 1:28 1:28 1:28 1:28

β γ δ β γ δ στ

1:29 1:29 1:29 1:30 1:30 1:30 1:30

β γ δ β γ δ στ

1:31 1:31 1:31 1:32 1:32 1:32 1:32

β γ δ β γ δ

1:33 1:33 1:33 1:34 1:34 1:34

β δ δ δ

1:35 1:35 1:36 1:36

δ δ δ 0

1:37 1:37 1:37 1:38

Music

4/4

Appendix IV: Individual realisation by Contestant 2.

Old way category

B / Contestant 2 (1:37-2:07)

1:37

1:39

1:42

1:44

1:46

1:48

1:50

1:53

1:56

1:57

2:00

2:02

2:03

2:04

2:05

a’ b’

1:37-39 1:38-39

a’ b’

1:39 1:40

a’ b’

1:42 1:43-44

a’ b’

1:44 1:45

a’ b’ d’

1:46 1:47 1:47

a’ b’

1:48 1:49

a’ b’

1:50 1:51

a’ b’

1:53 1:54

a’

1:56

a’

1:57

a’ b’

2:00 2:01

a’

2:02

a’ b’

2:03 2:04

a’ b’

2:04 2:04

a’

2:05

δ α δ γ α α

1:37 1:37 1:38 1:38 1:38 1:39

δ γ δ θ δ γ α

1:39 1:39 1:39 1:40 1:40 1:41 1:41

δ α θ δ ζ α

1:42 1:42 1:43 1:43 1:44 1:44

γ ζ γ ζ

1:44 1:45 1:45 1:45

γ β γ α γ β

1:46 1:46 1:47 1:47 1:48 1:48

δ γ β γ β γ β

1:48 1:48 1:49 1:49 1:49 1:50 1:50

δ γ β γ β γ β

1:50 1:50 1:51 1:51 1:52 1:53 1:53

η γ β η γ β η γ β η γ β

1:53 1:53 1:54 1:54 1:55 1:55 1:55 1:55 1:55 1:55 1:56 1:56

δ α γ η β γ

1:56 1:56 1:56 1:57 1:57 1:57

γ γ β γ γ β δ 0

1:58 1:58 1:58 1:59 1:59 1:59 1:59 1:59

β θ γ θ δ θ δ θ δ

2:00 2:00 2:01 2:01 2:01 2:01 2:01 2:02 2:02

δ δ δ γ β

2:02 2:02 2:03 2:03 2:03

α δ γ 0

2:03 2:03 2:04 2:04

β δ γ α

2:04 2:04 2:05 2:05

γ α θ α θ 0

2:05 2:06 2:06 2:07 2:07 2:07

Music

4/4

Appendix V: Duet competitive realisation by Contestant 1 and Contestant 2.

Old way category

C / Contestant 1 (2:32-3:18)

a e

2:32 2:33

a e

2:34 2:35

a e

2:36 2:37

2:38

2:39

e c

2:41 2:42

a e

2:44 2:45

e c

2:46 2:47

c f

2:48 2:49

2:50

2:52

2:54

2:56

2:58

3:00

a’ b’

2:32 2:33

a’ b’

2:34 2:35

a’ b’

2:36 2:37

a’

2:38

a’

2:39

a’

2:41

a’ b’

2:44 2:45

a’