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Audrey Gouy
From Sept. 2024. Professor of Classical Archaeology at the University of Lille, France.
2022-2024. Researcher & Project Leader. University of Lille, France.
2021-2022. Lecturer in Ancient Art & Archaeology. University of Lille, France.
2019-2021. Marie Skłodowska-Curie Researcher. University of Copenhagen (CTR) & University of Oxford (APGRD).
2018-2019. Postdoc Researcher at University of Fribourg, Switzerland (ERC Locus Ludi), and ANAMED Fellow at Koç University, Istanbul.
2017. PhD in Art History & Archaeology at Ecole pratique des Hautes Etudes/Paris Sciences-Lettres & Università Ca' Foscari di Venezia. PhD thesis on Etruscan Dance (intitled "La danse étrusque (VIIIe-Ve siècle avant J.-C.). Etude anthropo-iconologique des représentations du corps en mouvement dans l’Italie préromaine").
2022-2024. Researcher & Project Leader. University of Lille, France.
2021-2022. Lecturer in Ancient Art & Archaeology. University of Lille, France.
2019-2021. Marie Skłodowska-Curie Researcher. University of Copenhagen (CTR) & University of Oxford (APGRD).
2018-2019. Postdoc Researcher at University of Fribourg, Switzerland (ERC Locus Ludi), and ANAMED Fellow at Koç University, Istanbul.
2017. PhD in Art History & Archaeology at Ecole pratique des Hautes Etudes/Paris Sciences-Lettres & Università Ca' Foscari di Venezia. PhD thesis on Etruscan Dance (intitled "La danse étrusque (VIIIe-Ve siècle avant J.-C.). Etude anthropo-iconologique des représentations du corps en mouvement dans l’Italie préromaine").
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This publication gathers articles that give new perspectives and insights on ancient dances and their ancient textiles. Comprehension of ancient dance benefits from investigations undertaken through the lens of dress. And research on ancient dress is understood through its relation to body movement and performative rituals, thus reinforcing the progressive integration of an anthropological and sociological dimension into historical analysis of ancient textiles. For the first time, the two-way transfer of knowledge between dance studies and costume studies is connected via an innovative approach.
Among the issues that are specifically addressed are movement design, embodiment and communication, gender and identity, cognition and sensory experience, representations and metaphors, as well as modern reception.
The chronological range of the publication is limited to the Ancient World (5000 BC to the 5th century AD), and the geographical definition is meant to be broad in order to promote a comparative approach and cross-cultural dialogue, as well as discourse between fields and disciplines.
Link to the Open Access version of the journal < https://journals.uio.no/acta>
For Etruscan communities, armed dance served both as an expression of their authority and independence and also as a way of ranking individuals. Basing itself only on iconographic source material, this study proposes new approaches to the question of political performance in pre-Roman Italy, focusing on forms of dance and performance involving the use of weapons. Four distinct types are explored: armed processions, sporting dance, Pyrrhic dance and dramatized combat. While sporting and Pyrrhic dance both hah an educational function, armed processions and dramatized combat involved a real martial dimension. In-depth examination of Etruscan iconography reveals the temporality of two types of performance - Pyrrhic dance and dramatized combat - and also sheds light on the temporality of Etruscan ritual, primarily funerary, practices.
Please contact me if you want the full article.
This edition will be co-organized by UNIARQ – Centre for Archaeology of the University of Lisbon, the School of Arts and Humanities of the University of Lisbon, the LAQV-Requimte – Associated Laboratory for Green Chemistry – Network of Chemistry and Technology, and the NOVA School of Science and Technology, with the institutional support of the project TEXLUS: The Economy of Textile Crafts in Roman Lusitania (PID2022-136663NB-I00) and the University of Granada.
The theme of this edition reflects this collaboration between a research centre focused on archaeological research and a laboratory known for applying groundbreaking research methods to Heritage studies. Under the motto ‘Weaving Together Traditional and New Approaches to Textile Production and Consumption in the Ancient Mediterranean and Beyond’’, this new edition will explore and showcase the complementarity between, on the one hand, tested and tried, traditional approaches, and, on the other, innovative, interdisciplinary methods for the study of ancient textiles in the Mediterranean area and its surrounding regions.
The goal is to further cement the role of the Purpureae Vestes Symposia as a meeting place for researchers and practitioners hailing from different disciplinary, theoretical, and methodological backgrounds, and to reflect, as a community, on a common language to foster research and improve knowledge on ancient Mediterranean textiles in their social, cultural, and technological context.
After the summer, a second circular with information regarding the Call for Papers and the Symposium venue will be made available. In the meantime, remember to save the date! We look forward to meeting you in Lisbon next year.
This publication gathers articles that give new perspectives and insights on ancient dances and their ancient textiles. Comprehension of ancient dance benefits from investigations undertaken through the lens of dress. And research on ancient dress is understood through its relation to body movement and performative rituals, thus reinforcing the progressive integration of an anthropological and sociological dimension into historical analysis of ancient textiles. For the first time, the two-way transfer of knowledge between dance studies and costume studies is connected via an innovative approach.
Among the issues that are specifically addressed are movement design, embodiment and communication, gender and identity, cognition and sensory experience, representations and metaphors, as well as modern reception.
The chronological range of the publication is limited to the Ancient World (5000 BC to the 5th century AD), and the geographical definition is meant to be broad in order to promote a comparative approach and cross-cultural dialogue, as well as discourse between fields and disciplines.
Link to the Open Access version of the journal < https://journals.uio.no/acta>
For Etruscan communities, armed dance served both as an expression of their authority and independence and also as a way of ranking individuals. Basing itself only on iconographic source material, this study proposes new approaches to the question of political performance in pre-Roman Italy, focusing on forms of dance and performance involving the use of weapons. Four distinct types are explored: armed processions, sporting dance, Pyrrhic dance and dramatized combat. While sporting and Pyrrhic dance both hah an educational function, armed processions and dramatized combat involved a real martial dimension. In-depth examination of Etruscan iconography reveals the temporality of two types of performance - Pyrrhic dance and dramatized combat - and also sheds light on the temporality of Etruscan ritual, primarily funerary, practices.
Please contact me if you want the full article.
This edition will be co-organized by UNIARQ – Centre for Archaeology of the University of Lisbon, the School of Arts and Humanities of the University of Lisbon, the LAQV-Requimte – Associated Laboratory for Green Chemistry – Network of Chemistry and Technology, and the NOVA School of Science and Technology, with the institutional support of the project TEXLUS: The Economy of Textile Crafts in Roman Lusitania (PID2022-136663NB-I00) and the University of Granada.
The theme of this edition reflects this collaboration between a research centre focused on archaeological research and a laboratory known for applying groundbreaking research methods to Heritage studies. Under the motto ‘Weaving Together Traditional and New Approaches to Textile Production and Consumption in the Ancient Mediterranean and Beyond’’, this new edition will explore and showcase the complementarity between, on the one hand, tested and tried, traditional approaches, and, on the other, innovative, interdisciplinary methods for the study of ancient textiles in the Mediterranean area and its surrounding regions.
The goal is to further cement the role of the Purpureae Vestes Symposia as a meeting place for researchers and practitioners hailing from different disciplinary, theoretical, and methodological backgrounds, and to reflect, as a community, on a common language to foster research and improve knowledge on ancient Mediterranean textiles in their social, cultural, and technological context.
After the summer, a second circular with information regarding the Call for Papers and the Symposium venue will be made available. In the meantime, remember to save the date! We look forward to meeting you in Lisbon next year.
In 2020, the Centre for Textile Research celebrated its 15th anniversary. CTR was founded in 2005 as a Danish National Research Foundation Centre for Excellence with the mission to promote, expand and consolidate textile research in the academic world, focussing strongly on archaeology and history. Today, CTR is fully integrated within the Saxo Institute/UCPH, and its reach extends through its worldwide network of experienced researchers and young scholars in universities, museums, and design schools. We wish to welcome you all to this conference, to celebrate together the vivacity of today’s textile research! Together with the EuroWeb (COST Action), we wish to open a discussion on its future perspectives in Europe and beyond.
The conference blends scholarly pursuits with a variety of learning experiences: divided into 9 thematic sessions, activities will include keynote lectures, papers and videos on current research projects, panel discussions, and an online textile ’fair’. The focus is first and foremost on methodological approaches - exploring the diverse aspects of textile production and textile research - and transcend historical and geographical boundaries. We are very grateful to all the researchers who sent us abstracts so we can build such a far-reaching programme, and we wish you all a very interesting conference!
On this platform, you can access the programme of every session, the scientific programme of abstracts, the live lectures, thematic panels. You can also watch all the Short Poster Presentations, accessible at any time for each session. Save also some time to explore our Online Textile Fair, to discover an online exhibit and videos on textile crafts.
dans le performative turn que nous notons depuis quelques années en Sciences Humaines. Les Performance studies sont orientées sur le faire, sur le doing et le undoing, ou l’en train de se faire et de se défaire. Aborder le rituel funéraire du point de vue de sa performativité implique d’entrevoir ses actions et ses phases comme agissantes, de mêmes que ses objets, ses marqueurs et ses acteurs. En ce sens, c’est le rituel funéraire comme
exercice qui doit cette fois, dans le cadre de cette rencontre internationale, guider nos réflexions. Par ses actions performatives, le rituel, qui possède la capacité de transformer les règles au sein d’une communauté, de créer le passage d’un état symbolique à un autre, de
mettre en lien acteurs, publics et environnement par une approche incarnée et sensible des systèmes symboliques, sera nouvellement appréhendé dans sa performativité. Il s’agira de redonner une centralité à l’action symbolique et rituelle au sein des sociétés étudiées.
This paper will present the case of ancient clothes that were used in performative rituals during pre-Roman Antiquity. It specifically builds on the results of the Marie Curie project TEXDANCE (ID n° 839799) that aimed at studying dress in Etruscan dance. One of the objectives was to study dress movement in dance. Clothes give indeed complementary information to the body movements, which permit to better understand the kind of dance represented in Etruscan iconography.
Looking back to the research conducted, the aim of this paper is to examine the archaeological evidences for Etruscan dance from 6th to 4th century BC. Those evidences are primarily iconographic, which imply specific methods and approaches that will be discussed. This paper will also be an occasion to reflect on the latest results and perspectives, as well as on the use of a multidisciplinary approach for the study of ancient dance. Finally, as dance is a "multi-faceted phenomenon" (Soar-Aamodt 2014), this paper will consider the social, cultural, religious dimensions of dance performance, and of its representation, in Etruria.
This publication aims to gather articles that give new perspectives and insights on ancient dances and their ancient textiles. Comprehension of ancient dance will benefit from investigations undertaken through the lens of dress. And research on ancient dress will be understood through its relation to body movement and performative rituals, thus reinforcing the progressive integration of an anthropological and sociological dimension into historical analysis of ancient textiles. For the first time, the two-way transfer of knowledge between dance studies and costume studies will be connected via an innovative approach.
The chronological range of the publication is limited to the Ancient World (3rd millennium BC to 5th century AD). In order to maintain a comparative approach and promote cross-cultural dialogue, as well as discourse between fields and disciplines, within this publication the Ancient World is intended in a broad geographical definition.
Among the issues that might be addressed, are the following: Movement design / Sensory experience / Gender and Identity / Re-enactment and Reception.
Deadline for abstracts: 15th October 2020.
On the occasion of its 15 years anniversary, the Centre for Textile Research will organise a 5-day conference celebrating the vibrancy and diversity of today's textile research and opening discussion on its future perspectives. We wish to particularly welcome all members of CTR's extended network, young scholars and students, as well as senior scholars working in the many fields covered by textile studies (e.g. archaeology, history, museum curation, conservation, sociology, ethnography, textile crafts, etc.). The conference will blend scholarly pursuits with a variety of learning experiences: divided into 11 thematic sessions, activities will include keynote lectures, papers and posters on current research projects, panel discussions, and hands-on experiences, as well as a 'textile fair' and museum visits. The focus will be on methodological approaches-exploring the diverse aspects of textile production and textile research-and transcend historical and geographical boundaries.
Argumentaire:
Les recherches conduites sur les différentes cultures de l’Italie préromaine ont largement reposé sur les structures et le matériel découverts en contexte funéraire qui constituaient une part importante des données mises au jour. L’étude des pratiques funéraires dans les sociétés antiques a été profondément renouvelée grâce aux nouvelles découvertes archéologiques mais aussi grâce à de nouvelles approches relevant de l’anthropologie physique et culturelle. L’enjeu de ce colloque est d’interroger les modalités du rituel funéraire dans sa dimension performative et à travers les formes de pérennisation du rituel dans l’espace sépulcral. Les images – peintes ou sculptées – relèvent, dans une certaine mesure, de cette dimension performative du rituel dont elles assureraient le relais outre-tombe. La rencontre, qui doit se tenir à l’École Normale Supérieure de Paris et à la Maison de l’Archéologie et de l’Ethnologie à l’Université Paris Nanterre les 11 et 12 avril 2019 propose ainsi d’aborder cette question du rituel funéraire dans l’Italie préromaine sous l’angle des pratiques corporelles et édilitaires, du VIIIe au IIIe siècle avant J.-C., en s’engageant cette fois
dans le performative turn que nous notons depuis quelques années en Sciences Humaines. Les Performance studies sont orientées sur le faire, sur le doing et le undoing, ou l’en train de se faire et de se défaire. Aborder le rituel funéraire du point de vue de sa performativité implique d’entrevoir ses actions et ses phases comme agissantes, de mêmes que ses objets, ses marqueurs et ses acteurs. En ce sens, c’est le rituel funéraire comme
exercice qui doit cette fois, dans le cadre de cette rencontre internationale, guider nos réflexions. Par ses actions performatives, le rituel, qui possède la capacité de transformer les règles au sein d’une communauté, de créer le passage d’un état symbolique à un autre, de
mettre en lien acteurs, publics et environnement par une approche incarnée et sensible des systèmes symboliques, sera nouvellement appréhendé dans sa performativité. Il s’agira de redonner une centralité à l’action symbolique et rituelle au sein des sociétés étudiées.
Abstract:
La presenza di strumenti musicali nelle tombe come parte del corredo funebre non è un ‘fenomeno’ molto frequente nel mondo greco e magnogreco. Si tratta infatti di particolari rinvenimenti archeologici – perlopiù di strumenti a corde e a fiato risalenti ad un periodo compreso tra la fine del VI e la metà del III sec. a.C. – che sul piano ideologico-simbolico risultano “atipici” rispetto al comportamento funerario in uso nelle diverse comunità. Se da un lato gli strumenti nelle sepolture hanno spinto gli studiosi a considerarle come tombe di ‘musicisti’ e attirato l’attenzione per l’eccezionalità dei ritrovamenti, dall’altro hanno consentito di ampliare l’indagine sul ruolo della musica nella sfera funeraria.
Uno degli aspetti più interessanti per lo studio di questi particolari reperti riguarda la loro analisi in relazione al corredo funebre che, quando possibile, permette di considerarli non come oggetti a-sé-stanti ma come testimonianze delle dinamiche culturali e della funzione delle performances musicali (e di danza) nella società che li aveva prodotti.
Questo approccio tende a considerare gli strumenti musicali come un insieme di documenti da analizzare non soltanto per la loro rilevanza nella pratica musicale di cui, peraltro, sono gli unici testimoni diretti e interni, ma anche per il significato simbolico che era loro attribuito. Secondo questa impostazione gli strumenti assumono un ruolo da protagonisti nelle esperienze sensoriali legate all’ambito funerario.
Prendendo spunto dallo studio dell’aulos pervenuto nella tomba T. 21 della necropoli di Tempa del Prete a Poseidonia, si analizzeranno gli strumenti musicali come “sensory objects” appartenenti ad un sistema connesso all’esperienza sonora nelle cerimonie funerarie.
You can find programme to the link: https://www.archaeological.org/programs/professionals/annual-meeting/prelim-program/
Registration is open here: https://aia-scs.secure-platform.com/a/organizations/main/home
6F: MATERIAL EVIDENCE OF DANCE PERFORMANCES IN THE ANCIENT WORLD (COLLOQUIUM)
ORGANIZER(S): Angela Bellia, Institute of Heritage Science – National Research Council of Italy and Erica Angliker, Institute of Classical Studies of London
Buildings that Dance: Choral Architecture in Stone and Text (15 minutes)
Deborah Steiner, Columbia University. New York (USA)
The Movement of Ritual and the Ritual of Movement in Ancient Egypt (15 minutes)
Batyah Schachter, Hebrew University of Jerusalem (Israel)
Dance Spaces on Apulian Vase-Paintings: The Case of the Veiled Dance (15 minutes)
Fábio Vergara Cerqueira, Universidade Federal de Pelotas (Brazil)
Spaces of Dance in Etruria (Sixth – Fifth centuries BCE) (15 minutes)
Audrey Gouy, University of Copenhagen (Denmark)
Prehistoric Pendants as Instigators of Sound and Body Movements: A
Traceological Case Study from Northeast Europe, circa 8200 cal. BP (15 minutes)
Rainio Riitta, University of Helsinki (Finland) and Gerasimov, Dmitry V., Peter the Great Museum of Anthropology and Ethnography (the Kunstkamera), Russian Academy of Science
Dance Costumes and the Inanimate Bodies of Ancient Dance (15 minutes)
Laura Gianvittorio-Ungar, Austrian Academy of Sciences (ÖAW)
Dancing at the Parian Sanctuary of Apollo on Despotiko: Tracing the Material Evidence (15 minutes)
Yannos Kourayos, Ministry of Culture and Sports (Greece), and Erica Angliker, Institute of Classical Studies of London
The 2022 Archaeological Institute of America (AIA) will take place January 5-8 and will be a virtual only event.
Rivista annuale / A Yearly Journal
Direttore / Editor-in-Chief Angela Bellia (National Research Council, Italy)
Comitato scientifico / Editorial board:
Erica Angliker, University of London; Eleonor Betts, The Open University; Sheramy D. Bundrick, University of South Florida St Petersburg; Licia Buttà (University of Tarragona); Margarita Díaz-Andreu, University of Barcelona; Ingrid Furniss, La Fayette College, Pennsylvania; Agnès Garcia-Ventura, Universitat Autònoma de Barcelona; Laura Gianvittorio-Ungar, Austrian Archaeological Institute of Wien; Michael Given, University of Glasgow; Audrey Gouy, University of Copenhagen; Ewa Anna Gruszczynska-Ziólkowska, University of Warsaw; Raquel Jiménez Pasalodos, University of Barcelona-University of Valladolid; Cristina Manzetti, Foundation for Research and Technology - Hellas, Institute for Mediterranean Studies; Clemente Marconi, New York University - University of Milan; Tommaso Mattioli, University of Barcelona; Manolis Mikrakis, National Technical University of Athens; Steve Mills, University of Cardiff; Dimitrij Mlekuz, University of Ljubljana; Riitta Rainio, University of Helsinki; Arnaud Saura-Ziegelmeyer, University of Toulouse II Jean Jaurès; Karin Schapbach, University of Fribourg; Lamberto Tronchin, University of Bologna; Fábio Vergara Cerqueira, University of Pelotas; Alexandre Vincent, University of Poitiers.
Redazione/Associate Editors
Arnaud Saura-Ziegelmeyer (University of Toulouse II Jean Jaurès)
Daniel Sánchez Muñoz (University of Granada)
«Telestes» is an International Peer-Reviewed Journal
https://libraweb.voxmail.it/user/ws1nagy/show/jkeix4?_t=a44c59e9&fbclid=IwAR3ROScD8xY5bqPXBJaoNTdVoYFsueyPYDdAQgRb942ThCkDvVZKPj9Ul34
«TELESTES» seeks to fill the gap between existing treatments of the sub-discipline of ‘archaeomusicology’, or ‘music archaeology’ – rooted quite self-consciously in the methods of ancient music and dance scholars – and the possibilities offered by the rather different perspectives that have recently emerged within archaeology, art history, archaeology of performance, and sensory studies. Although over the last decade various scholarly disciplines have devoted increasing attention to ancient music and dance, they have done so by focusing on textual sources. However, in reconstructing features of ancient music and dance performances, the evidence offered by material culture within its archaeological context, although overlooked in previous studies, should play a critical role.
Considering music and dance performances in the ancient world, this new international journal will explore material evidence for music and dance, and highlight the contribution of this evidence to a deeper understanding of the cultural and social meanings and functions of music and dance within activities of ritual and everyday life, reconstructing the many different ways and contexts in which they were experienced.
Thus, through an archaeological approach to performance that places musical and dance activities within an actual or symbolic space, the study of material evidence of music and dance interests constitutes a valuable investigation that can shed light on the ritual meaning and social function of sonic events, as well as on the role of musicians and dancers in antiquity.
«TELESTES» also aims to explore how the study of instruments and sound objects has involved a wide variety of disciplines within and beyond the boundaries of anthropology and archaeology, including sound and acoustics studies, archaeomusicology (such as, among others, ethnoarchaeomusicology), history of religion, classics, history, digital humanities, and digital heritage.
The range of different contexts that will be presented in this new journal will allow us to improve our knowledge with regard not only to the nature of the evidence and the different forms of documentation and sources related to instruments and sound objects, but also how sound contributed to giving a contextualised sense of ritual and social place. Investigating the role of music and dance as more than a mere accompaniment or a means of entertainment, this journal will be particularly revealing in terms of how musical and dance performances are intertwined and inseparable from ritual aspects, each serving as a structure and framework for the other and providing set forms of action that are related to the religious and social beliefs of a given culture.
Furthermore, the journal publishes papers on the study of sound and hearing along with related sensorial aspects in archaeological contexts and on past soundscapes and sonic fabrics (anthrophony, biophony, and geophony): this includes subject areas that range from the behaviour of sound in a sonic space and aural architecture to auditory experience and physical acoustics, as well as auditory archaeology and the importance of sound as a medium of social interaction in the past.
The journal welcomes research on the broadly defined Mediterranean region and from other areas of the world, such as Northern Europe, Central and South America, Africa, Southeast Asia, and the Pacific Rim. Contributions pertaining to different periods are welcome. Cross-disciplinary and multi-disciplinary approaches would be particularly appreciated. The preferred language for the contributions is English, but other languages (including German, French, Italian and Spanish) are acceptable. Special issues focused on a specific research area are also envisaged.
As a guarantee of the high scientific value of the journal, the rigorous application of these methodologies will be surveyed by an International Scientific Committee whose scholars have welcomed the initiative with approval and enthusiasm, as a guarantee of the high scientific value of the journal, and will edited in Italy by Fabrizio Serra editore, a well-established international publishing house of authoritative tradition.
Last but not least, this new international publication also aims to encourage young scholars to submit their work, thus offering a valuable opportunity to disseminate their research findings in the hope that they will respond with enthusiasm to this new editorial project.
CONTENTS
FERNANDO A. COIMBRA, The Contribution of Rock Art for Understanding the Origins of Music and Dancing
ANGELIKI LIVERI, Soundscape of Public Festivals in Athens (Panathenaia and City Dionysia)
FÁBIO VERGARA CERQUEIRA, The ‘Apulian Cithara’ on the Vase-Paintings of the 4th c. BC: Morphological and Musical Analysis
ANGELA BELLIA, Sounds of Childhood in the Ancient World
CLAUDINA ROMERO MAYORGA, Music in Mystery Cults: Towards a Comprehensive Catalogue
JEAN-CHRISTOPHE VALIÈRE, BÉNÉDICTE BERTHOLON, VASCO ZARA, DAVID FIALA, Experimenting with the Acoustic Pots Chamber of Noyon Cathedral (late 16th c.?): An Archaeoacoustic and Musicological Investigation
JOSÉ NICOLÁS BALBI, ISABELLA LEONE, GUSTAVO MANUEL CORRADO, Sound of the Stones: A Preliminary Survey in an Inka Temple of the Argentine Andes
Table of Contents
Introduction
Audrey Gouy
Practicalities
1. Practical Perspectives on Dance and Clothing
Elizabeth J. W. Barber
Movement and Design
2. Dancing in flames - fabulous designs from the desert sands. Reconstructing the east Central Asien skirts’ construction secret
Ulrike Beck
3. The whirling dance of Baukis: reinterpreting our sources
Elena Miramontes Seijas
4. Dance and Metatheatre in Menander’s Theophoroumene
Evangelia Keramari
Embodiment and Communication
5. The unhellenic attire of choruses as image of the ‘other’ in ancient Greek tragedy
Leonidas Papadopoulos.
6. The Dress of the dancing Lares
Alexandra Sofroniew
7. Dance and Clothing in Ancient Egypt ‒ the Earliest Evidence
Heidi Köpp-Junk
Cognition and Sensory Experience
8. Soft cloth and sounding jewellery – sound fields of rich women in Eastern Hallstatt Culture
Karina Grömer and Beate Maria Pomberger
9. Flowing White Dresses for Dancing Initiates in the Mysteries of Eleusis
Aikaterini-Iliana Rassia
10. Fashioning Sensescapes through Ancient Egyptian Dance
Jordan Galczynski and Robyn Price
Images and Metaphors
11. Dancing around the Goddess’ dress
Angela Bellia
12. ‘Wearing’ tattoos in Ancient Egypt. Evidence from Middle Kingdom mummies and feminine figurines
Vittoria Rapisarda
Modern Reception
13. Egyptologist Dancers – Re-enacting ‘Ancient Egyptian’ Dances at the Beginning of the Twentieth Century
Gerrit Berenike Heiter