Dance and Geometry between the end of Bronze Age and the beginning of Iron Age (950-750 BC).

by | Oct 23, 2019 | Inglese | 0 comments

The premises of the choreutic tradition of ancient and medieval Europe are to be found in two figurative repertoires developed between the end of Bronze Age and the beginning of Iron Age, more precisely:

A – The figurative repertoire of rock engravings of Valcamonica, of the decorated Stelae of southern Spain and France, the Stelae of Bologna, of Lunigiana (Tuscany) and Daunia (Puglia), lingering manifestations of European megalithism. Anyone, family or friend, had approached the surface of the engraved rocks or the sacred area where the stelae were placed, could have interacted with them according to the liturgy practiced at that time (singing, gestures, dance, prayer, sacrifice).

B – The figurative repertoire of decorated ceramics found in the cremation necropolis of the Midi of France (the so-called Late Urnfields: Moras-en-Valloire, Vendres, Camp Allaric, Vidauque, Cailhac, Vaucluse, Villeplaine, Villement, Las Fados, Queroy , Rancogne, etc.), the Proto-Etruscan one (Cuma, Sala Consilina, Pontecagnano, Veio, Montalto di Castro, Campo Reatino, Marsiliana d’Albegna) and Alpine (Bourget, Sesto Calende). The fact that these vases and decorated plates were part of the outfit that accompanied the deceased in the world of the dead, leads us to believe that no living being, after the funeral ritual, could have access to such images, whose use therefore became an exclusive prerogative of the spirit of the deceased. The dance represented on the sacred support would thus have continued to dance only in the presence of the deceased, cheering him up until the dawn of time.

moras e ossimo 12

1 .Plate of Moras-en-ValIoire (Drome, 9th-8th century BC). Its reconstruction took place starting from the fragments recovered in the archaeological excavation conducted by A. Nicolas between 1968 and 1971 (Nicolas, A., Combier J., 2009). The documentation relating to the ceramic finds recovered in this as many contemporary archaeological sites in Southern France, is the starting point for understanding the gestural and dance forms of protohistoric Europe and the cosmological symbolism associated with them. In the plate five registers separated by a double circular line have been identified. The second register is entirely occupied by a circular dance around a center. For Nicolas and Combier there is no doubt that these vases were not kitchenware, but artifacts on which a form of abstract language was imprinted, which expresses the thought of the man who made them. Each symbolic element, inserted inside a metope, constitutes a separate “statement” that is part of the general “discourse” expressed by the entire dish. 2. An ancestor of Moras’s dance is that represented on the stele of Ossimo nr. 12 (right, second half of the third millennium), whose choreutical scheme is systematically repeated in the engraved rocks found in the last twenty years in Valcamonica. (right, second half of the third millennium), whose choreutical scheme is systematically repeated is systematically repeated in the contemporary engraved stelae found in the last twenty years in Valcamonica.

La Danza delle Origini

Versione cartacea

di Gaudenzio Ragazzi

15.00

C’era una volta il Torchio

Versione digitale

di Gaudenzio Ragazzi

8.60

L’ Albero del Tempo

Versione digitale

di Gaudenzio Ragazzi

4.90

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