DANCE AS A SOCIAL GIFT: A STUDY OF MARCEL MAUSS'S THEORY OF THE GIFT IN PERFORMING ARTS PRACTICE
DANCE AS A SOCIAL GIFT: A STUDY OF MARCEL MAUSS'S THEORY OF THE GIFT IN PERFORMING ARTS PRACTICE
DOI:
https://doi.org/10.56107/ijpa.v3i1.260Keywords:
The Gift Theory , performing arts, symbolic exchange, dance anthropology, social gifts.Abstract
This article discusses the relevance of Marcel Mauss's The Gift theory in understanding dance as a
form of symbolic exchange in the context of performing arts. Based on a conceptual study and a
performance anthropology approach, this paper highlights the main principle in Mauss's theory,
namely the obligation to give, receive, and reciprocate, which can be interpreted as a social structure
that binds the relationship between dancers, audiences, and society. In dance practice, the act of
dancing is seen as a "social gift" that contains moral, spiritual, and cultural values. The dancer's
movements, expressions, and performativity function not only as aesthetic representations, but also
as a means of communication and exchange of meaning that creates a reciprocal relationship
between the performer and the recipient of the performance. Through an analysis of the social
function of dance, this article shows that the performance process is a total social event ( total social
fact ), as explained by Mauss, where the values of solidarity, empathy, and appreciation are realized
through symbolic interaction. The concept of the "soul of the gift" ( hau ) in Mauss's theory is
reinterpreted as the artistic spirit in the performance that fosters emotional resonance between
dancers and audiences. Thus, The Gift theory not only enriches understanding of the social function
of performing arts, but also offers a new conceptual framework for dance education and practice in
the modern era.
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