苏格兰凯利舞的参与动机与社...、访谈和问卷的研究（英文）_赵阳.pdf

当代舞蹈艺术研究2022年第7卷第2期98人类学研究Anthropological StudiesZhao Yang【Abstract】The focus of this research is the motivation for participating in Scottish Cilidh dancing in Edinburgh.The diversity of participants,who come from a broad spectrum of different backgrounds,is related to Cilidh as a type of social dance where the enthusiasm of the dancers and the strategies of the dance teachers draw new participants.The research used qualitative methods,including four individual interviews,two focus groups,ten observations,and fifteen online questionnaires and fifty-three printed questionnaires.Data were analysed based on interview transcription,fieldnotes,and questionnaires.The findings from this research demonstrate that reasons for participation include social networks,fun,fitness,Scottish culture,fexible dance forms,live Scottish music,and the perception that the dancing is easy to do.【Keywords】Cilidh dancing,participation,motivation,social contact【中图分类号】J732.9【文献标识码】A【文章编号】20963084(2022)02009813【DOI】10.20070/ki.cdr.2022.02.012【标题】苏格兰凯利舞的参与动机与社交因素基于观察、访谈和问卷的研究【作者】赵阳【内容摘要】本文重点探讨了人们在爱丁堡参与苏格兰凯利舞（Cilidh dancing）的原因。参与者的背景广泛，这与凯利舞是一种借助舞者的热情和舞蹈教师的策略来吸引新的参与者的社会型舞蹈有关。本研究采用定性研究方法，包括10名受访者（4次个人访谈和2个每组3名参与者的焦点小组）、10次观察、15份在线问卷和53份印刷问卷。数据分析基于访谈记录、田野笔记和问卷调查。研究结果表明：人们参与凯利舞的动机包括了以下信息：社交网络、娱乐、锻炼身体、苏格兰文化、凯利舞灵活的舞蹈形式、现场的苏格兰音乐，以及这种舞蹈的“易操作性”。【关键词】凯利舞；参与；动机；社交Participation,Motivation and Social Aspects of Scottish Cilidh DancingA Study Based on Observations,Interviews and Questionnaires【About the Author】Zhao Yang，is a PhD candiadate at the University of Edinburgh，UK.Main Research Fields：Dance Ethnography，Dance Education and Scottish Dancing.Choreomundus International Master in Dance Knowledge，Practice，and Heritage.Two-year joint masters（24 months）：Norges teknisk-naturvitenskapelige universitet，Trondheim，Norway；Universit Clermont Auvergne，Clermont-Ferrand,France；Szegedi Tudomanyegyetem，Szeged，Hungary；and University of Roehampton，London，United Kingdom.IntroductionThe question of how to encourage public participation in dance in a community setting is an issue for some social dances and folk dances,such as Chinese folk dances,which are in decline and are no longer popular among young people.In 2018,after carrying out research on Scottish country dance in Lyon and Edinburgh,I graduated with a Masters in Dance Knowledge,Practice and Heritage(Choreomundus)in four countries in Europe.My dance background in China was in Chinese dance and thus,my position as a Chinese dancer and a Cilidh dancer affects my approach to and interpretation of my research on Scottish country dance.Contemporary Dance ResearchVolume 7,Issue 2(2022)99Participation,Motivation and Social Aspects of Scottish Cilidh Dancing苏格兰凯利舞的参与动机与社交因素In China,folk dances are learnt by watching or attending dances and/or related events,especially in minority ethnic areas where people speak their own language instead of the national official language,Mandarin.However,the folk dances I studied in studios and at university are different from social folk dancing in daily life.Chinese national folk dance is now considered as a performance art,which is managed and choreographed for highly skilled professionals,rather than being something that ordinary people enjoy at social functions.National folk dance adapted continually to the changes in the times,showing contemporary characteristics and influences and expressing current sentiments and ideologies.Some national folk dance traditions have been preserved and developed,while others have evolved to reflect the changing times.Thus,national folk dance has been developed and the dances have been presented differently in different periods.A researcher who gives more details about this is Wilcox,an American scholar who can speak professional Chinese fuently.Wilcox notes that Chinese classical dance and Chinese folk dance are two subcategories of Chinese dance that researchers and practitioners of Chinese dance have generally recognised since the 1950s and Chinese folk dances have combined Han Chinese and minority forms(e.g.Uyghur,Mongolian,Korean,Tibetan and Dai).While in Beijing,I was involved in a dance group for Chinese Tibetan dance,where I observed a contrast between the dance practice of ordinary Tibetans who were university students in Beijing,who commonly participated in traditional Tibetan dance,and professional dancers(regardless of ethnicity)who practised folk dance at most dance academies and at many theatrical events in Beijing,where dances were staged and often choreographed by professionals.My interest in this contrast underpins my research.It is my view that dance education should not be limited to a formal school-based curriculum,but should be broader and more holistic,where students would dance and be taught as human beings,rather than aiming solely at producing a performance piece,especially in folk dance.It is my belief that preserving traditional cultural heritages and engaging larger communities with dance will increase cross-cultural communication and provide a shared pleasure in social dance,as can be observed with Cilidh today.Indeed,Scottish Cilidh dance continues to appeal to people of all ages and cultural backgrounds.Compared to Scottish country dancing and Highland dance,Scottish Cilidh is an informal and fairly unstandardised dance.It is a social dance and is normally danced in groups or by couples.I became interested in Scottish Cilidh after I joined the Edinburgh University New Scotland Country Dance Society in September 2015.From my personal observation,most practitioners of Scottish dancing appeared to be ordinary members of the general public,both Scottish and international,although there were some dance professionals mixed in with the amateurs.Scottish Cilidh is an example of a prospering cultural,social and community dance form,with dancers who are not exclusively from Scotland but also come from England and from many non-English speaking countries.Scottish Cilidh is a social gathering that involves dancing and music.It is a lively feature of many events,such as weddings and summer camps,which is not often the case for many other genres of dance.It is therefore important to explore the reasons why people engage in Scottish Cilidh dancing,not only for the future development of Cilidh itself,but also because these reasons may be relevant to other contexts and provide insights into how to encourage more people to enjoy dancing.The research therefore aims to shed new light on the general publics participation in Cilidh dancing and it includes consideration of teachers influence on motivation.This study investigates why dancers are motivated and how they are motivated to do Cilidh dancing.Thus,callers in Scottish Cilidh dancing also need to be mentioned.Cilidh callers are the people who give guidance about dancing during Cilidhs.LIU X，KO Y C.Analysis of the Infuence of Geographical Environment on Chinese Ethnic Folk Dance：Taking the Development of Dance Curriculum in Huaihua No.1 Middle School as an Example J.Journal of Environmental and Public Health，2022.WILCOX E.Introduction to“Revolutionary Bodies：Chinese Dance and the Socialist Legacy”M.Okaland：University of California Press，2018.A cilidh usually involves a person called the“caller”who explains a sequence of dance moves to a dancers and instructs the dancers to dance along with（often）live music.当代舞蹈艺术研究2022年第7卷第2期100人类学研究Anthropological Studies SHOUPE C A.Scottish Social Dancing and the Formation of Community J.Western Folklore，2001，60（2/3）：125148.MILLER D.Cilidh，A Scottish Wedding in Glasgow EB/OL.（20170812）20220601.https:/ D.Cilidh，A Scottish Wedding in Glasgow EB/OL.（20170812）20220601.https:/ D，EWART M.Scottish Cilidh Dancing M.Edinburgh：Mainstream，1996：8.SHEPHERD R.Lets Have a Cilidh：The Essential Guide to Scottish Dancing M.Edinburgh：Canongate Books Limited，1992.MORRISON C.Culture at the Core：Invented Traditions and Imagined Communities.Part I：Identity Formation J.International Review of Scottish Studies，2003，28：321.MORRISON C.Culture at the Core：Invented Traditions and Imagined Communities.Part I：Identity Formation J.International Review of Scottish Studies，2003，28：321.EWART D，EWART M.Scottish Cilidh Dancing M.Edinburgh：Mainstream，1996.Shoupe says that in Scottish Cilidh dances,dancers can be reminded by verbal cues about movements or the next steps.It has become common for callers to also be dance band members.Fig.1 Duncan Miller,Cilidh,A Scottish Wedding,2017,in GlasgowFig.2 Duncan Miller,Cilidh,A Scottish Wedding,2017,in GlasgowFirst,previous literature will be reviewed;second,the research methodology and questions will be explained;third,results will be discussed;and lastly,conclusions will be proposed.LiteratureReviewEwart and Ewart describe Cilidh as a dance which includes popular Scottish traditional dances and some old-time dances;a modern waltz or a quickstep can even find their way into the programme.Historically,Scottish Cilidh dancing provided social entertainment in rural areas.According to Morrison,Cilidh is a Scottish country dance that is a product of Scottish identity,which tried to differentiate itself from England.In 1923,the Royal Scottish Country Dance Society(RSCDS)was established by Jean Milligan.Morrison describes the evolution of four forms of Scottish traditional dance(up to the 20th century):Scottish country dance,which was a social dance prevalent in urbanised upper-class regions;Cilidh dance,which was more of a rural and lower-class social dance;Scottish step-dance,which is related to tap dancing,and Highland dance,which has some movements similar to ballet but has different steps,such as hopping and jumping.Morrison argues that Scottish Cilidh dancing has the same roots as country dance,but with almost the opposite purpose,as Cilidh dance is more rural and lower-class than country dance.In the mid-1970s,Scottish Cilidh dance became informal and a new tradition was born,based on Scottish country dance.Ewart and Ewart(1996)state that the popularity of Scottish Cilidh dancing is demonstrated by the large number of practitioners.All age groups are involved,and it plays a meaningful part in community life,even in small villages.They also state that young people often turn away from disco,which Contemporary Dance ResearchVolume 7,Issue 2(2022)101Participation,Motivation and Social Aspects of Scottish Cilidh Dancing苏格兰凯利舞的参与动机与社交因素they had formerly seen as trendy,when they find that Cilidh dancing is fun and it becomes part of their life.Meanwhile,“mature movers”are attracted by the nice-and-easy appeal of this form of dance,as well as by its social aspects.Some scholars,such as Dewhurst,Nelson et al.(2014)suggest that participation in Scottish country dancing is beneficial to health,including functional ability in older women,and Bremer(2007)mentions that Scottish country dancing provides people with excellent aerobic exercise.However,there has been very little in-depth research regarding the huge popularity of Scottish dancing amongst the general public.ResearchQuestionsandMethodologyAccording to Smith and Pocknell(2007),dance is a cultural product that relates to cultural traditions and is generally researched using methods informed by interpretivism,an approach that I follow here.Unlike positivist approaches,which claim to be objective,interpretivism looks for meanings that are situated in cultural and historical life-worlds.In order to discover the reasons why members of the general public,without limitations of age,gender or culture,enjoy Scottish Cilidh dancing in Edinburgh,my study explores dancers views of their experience and also investigates how Cilidh teachers/callers motivate people to participate.The research questions are:(1)Why do people of diverse ages,genders,and cultural backgrounds take part in Scottish Cilidh dancing in Edinburgh?(2)What positive experiences of Scottish Cilidhs do the participants have?(3)How do the dance callers/teachers motivate Scottish Cilidh dancers/students?According to Punch and Oancea(2014)and Robson and McCartan(2016),qualitative approaches investigate participants perceptions in depth and facilitate enriched findings,while quantitative methods use statistical and positivistic ways to measure participants responses.This study explores participants engagement in Scottish Cilidh dancing,including social,psychological,and cultural aspects such as motivation,enjoyment,and teaching strategies.It is worth defining the concept of intrinsic motivation,as it will be a key concept in this study.In healthy individual development,people move in the direction of greater autonomy.This entails internalizing and integrating external regulations over behavior,and learning to effectively manage drives and emotions.Additionally,it means maintaining intrinsic motivation and interest,which are vital to assimilating new ideas and experiences.When people are more autonomous,they exhibit greater engagement,vitality,and creativity in their life activities,relationships,and life projects.In this research,dancers motivation is shown to be intrinsic rather than extrinsic,as it is related to their strong engagement in the dance and the enjoyment it gives them rather than being determined by external constraints or the desire to win awards.The research used semi-structured interviews,focus group discussions,observations,and also questionnaires,to interpret the motivations for participating in Scottish EWART D，EWART M.Scottish Cilidh Dancing M.Edinburgh：Mainstream，1996：7.DEWHURST S，NELSON N，DOUGALL P K，et al.Scottish Country Dance：Benefits to Functional Aability in Older Women J.Journal of Aging and Physical Activity，2014，22（1）：146153.BREMER，Z.Dance as a form of exercise J.British Journal of General Practice，2007，57（535）：166.SMITH F，POCKNELL L.A Practical Guide to Teaching Dance M.Leeds：Coachwise Business Solutions，2007.CROTTY M J.The Foundations of Social Research：Meaning and Perspective in the Research Process M.London：SAGE，1998：67.PUNCH K F，OANCEA A E.Introduction to Research Methods in Education M.2nd ed.London：SAGE，2014.ROBSON C，MCCARTAN K.Real World Research：A Resource for Users of Social Research Methods in Applied Settings M.4th ed.New York：Wiley，2016.DECI E L，RYAN R M.Motivation，Personality，and Development within Embedded Social Contexts：An Overview of Self-Determination Theory M/RYAN R M.The Oxford Handbook of Human Motivation.New York：Oxford University Press，2012：85107：85.当代舞蹈艺术研究2022年第7卷第2期102人类学研究Anthropological StudiesCilidh dance.Some of the participants were contacts at the New Scotland Country Dance Society at the University of Edinburgh(NSCDS),where I danced,while others were introduced by the contacts or were people whom I had not met,but who danced at Cilidhs in Edinburgh in 2016 outside the university context.The interviews and focus groups lasted for around an hour to an hour and a half.Data collection took place from mid-May to the end of June 2016,with four individual interviews,and two focus groups wi