1. Dance and Narratives
Narratives are connected to dance in various contexts, past and present. Sometimes they appear as constituent elements of human expressive complexes (music, movements, gestures, drama, play, and so on) and are positioned within different hierarchical structures (equal or subordinated to each other). Other times narratives occur in the discourses of socio-cultural contexts, such as local dance events, ritual complexes, historical reconstructions, cultural tourism, dance performance. Some important questions for ethnochoreologists may be:
• How do literary narratives (epic songs, myths, legends, heroic poems, moralities, …) relate to dance?
• Do narratives have potential to define the kinetic character of movements within their cultural contexts?
• What kinds of vocabulary or metaphors are used in connection with dance?
• Do narratives represent the socio-cultural contexts of dance?
• How do narratives inform or shape our understanding of dance?
2. Dance as Intangible and Tangible Cultural Heritage
Problems of dance-heritage creation and safeguarding heritage as Intangible Cultural Heritage (ICH), developing heritage industries and heritage communities are part of a multi-faceted and multi-levelled phenomenon offering new paths for ethnochoreological research. Some research questions are:
• What issues arise when dance as intangible cultural heritage (ICH) is turned into a tangible form that is utilized in the activities of authorities, research institutes, museums, touristic agencies, NGO-s, and so on?
• What cultural policies or legal frameworks are created through identification and registry of dance as ICH?
• What issues emerge relating to intellectual property, such as formalisation of informal dance and their events into performances or choreographic arrangements?
• What are the insider and outsider perspectives related to aims and strategies of governmental organs versus local practitioners notions of conservation and modernisation?
• How does dance as ICH in recognizing embodied identity, promote variances in local power, prestige, competition?
• How does dance as ICH reveal a collision of social perspectives – single culture versus multicultural, generational, gender?
• What responsibilities and challenges confront the ethnochoreologist in ICH affairs?