Dance, Dancers and the Performance Cohort in the Old Kingdom.

• Author: Quack, Joachim Friedrich
• Position: Book review

Dance, Dancers and the Performance Cohort in the Old Kingdom. By LESLEY KINNEY. BAR International Series, vol. 1809. Oxford: ARCHAEOPRESS, 2008. Pp. xvi + 265, illus. [pounds sterling]44 (paper).

The book reviewed here resulted from a dissertation at Macquarie University. It intends to provide a comprehensive study of ancient Egyptian dance scenes, and the author has a personal background in dance. The dance scenes discussed are attested in tombs within presentation scenes before the tomb-owner as well as in burial scenes. The author begins with an overview of previous research and a statement of her own aims. This is followed by a presentation of the different types and subtypes of dance identified by the author. The performers and their titles are discussed, also with an aim to establish the social standing of the dancers by methods such as prosopography. Special attention is given to the Egyptian word hnr.t, which has been understood by some (mostly earlier) researchers to mean "harem" or "concubines," while more recently there has been a tendency to understand it simply as a group of musical performers without the sexual implication of a "harem." Following especially Nord, the author adheres to the latter theory. After the detailed discussion of the scenes, some final conclusions are drawn.

The following types of dance are distinguished: The "diamond dance" is characterized by the position of the hands meeting above the head. The "salute" has several subtypes; the common feature is the raised right arm. The "swastika dance" is defined by the swastika-like formation of the arms; it can be subdivided according to whether the hand is holding either nothing, or a boomerang, a sistrum, or a baton. The "harvest dance" is a label applied by the author to certain rhythmic movements associated with harvest scenes. The "pair dance" is performed by two dancers facing each other and interacting. The "pirouette" can have several subtypes. The "dance of the Mww," a group characterized by their particular headdress, is more specifically connected with funeral processions. The '"boys' game" is defined by the specific actors. The "layout pose" is an acrobatic movement with one leg kicking high into the air. The "mirror dance," finally, is unmistakable, given the mirrors held by the dancers. Each type is followed in detail by a discussion of the chronology of its attestation, its development, and main examples.

Some of the types, especially the harvest...