Dancing at the Dawn of Agriculture

Chapter 11: Predynastic Egypt

chapter 11 Predynastic Egypt The major works on the dance of ancient Egypt tend to deal with the historical periods, only after the rise of the Pharaonic state around 3100 bc (Brunner-Traut 1958, 1985; Wild 1963; Saleh 1998). For Predynastic Egypt, dated to the fifth and fourth millennia bc, no systematic research on its dance has been carried out (Kantor 1992). However, as we shall see in this chapter, the evolution of symbolic expression in Egypt is quite similar to that of the other geographical areas described above, and dance was the major artistic motif at the beginning of agriculture. Dancing figures from twelve sites in the Nile Valley and six sites in the Eastern Egyptian Desert are presented here (Fig. 11.1). All of them are located in Upper Egypt. In addition, numerous Egyptian vessels were bought from antiquities dealers and are of unknown origin. These are included in the figures or photographs but without further description. Most of the Egyptian depictions are on pottery vessels, decorated by paint, applied plastic relief, or incisions. Another group of dancing scenes is known from rock carvings. In addition, there is one example each of a linen shroud, a clay model, and a wall painting. Stylistic Analysis Four stylistic and chronological stages can be recognized in the evolution of the dancing scenes in Predynastic Egypt: 1. Depicting the dance motif on pottery vessels by plastic application or incisions (Badarian and early Naqada I phases). The earliest known examples have been reported from the Badarian phase of Predynastic Egypt, of the fifth millennium bc (Figs. 11.2, 11.3:a–b, d). This date is much later than the earliest dancing scenes from the Near East or southeast Europe. Nevertheless, like in these regions, the earliest depictions were applied or incised and not painted. Already at this early stage a typical body gesture was formulated for the expression of dancing: the arms are lifted upwards with incurving hands in a very non-utilitarian pose. This gesture is typical of ritual in Predynastic Egypt and is found on many clay female figurines (Kantor 1944, Fig. 6; Murray 1956:92; Ucko 1968, Egyptian figurines 72–73, Figs. 47–48; Needler 1984:205–206, 336–341; Crowfoot Payne 1993, Fig. 7). It is well known through the figure 11.1 Predynastic Egyptian sites mentioned in the text. 235 Predynastic Egypt various phases of Predynastic Egypt: the Badarian, Naqada I, Naqada II, and Naqada III. A number of scholars have suggested that this arms pose imitates bovine horns and that the female figure represents the goddess Hathor (Murray 1956:92; Baumgartel 1960:144–146; Crowfoot Payne 1993:34). 2. Painted pottery vessels in the white cross-lined style (Naqada I phase of the early fourth millennium bc). Three examples are known, representing a coherent style and iconography (Figs. 11.3:e, 11.4-11.6). These scenes have been understood as depicting either warfare or dance. The warfare interpretation is very problematic, as it is deduced from later Pharaonic iconography and does not take into account the objects’ Predynastic setting (Garfinkel 2001b). War scenes are important components of ancient Near Eastern art, from the end of the fourth millennium bc onward. This motif characterizes urban societies with a strong centralized government. They appear in both Egypt (Quibell and Green 1902, Pl. LXXVI; Yadin 1963:116, 124) and Mesopotamia (Amiet 1980, Figs. 659–661). The warfare scenes are characterized by three basic iconographic elements: weapons (bow, spear, mace, dagger); aggressive body gestures (usually with the hand holding a weapon); and a defeated group (the enemy is described in a helpless situation: dead, tied, or begging for mercy). The scenes painted in the white cross-lined style do not, however, depict any weapons, any aggressive body gestures, or any figure in a helpless situation. Thus they are more likely representing scenes of dance. 3. Dancing and landscape (Naqada II phase). Towards the mid-fourth millennium bc the dancing motif reached its peak in Predynastic art, and a relatively large number of elaborate painted vessels is known, as well as incised rock drawings of the Eastern Egyptian Desert. In this phase the motif has been integrated into the Egyptian landscape. Dancing is now associated either with a Nilotic landscape (boats and aquatic fauna) or less frequently with a desert environment. The boats are portrayed with twenty to thirty oars, two cabins, a standard, and a branch...