Traditional Dance and the Spectacle of "Authenticity"

‘...the allegiance of dancers and spectators to one music and dance sensibility or another serves as a specific means of representing, and even reconstructing, their cultural identity in relation to, or even as resistance to, the dominant cultural formation. Moreover, this struggle against presumed cultural intrusion by perceived “outside” influences has profound and disturbing socio-political effects […] this project has caused me to consider further the implications of tradition versus innovation and of authenticity in the context of spaces of affects and becomings.' 

Interestingly, I read this in a book about Cajun music and identity. It stuck me that this statement could very easily by talking about one of the various Scottish dance traditions (for example, Highland, Step or Scottish Country dancing) and their representation, or reconstruction, of our cultural identity. (This reminded me an insightful article by Margaret Bennett, in the West Highland Free Press, which is well worth a read: http://www.margaretbennett.co.uk/folklore-resources/dance).

For me, step-dance, as with any tradition, is a practice which has grown out of the past, but is, like our identity, in a constant process of becoming. I believe that through innovation and creativity which acknowledges these roots, tradition may grow, flourish and become. Conversely, the imposition of standardisation and competition goes against the very nature of tradition. As such, the competitive framework of Highland Dance performance has disrupted the natural course of 'becoming', by preserving a cultural identity constructed according to ideas of ethnic "authenticity". As both a Highland dancer and step-dancer myself, I don't say this to dismiss the equal worth of both traditions. However, I hope to impart the importance, not only of passing on the tradition but, of allowing the tradition to take the natural course of growth and regeneration. Let's look to the future!