According to Miller in Chapter 9 “Expressive Culture,” theater is a type of enactment that seeks to entertain through movement and through words related to dance, music, parades, competitive games and sports, and verbal art. Cross culturally a strong connection exists among myth, ritual, and performance (Miller, Barbara. Cultural Anthropology in The Globalizing World, p. 224). Theater is also a collaborative form of fine art that uses live performers, typically actors or actresses, to present the experience of a real or imagined event before a live audience in a specific place, often a stage. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality, presence and immediacy of the experience. Furthermore, the more widespread definition of theater includes performances of plays and musical theatre. The art forms of ballet and opera are also considered theater and use many conventions such as acting, costumes and staging. Theater, whether we intended it or not, will always have something to say because the maker has chosen to use the medium to showcase their work. Theatre, therefore is for an audience to co-exist in a space shared between the maker and audience. The picture above was taken at the Kennedy in early November, 2018 from a theatre performance “Silent Night” by Kevin Puts and Mark Campbell. It is based on the true story of a wartime ceasefire and a night of peace between the sworn enemies during Christmas Eve Day, and as depicted by the 2005 film Joyeux Noël, Silent Night makes its premiere at the Kennedy Center in the centennial month of World War I’s end. In terms of anthropological knowledge I would like to know more about the impact modern theatre has on the younger generation in the US.
Another term Miller defines in Chapter 11 is ethnomusicology. According to Miller, the performance arts include music, dance, theater, rhetoric (speechmaking), and narrative (storytelling). But one important area has developed its own name: ethnomusicology, the cross-cultural study of music. It encompasses distinct theoretical and methodical approaches that emphasize cultural, social, material, cognitive, biological, and other dimensions or contexts of musical behavior, instead of only its isolated sound component.Furthermore, ethnomusicologists study a range of topics, including the form of the music itself, the social positions of musicians, how music interacts with other domains of culture such as religions or healing, and change in musical traditions. Scholars argue that ethnomusicology is combining aspects of folklore, psychology, cultural anthropology, linguistics, comparative musicology, music theory, and history, and that it has adopted perspectives from a multitude of disciplines.In the picture above, which was taken at my Greek friend’s apartment we can see a bouzouki, whichis a musical instrument popular in Greece, Cyprus that was brought the regions in the 1900s by Greek immigrants from Turkey, and quickly became the central instrument to the traditional “rebetiko” music genre. It is in the same instrumental family as the mandolin and the lute. Bouzouki is an important part of the development and later transformation of the Greek and Cypriot societies. Bouzouki is also usually associated with gender specific entertainment, and is usually related to masculinity. This, however, has been changing throughout the years as the position of women in the Greek and Cypriot societies becomes more present and dominant. From the perspective of an anthropologist I would like to know whether ethnomusicology could become a study in schools as part of understanding different cultures and become more acceptive of the diversity among people. Cyprus has historically been very conservative and in my opinion the study of diversity would greatly benefit the youth’s stances such as women’s rights, LGBT rights, acceptance of immigrants etc.








