Abstract
Many books have been written on Greek dance. The fault which bedevils a large number of them is that their authors have tried to recreate the movements of the dances from the artistic evidence without taking into account the conventions of Greek vase-painting and sculpture. Other books, and they are the most useful, set out the literary and the artistic evidence without attempting to reconstruct the dances. Rarely, however, are the wider implications considered, and it is these which I wish to discuss here. More analysis and discussion of the evidence for many of my statements is no doubt required, but the place for that is a book rather than an article which ranges over a comparatively large field.
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