How did dances of impersonation differ from dances of participation in Melanesian ceremonies?

In Melanesian ceremonies, dances are categorized into two distinct types: dances of impersonation and dances of participation.1

Dances of Impersonation

In these performances, the dancer assumes the role of ancestral beings or mythical figures. The dancer’s attire is typically supernatural or unhuman, often featuring large masks and elaborate costumes that restrict movement. Consequently, the dancer’s motions are limited to the legs and swaying of the body, as the arms are frequently occupied with steadying the costume or holding a musical instrument. These movements do not interpret poetry but are instead accompanied by sounds that may represent the voices of the supernatural beings.1

Dances of Participation

These dances are often communal extensions of dramatic ceremonies. Individuals who are not impersonating spirits join in, imitating the steps of the supernatural. Unlike the specialized nature of impersonation, these dances are spontaneous and do not require extensive training. Their primary goal is to create a collective rhythmic environment—a visual extension of the music—rather than achieving flawless, intricate execution. They are typically performed to communal singing and drumming during rites related to warfare, fertility, or funerals.1