1 Introduction

This article introduces the Functional Grammar of Dance (FGD) and its application in ELAN annotation, showing how it expands Systemic Functional Linguistics theory into the domain of linguistic ontology. The annotation system for dance sequences using ELAN was developed through the Kinesemiotic Body project, and the article proposes examples of annotation with three case studies. It also demonstrates particular features that emerge which would not be normally captured by the naked eye and concludes with a report on some interesting results obtained so far through the annotation work and with indications for future research.

2 SFL, the FGD, and Kinesemiotics

The chapter introduces the FGD model, which is a theoretical framework that integrates Halliday's Functional Grammar with Multimodal Discourse Analysis to analyze movement-based communication. It is designed to be used by scholars from different disciplines and focuses on the communicative aspect of performances. The FGD model is based on the realization of three types of meanings that account for the three main metafunctions of communication. The performance context comprises three dimensions: Field, Tenor, and Mode, which activate Experiential, Interpersonal, and Textual meanings. The notion of projection is central to the FGD model, where dancers create meaning by extending body parts towards significant areas in the performance space. Choreographic affordances, structures for choreographers to create pieces of dance, are context-dependent and interact with performance space to create meaning. The Move is the basic unit of analysis in the FGD, and it marks the enactment of projections. Narrative Projections express action, interaction, and emotional change, while Interactive Projections determine the difference between a dancer's interaction with people or items on stage and the audience. Projections can also be distinguished in terms of orientation and modalised by focus or amplification.

3 A multilevel annotation framework drawn from the FGD for the analysis of dance sequences and the ELAN annotation scheme

The chapter describes the development of an annotation framework based on the Functional Grammar of Dance (FGD). This framework includes different levels such as MBSs, Moves, and Elaborations, and incorporates various aspects of physical movement and projection structure. The annotation framework is then transferred into an ELAN template with tier hierarchies and dependencies. Different tiers are created to annotate specific units and coded aspects, and the dance sequence is segmented according to the three description levels. The annotations on the tiers include the count of respective units and are linked to a controlled vocabulary to ensure consistency. The annotation framework and template can be customized for different dance sequences, and case studies are presented to illustrate this adaptation.

4 Case study one: how the FGD annotation can unveil hidden discursive patterns

This chapter discussed the application of FGD annotation to a solo sequence from the classical ballet Raymonda, revealing hidden discursive patterns. The data was collected from the English National Ballet premises and recorded as part of The Kinesemiotic Body research project. The annotation using the FGD vocabulary allowed for the investigation of discourse patterns that impact the interpretation of the solo. The annotation revealed mirrored repetition patterns at the level of Moves, which revealed the emotional and situational dilemma experienced by the character of Abdur. The annotation provided insights into the choreography's discursive strategy and the rhetorical use of varied MBSs in relation to repeated movements and projections at the semantic level of Moves. Overall, this case study demonstrated how FGD in ELAN can offer visualization of movement-based discursive patterns for empirical investigations of movement-based communication strategies.

5 Case study two: the adaptability of FGD annotation

This chapter describes the case study of the application of the Functional Grammar of Dance (FGD) methodology to the analysis of Martha Graham's iconic modern solo, Lamentation. The chapter discusses the challenges faced in adapting the FGD methodology to this unique performance, particularly in reconceptualizing the Move unit of analysis and adjusting the controlled vocabulary in ELAN. It also explores the narrative and interactive projections carried out by the dancer's articulators and the quantitative data obtained from the analysis of the choreography. Additionally, the chapter presents the findings regarding the functions of Narrative projections and the visual representation of the dancer's silhouette through the elastic costume. Overall, the chapter elaborates on the adaptability of the FGD annotation method to capture the complex materiality of dance as a semiotic mode.

6 Case study three: the phenomenon of Elaboration in FGD annotation

This chapter describes the case study of annotating several pieces from the ballet Swan Lake to analyze the phenomenon of Elaboration in FGD annotation. The specific work revealed not only character-related features but also the function of choreographic elaboration. The annotation results show that the whole coda lasts for 47 s and comprises 48 Moves and 24 MBSs, with Elaborations happening increasingly towards the last section of the piece. The Elaborations have the function of enhancing the narrative pattern and involving the audience and the sky in the interaction every time Odette changes direction. The main function of the Elaborations is to enhance and underline the narrative and interactive meanings realized by the Moves, thus marking important features of the action and interaction realized by the character’s dance discourse.

7 Conclusions

This chapter discusses how the FGD framework for analyzing choreographed movement can be implemented in ELAN annotation, its potential for flexibility and adaptation, and its effectiveness in analyzing dance discourse. The case studies presented demonstrate the method's effectiveness for live-captured dance performances and video recorded ones, and its potential applicability to choreographed sports and digital interactions. The analysis can capture narrative and interactive discursive patterns in choreography, identify rhetorical trends in dance history, inform learning and teaching activities, and delve into discursive patterns that do not rely on physical movement. A software for reading FGD annotations in ELAN and visualizing projections is being developed, and the methodology can be applied to the study of character representation and for monitoring and coaching dancers.