This paper is an addendum to the article “Choreography of Lupercalia: Corporeality in Roman Public Religion”, published in the latest issue of grms. In my previous essay, I explored the methodological possibilities of the notion ‘choreography’, a concept that has been critically re-elaborated by dance scholars in the past two decades, and applied it to the wandering of the Luperci in order to understand the performative role of their mobility and physicality as traits shared with other dances within the realm of Roman public religion. The aim of the current article is to refine the approaches proposed for Lupercalia by examining aspects of training, performance, and reception that are intrinsic to this choreographic practice, and to observe these elements in light of the Roman idea of sodalitas (‘corporation’). This approach will allow us to determine how dancing—and, more exactly, corporeality—works in the construction of Roman identities.
DupontF.de RomeÉcole françaiseLudions, lydioi: les danseurs de la pompa circensis. Exégèse et discours sur l’origine des jeux à RomeSpectacles sportifs et scéniques dans le monde étrusco-italique1993Roma189210
North and McLynn2008an addendum to North 2008 and McLynn 2008.
See Alonso Fernández2016awith bibliography.
Cf. above all Foster 2009 and2010and Lepecki 2007.
Von Rohden and Winnefeld1911152. Although as Tomei (1999 438) recalls already Pietro Rosa described it as ‘le corse Lupercalia’ in a letter from 1869. Cf. Veyne 1960 Tortorella 2000 251 and Romano 2005 91.
Cf. Alonso Fernández2016a319-25.
Cf. Alonso Fernández2016a322with bibliography.
Following Morel (1969) Habinek (2005 120-21) interprets the iuuentus as an organized company of free adolescent males a cadre of young men of military age like the Luperci. Cf. above n. 20.
Cf. Sklar2008Noland 2009 Foster 2010 and Reynolds 2013. Advances in neuroscience and cultural anthropology are crucial for their studies.
On this monument cf. Veyne1960104-105Tortorella 2000 249 Wiseman 1995a 16 and North and McLynn 2008 178.
Cf. Tortorella2000252-53. For a more complex and contextualized interpretation of these scenes and their dramatic qualities cf. North and McLynn 2008 179-80.
Cf. Alonso Fernández2016a326-27. On the Salian sodalitas cf. Wissowa 1902 Cirilli 1913 Lambrechts 1946 Bloch 1958 Dum.zil 1966 Rüpke 1990 Bremmer 1993 Torelli 1990 and 1997 Habinek 2005 8-33 Glinister 2011 Sarullo 2014 and Granino Cecere 2014.