An Anthropological look and Ballroom Dance

Dancing Through Cultural Lenses: An Anthropological Look at Ballroom Dance in and outside Education

What does one think of when asked “what is the culture of ballroom dance”? Often when we think about ballroom dance, we often picture glittering costumes, polished shoes, TV shows, and perfectly timed movement across the floor. But beneath the shimmer lies something deeply cultural, a living, breathing system of values, traditions, and identities. If we look at ballroom dance with and Anthropologic lens this invites us to step beyond aesthetics and technique to ask a deeper question: What does ballroom dance mean to those who practice it, and how does its meaning change across various contexts?

Thinking Anthropologically About Dance

In How to Think Like an Anthropologist, Matthew Engelke (2017) encourages us to approach culture not as a fixed set of traditions but as “a way of making meaning in the world.” He reminds us that culture is dynamic “always in motion, always negotiated” (Engelke, 2017). This perspective helps us see dance not simply as movement, but as a cultural conversation an embodied form of expression that evolves with those who dance it.

Anthropology, at its core, is about understanding people through their practices. Franz Boas, often called the father of American anthropology, emphasized that we must view cultural expressions “from the point of view of the people who belong to it.” (Boas, 1911). This principle of cultural relativism challenges us to look at ballroom dance not through the lens of competition or performance alone, but through the values and purposes of the communities that sustain it.

Ballroom Dance Beyond the Classroom

Outside of educational institutions, ballroom dance often exists as a social or competitive pursuit. Studios and competitions emphasize mastery of technique, visual presentation, and partnership discipline. The hierarchy of expertise between student, amateur, and professional defines much of the experience. Here, the culture is often shaped by achievement, recognition, and artistic identity. It’s a culture of practice where tradition, competition, and spectacle intersect.

From an anthropological view, this can be understood as a cultural system of value, a community in which identity and belonging are tied to skill and participation. Engelke might describe this as “a social world in which meaning is made through performance.” The shared etiquette, dress codes, and competition rituals form a kind of micro-society that conveys its own logic of respect, order, and beauty.

Ballroom Dance Within Education

In contrast, ballroom dance within an educational setting, such as a university program, functions differently. While technique and partnership still matter, the emphasis shifts toward exploration, analysis, and personal growth. Students are encouraged to reflect on why and how they move, integrating historical, cultural, and somatic understandings into their learning. The classroom, in this sense, becomes a laboratory for cultural inquiry.

Here, ballroom dance becomes both a subject and method of study or a way of studying human connection through movement. Boas’ concept of “participant observation,” though originally developed for fieldwork, resonates in this environment. Teachers and students alike participate in the dance while observing its social meanings unfold in real time. Through an educational approach guided by the aims and goals of the university ballroom may be less about performance and more about understanding, a community of learners who co-create the cultural meaning.

Two Worlds, One Dance

When viewed anthropologically, both the social, competitive, and academic settings are distinct cultural systems, each with its own logic and purpose. Yet, they are also deeply connected. Both celebrate human connection, physical expression, and tradition. Both rely on shared values of respect, partnership, and discipline. And both pass on and cultivate culture whether through the mentorship of a coach or the dialogue of a classroom discussion.

Engelke writes, “Culture is not something we have, it’s something we do.” In ballroom dance, culture is done through the body, through each lead and follow, each practice session, each partnership negotiation. Whether in the glittering lights of competition or the reflective quiet of the studio, ballroom dance continues to embody the ever-changing human story.

Conclusion: The Anthropologist in the Ballroom

To “think like an anthropologist” in the ballroom is to recognize that every pivot, frame, and rhythm carries meaning beyond technique. It invites educators, dancers, and researchers alike to see dance as a mirror of human culture, as both art and anthropology in motion.

As Boas might remind us, understanding a culture begins with humility, with the willingness to see the world as others see it. Ballroom dance, in all its forms, offers just such an opportunity: to connect, to listen, and to learn through movement.

Resources

• Boas, F. (1911). The Mind of Primitive Man. New York: Macmillan.

• Engelke, M. (2017). How to Think Like an Anthropologist. Princeton University Press.