Dance as a Multimodal Semiotic System: A Linguistic Perspective on Bodily Expression

Authors

  • Wenhan Pan

    School of Foreign Languages, Guangzhou College of Commerce, Guangzhou 511363, China

DOI:

https://doi.org/10.30564/fls.v7i9.10046
Received: 16 May 2025 | Revised: 12 June 2025 | Accepted: 25 July 2025 | Published Online: 29 August 2025

Abstract

This research studies dance as a multimodal semiotic system through the theories of Ferdinand de Saussure and Roland Barthes. Using Saussure's theory of semiosis, dance is viewed as a system of signs shaped by cultural context. In this system, physical movements, gestures, and facial expressions act as "signifiers" that communicate meaning within the codes of different dance styles. When choreographers select and arrange movements, the meaning of each gesture becomes clear in the context of the whole performance. Barthes' idea of "culturalization" explains how dance reflects the spontaneity of bodily expression while also transforming into repeatable and structured systems. This study also draws on Edmund Husserl's view that dance exists in a "pre-reflexive" realm of symbolic expression, where body movements convey meaning through cultural codes in choreography and performance. By applying linguistic and semiotic theories, the paper presents dance as a language that produces meaning through interconnected systems of signs in cultural settings. Dance is also seen as a universal language that crosses cultural boundaries and can be understood by different societies. To explore this, a global questionnaire was conducted with dancers from around the world. The results show that dance functions as an international language of self-expression and intercultural connection. It allows people to communicate through a shared non-verbal medium. The study concludes that dance can be seen as a symbolic language for humanity, forming a unique multimodal communication system across continents and cultures.

Keywords:

Multimodal Semiotic System; Dance As Language; Bodily Expression; Cultural Codes; Global Dance Expression

References

[1] Aji, P.B., Sasanadjati, J.D., Sasanadjati, M.H., 2025. The Expression of Subali's Struggle in the Dance Work "Subali Gamajayanti" Through Multimedia Form in Dramatic Dance. Solah. 11(1), 28–43.

[2] Vaganova, A.Y., 2025. Fundamentals of Classical Dance. Editora Appris: Curitiba, Brazil.

[3] Crawley, A., Riggio, R.E., 2025. Emotions Expressed in Body Movements, Postures, Gait, and Dance. In: Chadee, D., Kostić, A. (eds.). Body Language Communication. Springer Nature: Cham, Switzerland. pp. 235–258. DOI: https://doi.org/10.1007/978-3-031-70064-4_10

[4] Berger, A.A., 2014. Semiotics and Society. Society. 51, 22–26. DOI: https://doi.org/10.1007/s12115-013-9731-4

[5] Chambers, I., 2007. Roland Barthes: Structuralism/Semiotics. In: CCCS Selected Working Papers. Routledge: London, UK. pp. 247–260.

[6] Sunte, J., 2025. The Physiology and Anatomy of Muscle in Human Body Creation. Journal of Advances in Ayurveda, Yoga, Homeopathy and Naturopathy. 3(1), 19–21. DOI: https://doi.org/10.5281/zenodo.14869222

[7] Burt, R., 2007. The Male Dancer: Bodies, Spectacle, Sexuality. Routledge: London, UK.

[8] Byrnes, J., 2020. Ballet & Modern Dance: A Concise History, 3rd ed. Oxford University Press: New York, NY, USA.

[9] Kassing, G., 2007. History of Dance: An Interactive Arts Approach. Human Kinetics: Champaign, IL, USA.

[10] Angeli, D., 2024. Dance and Technology: Different Readings of the Technologically Mediated Body. Proceedings of The 12th EAI International Conference, ArtsIT 2023; November 27–29, 2023; São Paulo, Brazil. pp. 107–119. DOI: https://doi.org/10.1007/978-3-031-55319-6_8

[11] Freedman, R., 1998. Martha Graham: A Dancer's Life. Houghton Mifflin Harcourt: Boston, MA, USA.

[12] Feibleman, J.K., 1949. The Art of the Dance. The Journal of Aesthetics and Art Criticism. 8(1), 47–52. DOI: https://doi.org/10.2307/425839

[13] Garafola, L., 1985. The Travesty Dancer in Nineteenth-Century Ballet. Dance Research Journal. 17(2), 35–40. DOI: https://doi.org/10.2307/1478078

[14] Gordon, R.B., 2016. Dances with Darwin, 1875–1910: Vernacular Modernity in France. Routledge: London, UK. DOI: https://doi.org/10.4324/9781315258560

[15] Daly, A., 1994. Isadora Duncan and the Distinction of Dance. American Studies. 35(1), 5–23.

[16] Burt, R., 2003. Judson Dance Theater: Performative Traces. Routledge: London, UK.

[17] Hamilton, T. (ed.), 2015. The History of Western Dance. The Rosen Publishing Group, Inc.: New York, NY, USA.

[18] Guang, F., Xueliang, Z., 2025. Research on the Impact Mechanisms of Immersive Virtual Reality Technology in Enhancing the Effectiveness of Higher Folk Dance Education: Based on Student Perspective. Education and Information Technologies. 30, 15467–15505. DOI: https://doi.org/10.1007/s10639-025-13413-y

[19] Key, L., Noble, B.P., 2017. An Analysis of Ferdinand de Saussure's Course in General Linguistics. Macat Library: London, UK.

[20] Barthes, R., 1977. Image-Music-Text. Heath, S. (trans.). Hill and Wang: New York, NY, USA.

[21] Butler, J., 1990. Gender Trouble: Feminism and the Subversion of Identity. Routledge: New York, NY, USA.

[22] Brandt, S., 2004. Gunther Kress & Theo van Leeuwen, Multimodal Discourse: The Modes and Media of Contemporary Communication. Language in Society. 33(1), 115–118. DOI: https://doi.org/10.1017/S0047404504221054

[23] Foster, S.L. (ed.), 1995. Choreographing History. Indiana University Press: Bloomington, IN, USA.

[24] Jackson, N., 2003. Moving History / Dancing Cultures: A Dance History Reader (review). Theatre Journal. 55, 551–552. DOI: https://doi.org/10.1353/tj.2003.0120

[25] Searle, J.R., 1969. Speech Acts: An Essay in the Philosophy of Language. Cambridge University Press: Cambridge, UK. DOI: https://doi.org/10.1017/CBO9781139173438

[26] Chomsky, N., 1957. Syntactic Structures. Mouton: The Hague, Netherlands. DOI: https://doi.org/10.1515/9783112316009

[27] Lakoff, G., Johnson, M., 1980. Metaphors We Live By. University of Chicago Press: Chicago, IL, USA.

[28] Turner, V., 1969. The Ritual Process: Structure and Anti-Structure. Aldine Publishing: Chicago, IL, USA.

[29] Cefkin, M., 1993. Choreographing Culture: Dance, Folklore, and the Politics of Identity in Turkey [Ph.D. Thesis]. Houston, TX: Rice University. pp. 1–24.

[30] Baskarada, S., 2014. Qualitative Case Study Guidelines. The Qualitative Report. 19(40), 1–25. DOI: https://doi.org/10.46743/2160-3715/2014.1008

[31] Taylor-Powell, E., Steele, S., 1996. Collecting Evaluation Data: Direct Observation. Program Development and Evaluation. University of Wisconsin-Extension: Madison, WI, USA.

[32] Fix, G.M., Kim, B., Ruben, M.A., et al., 2022. Direct Observation Methods: A Practical Guide for Health Researchers. PEC Innovation. 1, 100036. DOI: https://doi.org/10.1016/j.pecinn.2022.100036

[33] Anderson, J., 2020. Ballet & Modern Dance: A Concise History. Princeton Book Company: Princeton, NJ, USA.

[34] Burt, R., 2022. The Male Dancer: Bodies, Spectacle, Sexualities. Routledge: London, UK. DOI: https://doi.org/10.4324/9781003159926

[35] Barthes, R., 1977. Image-Music-Text. Heath, S. (trans.). Hill and Wang: New York, NY, USA.

[36] Feibleman, J.K., 1949. The Art of the Dance. The Journal of Aesthetics and Art Criticism. 8(1), 47–52.

Downloads

How to Cite

Pan, W. (2025). Dance as a Multimodal Semiotic System: A Linguistic Perspective on Bodily Expression. Forum for Linguistic Studies, 7(9), 86–106. https://doi.org/10.30564/fls.v7i9.10046

Issue

Vol. 7 , Iss. 9 (September 2025): In progress

Article Type

Article

License

Copyright © 2025 Wenhan Pan

Creative Commons License

This is an open access article under the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) License.