The presentations in this session varied in approach, scope, goals, and results, ensuring a dynamic discussion in a developing area of inquiry. The session opened with an introduction by Michael Shanks (Stanford University), who outlined current issues in performance studies.

Towards an archaeology of performance by Michael Shanks

Therese De Vet (University of Arizona) used video of a modern Balinese performance to illustrate interaction between performers and audience comparing such interaction to ancient Greek performances. Robyn Gillam (York University) discussed classroom presentations of Ancient Egyptian theatre reenacted by students as a means of learning about the culture and ancient drama.

Matthew Looper (California State University, Chico) used ethnopoetic models to analyze gesture in ancient Maya art revealing aesthetic tropes that provide information about political performances. Barbara Voss (Stanford University) compared Judith Butler's theories of performativity with Bourdieu's theory of practice to consider how archaeologists might study rituals and everyday performances as a means to understand gender and sexuality.

Kathryn Reese-Taylor (University of Calgary) and Rex Koontz (University of Houston) used poetics as a framework to examine ancient Mesoamerican ballcourts. The ballcourts include elaborate imagery and were used as settings for political theatre. Comparing similar ballcourts in different areas reveals that the cultures have more differences than it appears.

Theodore Burgh (University of Notre Dame) examined the use of space in ancient cultic musical performances in the Middle East. Burgh developed a model to determine the minimum performance space needed for certain rituals, an idea that can be expanded to other areas. Emily Donald (Columbia University, National Park Service) applied Bourdieu's practice theory to the study of ritual in the American Southwest providing a link between material remains and the ritualization of behavior.

Dale Olsen (Distinguished Research Professor of Ethnomusicology, Florida State University) delighted everyone with a live ocarina performance as he explained how Peruvian shamans use the instruments to communicate with the supernatural world. Modern practices may incorporate the use of ancient Moche instruments, creating continuity with the past.

John Schoenfelder (UCLA) described Balinese processions as indexical symbols that physically point to sacred places. Moving between these places creates ties between them and reenacts practices from centuries before. Julia Sanchez (UCLA) used a four-pronged approach to the study of ancient Maya processions, comparing archaeological, iconographic, ethnohistoric, and ethnographic data. The processions were elaborate performances that stopped and started, involving many varied activities.

Ian Hodder (Stanford University) summarized the session and pointed out new directions. He highlighted the use of practice theory and reenactments of ancient performances as informative trends. Hodder stressed the importance of connecting these ideas back to the archaeological data.

Larry Coben, (Director, Proyecto Inkallakta, Department of Anthropology - Archaeology University of Pennsylvania) another attendee is co-editing with Takeshi Inomata a volume entitled "Theatres of Power and Community in Premodern Societies" which will examine the nature and political implications of theatrical performance (broadly defined to include spectacles, rituals, processions etc.) in public events. Contributors to the volume include Ian Hodder, Steve Houston, Jerry Moore, Adam Smith, Daniela Triadan, Michael Shanks, John Baines, Susan Kus, Alison Futrell, David Romano, Steve Lansing and Richard Schechner.