In this study, the author empirically tests a formulation of Ellen Dissanayake's evolutionary theory of art, which argues that art evolved to promote group cohesion. The hypotheses derived from this theory and tested in this study specifically focus on ritual art and its relationships to various proxies for group cohesion such as community conflict and internal warfare. Results show that the presence of ritual art is significantly higher where certain measures of group cohesion are also higher (including lower internal warfare, lower conflict between communities of the same society, and lower frequency of violent conflict between groups within local communities).

In this study, the author empirically tests a formulation of Ellen Dissanayake's evolutionary theory of art, which argues that art evolved to promote group cohesion. The hypotheses derived from this theory and tested in this study specifically focus on ritual art and its relationships to various proxies for group cohesion such as community conflict and internal warfare. Results show that the presence of ritual art is significantly higher where certain measures of group cohesion are also higher (including lower internal warfare, lower conflict between communities of the same society, and lower frequency of violent conflict between groups within local communities).

In this study, the author empirically tests a formulation of Ellen Dissanayake's evolutionary theory of art, which argues that art evolved to promote group cohesion. The hypotheses derived from this theory and tested in this study specifically focus on ritual art and its relationships to various proxies for group cohesion such as community conflict and internal warfare. Results show that the presence of ritual art is significantly higher where certain measures of group cohesion are also higher (including lower internal warfare, lower conflict between communities of the same society, and lower frequency of violent conflict between groups within local communities).

In this study, the author empirically tests a formulation of Ellen Dissanayake's evolutionary theory of art, which argues that art evolved to promote group cohesion. The hypotheses derived from this theory and tested in this study specifically focus on ritual art and its relationships to various proxies for group cohesion such as community conflict and internal warfare. Results show that the presence of ritual art is significantly higher where certain measures of group cohesion are also higher (including lower internal warfare, lower conflict between communities of the same society, and lower frequency of violent conflict between groups within local communities).

In this study, the author empirically tests a formulation of Ellen Dissanayake's evolutionary theory of art, which argues that art evolved to promote group cohesion. The hypotheses derived from this theory and tested in this study specifically focus on ritual art and its relationships to various proxies for group cohesion such as community conflict and internal warfare. Results show that the presence of ritual art is significantly higher where certain measures of group cohesion are also higher (including lower internal warfare, lower conflict between communities of the same society, and lower frequency of violent conflict between groups within local communities).

This study examines the influence of the "child-adult" conflict on the frequency of drunkenness in a culture. In particular, the author examines the socio-psychological factors that can induce a child-adult conflict, claiming that this conflict may be more common when mothers are the primary dispensers of rewards.

A large-scale comparative study of folk songs around the world employing systematic measures (cantometrics). The aim was not just to describe variation but to test hypotheses about the relationships between song style and societal structures. Dance was also considered.

This chapter examines the relationship between social cohesion (measured using variables like subsistence type, stable work teams, and settlement patterns) and musical cohesion. All hypotheses are supported.

This book examines the difference between warless and warlike societies and attempts to determine the point at which a society becomes warlike. The author suggests that differences between warless and warlike societies are mostly organizational and hypothesizes that "unsegmented" societies, or societies that have a weaker sense of group identity and cohesion, will be more likely to be warless than "segmented" societies. Several tests are presented. Results generally support the hypothesis.

This article examines the frequency and emotional arousal of ritual. Cross-cultural tests support the existence of two modes of religiosity: doctrinal, with high frequency and low emotionality of ritual, and imagistic, with low frequency and high emotionality of ritual. Both euphoric and dysphoric arousal are considered. Associations between these two modes of religiosity and other features of culture (such as group size and the use of agriculture) are examined.