Abstract

Informed by scholarship in dance studies, this essay examines the popular phenomenon of the dancing robot. It begins with an analysis of social robotics experiments that use techniques of contemporary experimental theater to frame human–robot interactions. With elements of theater history in mind, it becomes evident that such experimental designs fruitfully destabilize common understandings of social robots, theatrical performance, and dance movement. This sets up a discussion of a co-creative approach to developing robot choreography which utilizes compositional techniques from experimental dance to, among other things, avoid cultural appropriation. Taken together, these points show that, because dance movement is culturally laden, scholarship in dance studies should be considered when designing dancing robots.