This essay examines the question whether dance can do philosophy by considering the manner in which dance processes used in the studio can advance philosophical investigations of human embodiment. Two contemporary improvisation techniques are discussed, Gaga technique developed by Ohad Naharin and Contact Improvisation developed by Steve Paxton.

What are Eric Mullis’s contributions to a pragmatist philosophy of dance? First, the work brings attention to aspects of dance in regional and religious contexts and to a selection of religious dance practices not typically addressed in the literature of dance philosophy, thus adding to the current scope of dance studies. This book’s main strength with respect to pragmatist philosophies is its efforts to apply existing theories of pragmatism to aspects of dance (...) in a particular regional setting. This task is accomplished with three aspects of the research: ecological study of Pentecostal dance, pragmatism in a selection of its manifestations with connections to philosophies of dance, and performance. In the final chapter, the scope is broadened with summary references to alternative theories of dance philosophy and their interdisciplinary relations to dance studies using pragmatist philosophies. The remainder of this essay examines selection of past and current studies that inform the state of dance philosophy with the aim of gathering a broader perspective on the state of dance philosophy. While there is no established long-term tradition of dance philosophy, a generation of twentieth-century scholars—Cohen, Arnheim, Sparshott, Goodman, Van Camp, Banes, Carroll, McFee, Foster, and Fraleigh, among others—has advanced recent philosophical discussion of dance. Joining these are contemporary writers on philosophy of dance, such as Anna Pakes. (shrink)

This essay considers the recuperation of beauty as a productive critical strategy in discussions of African American dance. I argue that black performance in general, and African American concert dance in particular, seeks to create aesthetic sites that allow black Americans to participate in discourses of recognition and appreciation to include concepts of beauty. In this, I suggest that beauty may indeed produce social change for its attendant audiences. I also propose that interrogating the notion of beauty may (...) allow for social change among audiences that include dance theorists and philosophers. Through a case-study consideration of work by three African American choreographers, Donald Byrd (b. 1949), Ulysses Dove (1947 – 1996), and Abdel Salaam (b. 1949), I ultimately hope to suggest critical possibilities aligning dance performance with particular aesthetic theory relevant to its documentation and interpretation. (shrink)

Craig Hanks and Aili Bresnahan are contributing editors only -- not main editors.

This book examines the sensual and mental emphases of the movement research practiced by dancers of the Batsheva Dance Company and provides a comprehensive analysis of Gaga and Ohad Naharin's aesthetic approach.

An innovative examination of the ways in which dance and philosophy inform each other, Dance and Philosophy brings together authorities from a variety of disciplines to expand our understanding of dance and dance scholarship. Featuring an eclectic mix of materials from exposes to dance therapy sessions to demonstrations, Dance and Philosophy addresses centuries of scholarship, dance practice, the impacts of technological and social change, politics, cultural diversity and performance. Structured thematically (...) to draw out the connection between different perspectives, this books covers: - Philosophy practice and how it corresponds to dance - Movement, embodiment and temporality - Philosophy and dance traditions in everyday life - The intersection between dance and technology - Critical reflections on dance Offering important contributions to our understanding of dance as well as expanding the study of philosophy, this book is key to sparking new conversations concerning the philosophy of dance. (shrink)

This book investigates how Pragmatist philosophy as a philosophical method contributes to the understanding and practice of interdisciplinary dance research. It uses the author's own practice-based research project, Later Rain, to illustrate this. Later Rain is a post-dramatic dance theater work that engages primarily with issues in the philosophy of religion and socio-political philosophy. It focuses on ecstatic states that arise in Appalachian charismatic Pentecostal church services, states characterized by dancing, paroxysms, shouting, and speaking in (...) tongues. Research for this work is interdisciplinary as it draws on studio practice, ethnographic field work, cultural history, Pentecostal history and theology, folk aesthetics, anthropological understandings of ecstatic religious rituals, and dance history regarding acclaimed works that have sought to present aspects of religious ecstasy on stage; Doris Humphrey's The Shakers, Mark Godden’s Angels in the Architecture, Martha Clarke’s Angel Reapers and Ralph Lemon’s Geography trilogy. The project thereby demonstrates a process model of dance philosophy, showing how philosophy and dance artistry intertwine in a specific creative process. (shrink)

Dance and the Corporeal Uncanny takes the philosophy of the body into the field of dance, through the lens of subjectivity and via its critique. It draws on dance and performance as its dedicated field of practice to articulate a philosophy of agency and movement. It is organized around two conceptual paradigms - one phenomenological, the other an interpretation of Nietzschean philosophy, mediated through the work of Deleuze. The book draws on dance studies, (...) cultural critique, ethnography and postcolonial theory, seeking an interdisciplinary audience in philosophy, dance and cultural studies. (shrink)

ABSTRACT Dance and music serve in this essay to exemplify both the looping entanglement of art and life as well as the account of art and philosophy developed in Strange Tools. This essay replies to criticisms of Carrie Noland, Nancy S. Struever, and Thomas Rickert and also offers a briefer restatement of the general approach.

The emerging field of the philosophy of dance, as suggested by Aili Bresnahan, increasingly recognizes the problem that (especially pre‐modern) dance has historically focused on bodily perfection, which privileges abled bodies as those that can best make and perform dance as art. One might expect that the philosophy of dance, given the critical and analytical powers of philosophy, might be helpful in illuminating and suggesting ameliorations for this tendency in dance. But this (...) is particularly a difficult task since the analytic philosophy of dance is too young to have achieved a comprehensive treatment of dance per se, let alone to update such a treatment in line with the demands of social justice. As a step in that direction, the present article (a) summarizes dance theorists on disabled dance (as opposed to the dance of the temporarily able‐bodied, or TAB) and then applies (b) the philosophy of art and dance to disability, (c) the philosophy of disability to dance, (d) interdisciplinary disability theory to dance, and (e) my own Figuration philosophy of dance to disability, as inspired in part by John Dewey. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy—Aesthetics—Education:Reflections on DanceTyson Lewis (bio)To create is to lighten, to unburden life, to invent new possibilities of life. The creator is legislator—dancer.—Gilles Deleuze, Pure ImmanenceThe Italian philosopher Giorgio Agamben is perhaps best known for his ongoing interest in the problem of "biopower." Taking up where Michel Foucault ended, Agamben argues that the principle political and philosophical questions of the moment concern the connections between life and power. In (...) this sense, he stands in diametric opposition to one of the leading French intellectuals of our times: Alain Badiou. For Badiou, the key question of the present is not so much power and the body as it is the ethics of truth. According to Agamben, Badiou's project has abandoned thinking about the biopolitics of life and as such is both philosophically and politically suspect. But does Agamben's critique prematurely dismiss Badiou? In other words, does his critique prevent us from recognizing the precise location of biopolitics in Badiou's work? It is my contention that we must read Badiou not against but from within a biopolitical framework in order to realize both the validity of Agamben's criticism and its limitations. In fact, it is through the critical lens of biopolitical theory that we can begin to see the unique links in Badiou's thinking between aesthetics, the body, and education. In conclusion, I argue that Agamben provides insights missed by Badiou's reduction of the animal body to the disavowed grounds for the grace and beauty of truth, while at the same time Badiou provides Agamben's own theory of biopolitics with a unique educative practice: the practice of dance.Here I would like to justify this philosophical inquiry for educational theorists. With the fate of art-based educational programs uncertain in the [End Page 53] face of standardization, it is perhaps time to reassess legitimating claims for retaining arts education programs. By reading Badiou through Agamben, I hope to provide a new reason for advocating the centrality of dance in educational programs and assert the inherently educative qualities of movement-based curricula. Second, I hope to suggest in my conclusion that dance is an important form of educational practice antithetical to current forms of capitalist "bioproduction." As such, I will link together my own theory of dance education with the critical pedagogical tradition in order to anchor the "utopian imagination" in a practice of the body. This is an attempt to fill in a rather vague sphere of critical pedagogical research and theory: aesthetic practice. Overall, this article will bring together two important philosophical traditions—Agamben's biopolitical theory and Badiou's theory of truth—in order to examine their relation to education and, in turn, how education is a central concept for thinking through contemporary continental philosophical traditions.Biopower and Event: Situating the Subject in Relation to TruthMichel Foucault first coined the theoretical concept "biopower" in his work on the history of sexuality.1 In order to understand Foucault's meaning we must first separate biopower from sovereign power, which is characterized by the "right to decide life and death."2 The sovereign—which for Foucault is not simply a form of territorial rule but is a principle of power relations—decides who lives and who dies. Power here is the power of the sword that marks the body directly through overt forms of public torture and violence. But in the classical age and with the rise of capitalist social relations, the form and function of power switched. Famously, Foucault wrote that the highest function of power "was perhaps no longer to kill, but to invest life through and through."3 This new form of power—whose concern was no longer death but the maintenance and regulation of life—operates on two interconnected levels. First, biopower conceives of the body as a machine, which must be disciplined in order to be made more efficient. Here, power acts as microphysics, training the individual body in order to reach a high level of social efficiency. Second, on the macro level, biopower transforms the populous into a population that has to be carefully regulated in terms of propagation rates, health levels... (shrink)

Eric Mullis' Pragmatist Philosophy and Dance is a thoroughly multi-disciplinary and transdisciplinary book that is centered on and deeply engaged in the experimental and lived experience of Pentecostal dance in the American and Appalachian South. The focal point for Mullis' research is not observation and critique of dance as embodied religious practice from a critical distance but from the inside, embedding his own person and body into the environment with all the resources of the unifying self (...) that he has at his disposal to not just understand the form but feel it and live it. This makes Mullis a true William Jamesian and John Deweyan pragmatist; he doesn't... (shrink)

This is an overview of the philosophy of dance that is a subset of Western philosophical aesthetics. There is a new, substantially updated and revised full-text version available as of November 2019 available at the Stanford Encylclopedia of Philosophy website.

Dancing with Iris engages with Iris Marion Young's prolific writings in political theory and in phenomenology. Contributors discuss her work from a variety of disciplines, including philosophy, political science, human rights law, cultural geography and dance studies.

Philosophical consideration of dance has gained in vigor, diversity, and sophistication in recent decades -- even though philosophers disagree sharply on what philosophy is! Divergent methodological approaches range from the phenomenological explorations of Maxine Sheets- Johnstone, the existentialist approach of Sandra Horton Fraleigh, and the postmodernist continental work of Susan Foster to more traditional "British-American" analysis by such well-known philosophers as Nelson Goodman, Joseph Margolis, and Francis Sparshott.

Explores the philosophical dimensions and implications of integral theory. Dancing with Sophia is the first book of essays to focus on the philosophical dimensions and implications of integral theory. A metatheory that organizes first order theories and disciplines into higher order modes of knowing and insight needed to address the complexity of today’s world, integral theory has already impacted a wide range of disciplines, from psychology to business to religious studies to art. Included here are perspectives by scholars in the (...) continental, comparativist, and process traditions who dive into integral theory’s postmetaphysical claims in order to mine, extend, and critique its philosophical merits. On the verge of its own emergence, integral philosophy promotes modes of creative critical thought oriented toward the multidimensional flourishing of planetary well-being, and Dancing with Sophia will be of interest to scholars in philosophy; religious studies; transpersonal, developmental, and humanist psychology; and more. “Integral theory is a bold and provocative endeavor. It challenges one to think past the norm, to sail beyond the horizon and risk encountering the Scylla and Charybdis of what is academically acceptable—or at least familiar—and what is possible, in ways that only are now beginning to dawn on both thinking and dwelling. If it is nothing else, integral theory is the movement beyond the purely intellectual into the lived experience. This is its ‘meta-’ dimension properly understood.” — from the Foreword by Brian Schroeder. (shrink)

Common themes in American Indian philosophy -- First introductions -- Common themes : a first look -- Constructing an actual American Indian world -- NelsonGoodman's constructivism -- Setting the stage -- Fact, fiction, and feeders -- Ontological pluralism -- True versions and well-made worlds -- Nonlinguistic versions and the advancement of understanding -- True versions and cultural bias -- Constructive realism : variations on a theme by Goodman -- True versions and cultural bias -- An American Indian well-made actual (...) world -- Relatedness, native knowledge, and ultimate acceptability -- Native knowledge and relatedness as a world ordering principle -- Native knowledge and truth -- Native knowledge and verification -- Native knowledge and ultimate acceptability -- An expansive conception of persons -- A western conception of persons -- Native conceptions of animate beings and persons -- An American Indian expansive conception of persons -- The semantic potency of performance -- Opening reflections and reminders about performances -- Symbols and their performance -- The Shawnee naming ceremony -- Gifting as a world constructing performance -- Closing remarks about the semantic potency of performances -- Circularity as a world ordering principle -- Goodman briefly revisited -- Time, events, and history or space, place, and nature? -- Circularity as a world ordering principle -- Circularity and sacred places -- Closing remarks about circularity as a world ordering principle -- The dance of person and place -- American Indian philosophy as a dance of person and place -- Consequences, speculations, and closing reflections. (shrink)

The Nikolais/Louis Dance Technique provides the definite resource for understanding and practicing the influential dance technique developed by two pioneers of modern dance, Alwin Nikolais and Murray Louis. The Nikolais/Louis technique is presented in a week-to-week classroom manual, providing an indispensable tool for teachers and students of this widely studied movement practice. Theoretical background for further reading is set off from the manual for those interested in deeper study. Their philosophy and methodology span a broad readership (...) and offer an important addition to dance literature and American cultural history. (shrink)

Dance receives relatively little attention in the history of philosophy. My strategy for connecting that history to dance consists in tracing a genealogy of its dance-relevant moments. In preparation, I perform a phenomenological analysis of my own eighteen years of dance experience, in order to generate a small cluster of central concepts or “Moves” for elucidating dance. At this genealogical-phenomenological intersection, I find what I term “positure” most helpfully treated in Plato, Aristotle and Nietzsche; (...) “gesture” similarly in Condillac, Mead and Kristeva; “grace” in Avicenna, Schiller and Dewey; and “resilience” in Fanon, (Judith) Butler and Deleuze. With these analyses in place, I apply the four Moves in analyzing various forms of dancing (including salsa dancing and the pollen dance of the honeybee) and coordinate them to outline a comprehensive philosophy of dance. This philosophy points to certain conditions for an ideally flourishing, dancing society. And these conditions create the possibility for a coalition of sympathetic discourses (including critical race theory, queer theory, disability studies and democratic theory) united in pursuit of political virtue. The development of a philosophy of dance offers a deeper understanding of the intellectual values of a practice often identified with bodily immediacy and therefore judged uninteresting. It also reinvigorates philosophy with the dynamism and bodily relevance of the practice of dancing. Most important, it demonstrates the meaningful intersection of aesthetics and political ethics, by exploring how aesthetic practices underlie and inspire human flourishing. (shrink)

The aim of this book is to demonstrate that American Indians have a world-view that is consistent, intelligible, and legitimate. It is a deft and self-aware exemplification of the task of cross-cultural comparison. The overall strategy in the argument is to employ a modified version of Nelson Goodman’s notion of world-making and then construct a simplified model of the American Indian worldview. Norton-Smith accomplishes this difficult task and in the process modifies Goodman in a realist direction, making a strong case (...) that the Native view deserves intellectual respect. The writing is accessible and shows a deft and helpful interplay between abstract language and concrete illustrative .. (shrink)

Philosophers sometimes wonder whether academic work can ever be truly interdisciplinary. Whether true interdisciplinarity is possible is an open question, but given current trends in higher education, it seems that at least gesturing toward such work is increasingly important. This volume serves as a testament to the fact that such work can be done. Of course, while it is the case that high-level theoretical work can flourish at the intersection of dance and philosophy, it remains to be seen (...) how we might share this with undergraduate students. For many of us in philosophy and dance, a large number of the students we teach are neither philosophy nor dance majors. As such, we are familiar with the challenge of convincing our students to care about our fields. Both philosophy and dance, qua disciplines on a college campus, face similar challenges. These disciplines are often deeply misunderstood, frequently presumed to be “impractical” (a powerful, but confused objection), intimidating, and frivolous. In this chapter, we offer an account of the course we co-taught at Southern Utah University in the Spring of 2016 titled “Movement and Space” as a rough framework for how to introduce the intersection between philosophy and dance to students. We simultaneously attempted to break students of their misconceptions about philosophy and dance, and worked to engage students and professors alike in a truly interdisciplinary educational experience. Treating philosophy as an embodied endeavor, and employing philosophical concepts through the act of dance encouraged students and faculty alike to rethink the fundamental nature of aesthetics. (shrink)

Inspired by the philosopher Graham Parkes, this collection provides a distinctive study of aesthetics and the climate crisis. Engaging with Continental European and East Asian traditions, it challenges our definition of self in the West and asks us to re-evaluate our conventional perspectives. Through a valuable and systematic treatment of the thought of Parkes, The Wandering Dance in the Philosophy of Graham Parkes makes the case that a restoration of the intimate relation of self and nature is indispensable (...) in understanding our place in the order of things and achieving balance in the world. (shrink)

The Afro-Latin dance known as ‘salsa’ is a fusion of multiple dances from West Africa, Muslim Spain, enslaved communities in the Caribbean, and the United States. In part due to its global origins, salsa was pivotal in the development of the Figuration philosophy of dance, and for ‘dancing with,’ the theoretical method for social justice derived therefrom. In the present article, I apply the completed theory Figuration exclusively to salsa for the first time, after situating the latter (...) in the dance studies literature. My first section explores Juliet McMains’ recent history, Spinning Mambo into Salsa, with an emphasis on the dynamics of class, race and sex therein. My second section explores a resonant Afro-Latin dance history, Marta E. Savigliano’s Tango and the Political Economy of Passion, where she deploys salsa’s sister-dance (tango) as a ‘counter-choreography’ to the choreography of postmodern neocolonialism. And my third section applies Figuration’s four central aspects of dance (or ‘Moves’) to salsa qua member of its ‘societal’ family of dance. In conclusion, through partnering with salsa, Figuration emerges as a member of its own ‘discursive’ family of dance, while salsa emerges as a gestural discourse capable of helping reconstruct a more socially-just world from the postmodern ruins of today. (shrink)

This paper delves into the philosophical and ethical foundations of dance education, guided by the principles of dialogical philosophy. It explores the intersection of moral, aesthetic, and professional education in dance through the lenses of existential meaning and modes of existence. By examining fundamental questions such as "What constitutes a person?", "What is the nature of relationships among individuals?", and "How should individuals exist within society?", the study articulates a philosophical framework for dance education that emphasizes (...) spiritual and ethical development alongside technical training. The core philosophical principles identified for guiding dance education include the "love of life," which advocates for respecting human nature and fostering the sound development of one's personality; "educational love," which supports the holistic development of individuals, enhancing their personal and social capabilities; and "love of equality," which promotes egalitarian and harmonious relationships among individuals. These principles are rooted in both ethical imperatives and spiritual ideals, reflecting a deep engagement with dialogical philosophy that emphasizes the relational and communal aspects of human existence. The logical framework for choosing aspects of moral, aesthetic, and professional education in dance is thus structured around three main tenets: respecting human nature to nurture a healthy personality, fostering respect to enhance interpersonal harmony, and building upon a foundation of equality to advance communal well-being. These choices are not only pedagogical but also deeply philosophical, engaging with questions of how dance as an art form can contribute to the moral and spiritual growth of individuals and communities. This exploration situates dance education within a broader philosophical discourse, suggesting that dance, much like religious practices, involves a profound exploration of the human condition. It argues that dance education should transcend technical skill to incorporate a richer, more ethically and spiritually informed curriculum that prepares students not only as dancers but also as morally and spiritually aware individuals. (shrink)

Within intellectual paradigms that privilege mind over matter, dance has long appeared as a marginal, derivative, or primitive art. Drawing support from theorists and artists who embrace matter as dynamic and agential, this book offers a visionary definition of dance that illuminates its constitutive work in the ongoing evolution of human persons. _Why We Dance _introduces a philosophy of bodily becoming that posits bodily movement as the source and telos of human life. Within this philosophy, (...) dance appears as an activity that humans evolved to do as the enabling condition of their best bodily becoming. Weaving theoretical reflection with accounts of lived experience, this book positions dance as a catalyst in the development of human consciousness, compassion, ritual proclivity, and ecological adaptability. Aligning with trends in new materialism, affect theory, and feminist philosophy, as well as advances in dance and religious studies, this work reveals the vital role dance can play in reversing the trajectory of ecological self-destruction along which human civilization is racing. (shrink)

The art of dancing involves the motions of many body parts, particularly those that are rhythmically and musical. Modern dance is viewed as a type of nonverbal interaction that may be utilized to convey ideas, feelings, or even a narrative. Modern dances might be communal, audience-participatory, or both. Thus, following how the concept is used in the fast-expanding subject of the theory of dance, "philosophy" is understood widely here. Dance philosophy has a tone of promise, (...) in part because dance is so diverse that it may have connections to many different schools of thought. Modern dance has been practiced for a variety of goals all over civilization, including medicinal, economic, societal, cultural, and religious ones. Hence, in this paper, we review the conceptual foundations of Modern dance and how Marxist Philosophy was employed to create it. A recurrent procedures linear mixed model was developed for the study to predict a creative score and ascertain the impact of the key factors under consideration: experience and competence. The analysis of variance (ANOVA) was used to compare the average ratings of dance performance videos, and Pearson's correlation was used to investigate the relationships between the evaluations. (shrink)

According to the “Embodied Cognition” entry in the Stanford Encyclopedia of Philosophy, the three landmark texts in the 4E cognitive science tradition are Lakoff and Johnson’s Metaphors We Live By, Varela, Thompson, and Rosch’s The Embodied Mind, and Andy Clark’s Being There. In my first section, I offer a phenomenological interpretation of these three texts, identifying recuring affirmations of the figure of dance alongside explicit marginalization of the practice of dance, perhaps in part due to cognitive science’s (...) overemphasis on cognition to the exclusion of affect. In my second section, drawing on my previous interpretations of proto-affect theorists (including Spinoza, Deleuze, and Fanon), I channel this tension in 4E cognitive science into a dancing partnership with human science psychology, suggesting three “choreographic provocations” for therapeutic practice and psychological research, namely (1) treating clients/subjects as dancers, (2) reimagining research and therapy as improvised duets between practitioners and clients/subjects, and (3) pursuing an ideal of freer movement and an emergent flourishing singularity for clients/subjects. Finally, I reformulate these three choreographic provocations in terms of my new theoretical method of “dancing-with,” as well as the four psychological prerequisites for flourishing posited by my figuration philosophy of dance. (shrink)

A popular-level discussion of the mutual significance of physics and philosophy over the ages.

'Thinking Through Dance' explores important philosophical questions raised in and by dance. Its themes include the embodiment and personhood of dancers; issues of dance work ontology and performance identity; how dance is perceived and understood; the relevance of philosophy to dance as an artform; and whether dance itself, or its associated practices, are themselves philosophical in any significant sense. Individual essays draw on different philosophical traditions, including analytic, phenomenological and poststructuralist, and the primary (...) focus is on theatre dance in the Western tradition, although the issues discussed have a much broader sweep. The volume poses fundamental questions about what it means to be or witness a dancer moving, about the nature of choreography, dance works and performances, and about the interest and value of a dialogue between philosophy and dance. The philosophy of dance is a burgeoning field of enquiry and this volume seeks to represent something of the breadth of international research currently underway. It draws together contributors who are professional philosophers, dance scholars and dance practitioners, from Britain, continental Europe, the USA and South Africa. As the first anthology of essays about philosophy and dance to be published in English for some time, the aim is to provoke debate and develop the existing reflection on dance, but in new and invigorating directions. The Editors: The editors are colleagues at University of Roehampton, London: Jenny Bunker teaches aesthetics on the philosophy programme of the Department of Humanities; Anna Pakes and Bonnie Rowell are from the Department of Dance, and have a longstanding interest in the application of analytic philosophy to dance, as well as the intersections between this and other philosophical traditions and dance studies. (shrink)

The article examines the impact of Georges Bataille’s philosophy on Hijikata Tatsumi’s butoh dance. Bataille’s understanding of dance as unproductive expenditure, the concepts of inner experience and communication are being reconsidered and incorporated in choreographic language of Hijikata, extending his technical and conceptual tooling. Bataille defines dance as an expenditure given in a form of sign. The butoh dance-experience is functioning as a metaphor of a speculation, created by a movement. It is experienced by dancers (...) and spectators as an execution. (shrink)

The book offers the first systematic reading of Gilles Deleuze's mature philosophy through the lens of creative practice. Six authors - two fine artists, a dancer, a creative writer, a designer and a philosopher - open multiple dialogues between contemporary creative practices and the generative philosophy of Deleuze. These conversations are focused around key aspects of production: forming, framing, experiencing, encountering and practising."-- Back cover.

Using a concept she calls authenticity maneuvering to explain how clubs, clubbers, and DJs navigate authenticity, branding, and commercialism, Danielle Hidalgo argues that the strategic use of a rave ethos bolsters acceptance in dance music spaces while also making commercial practices less visible or problematic.

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists (...) considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition. (shrink)

In Back to the Dance Itself, Sondra Fraleigh edits essays that illuminate how scholars apply a range of phenomenologies to explore questions of dance and the world; performing life and language; body and place; and self-knowing in performance. Some authors delve into theoretical perspectives, while others relate personal experiences and reflections that reveal fascinating insights arising from practice. Collectively, authors give particular consideration to the interactive lifeworld of making and doing that motivates performance. Their texts and photographs study (...) body and the environing world through points of convergence, as correlates in elemental and constant interchange modeled vividly in dance. Selected essays on eco-phenomenology and feminism extend this view to the importance of connections with, and caring for, all life. Contributors: Karen Barbour, Christine Bellerose, Robert Bingham, Kara Bond, Hillel Braude, Sondra Fraleigh, Kimerer LaMothe, Joanna McNamara, Vida Midgelow, Ami Shulman, and Amanda Williamson. (shrink)

Performance-as-philosophy and Philosophy-as-performance. Interdisciplinary Approaches to Understand Dance Performance Philosophy refers to an international network of researchers, practitioners, scholars, and activists who investigate new forms of thinking, performing and practicing philosophy through international conferences and events. An independent journal and a book series of the same name also aim to define the perimeter of an emerging international interdisciplinary field of thought....

The paper examines a central question in the philosophy of dance from the vantage point of a specific choreographic practice: Movenglish. Movenglish attempts to establish a one-to-one mapping between English words and dance movement equivalents in the body in a way that maximally captures both the connotative and denotative aspects of the words in question. The paper argues that the success of Movenglish has several important consequences for the philosophy of dance as well as our (...) understanding of sign systems more generally. The paper elaborates one of the strongest contributions to the philosophy of dance – the work of Susanne Langer – in order to show how the conclusions drawn from the dance produced through Movenglish both contribute to and depart from Langer’s philosophy. (shrink)

This chapter, composed of three parts by three different authors, proposes that one of the many possible ways that dance might embody philosophic thought and discourse is via embodying ethical practice. Each author contributes a different perspective on the relationship between dance and ethical activity. The perspectives can be read both as separate ideas and as interrelated thoughts. Einav Katan-Schmid views ‘dance’ as a metaphor for ‘embodied ethics’. She analyses dance as an embodied activity of decision-making (...) which regulates the tension between co-existing physical dynamics. Following from the idea of ‘dancing’, she suggests that one think of ‘embodied ethics’ in performative terms – as a contemplative activity. Aili Bresnahan goes on to show how dance practice provides examples of applied ethics within the traditional western philosophical categories of both virtue ethics and consequentialist ethics. In the third section, Sara Houston argues that dance can encompass an ethics of care. She demonstrates how dance with an ethic of care involves attentiveness, putting person before form, and for the dance artists to give up a degree of control and autonomy over the work made. (shrink)

This is the first volume devoted to the topic of dance and quality of life. Thirty-one chapters illuminate dance in relation to singular and overlapping themes of nature, philosophy, spirituality, religion, life span, learning, love, family, teaching, creativity, ability, socio-cultural identity, politics and change, sex and gender, wellbeing, and more. With contributions from a multi-generational group of artists, community workers, educators, philosophers, researchers, students and health professionals, this volume presents a thoughtful, expansive-yet-focused, and nuanced discussion of (...) class='Hi'>dance’s contribution to human life. The volume will interest dance specialists, quality of life researchers, and anyone interested in exploring dance’s contribution to quality of living and being. (shrink)

본고는 전통시대의 ‘상관적 사유’를 토대로 하여, 『악학궤범(樂學軌範)』 당악정재(唐樂呈才) 춤절차의 규칙성과 『악학궤범』 권1에 제시되어 있는 사상체계의 상관성을 연구한 것이다. 그 결과 첫째, 교차회무(交叉回舞)는 동쪽에 위치하여 양(陽)을 상징하는 좌대(左隊)와 서쪽에 위치하여 음(陰)을 상징하는 우대(右隊)가 서로 교차하여 음양의 합을 이루고 있는 형상이며, 해와 달, 그리고 북두칠성의 운행과 상관성이 있는 것으로 보았다. 이는 양인 하늘과 음인 땅이 음양의 합을 이루듯이, 이러한 자연의 이치를 본받아 무원들의 교차회무를 통해 음양의 조화를 형상화 한 것으로 볼 수 있다. 둘째, 무원 전체가 크게 원을 그리며 도는 회선(回旋)은 모두 좌선(左旋)하는데, (...) 좌선의 의미는 팔풍(八風)과 관계가 있다. 즉 춤절차에서 좌선은 시계방향으로 바람[風]의 진행 방향에 따라 도는 것과 관계가 있다. 셋째, 춤절차 ‘3’회 반복과 사상적 체계의 상관성이다. 전통시대에는 하늘과 땅, 사람을 하나의 우주적 관점에서 해석했으며, ‘3’은 바로 천지인의 상징이었고, 예악의 완성을 뜻하는 것이었으며, 천지자연의 완성과 변화를 상징하는 것이었다. 춤의 절차에서 나타난 규칙성은, 음양의 합ㆍ천간(天干)과 지지(地支) 기운의 조화ㆍ팔풍의 방향성ㆍ‘3’으로 표현된 천지인의 합일 등을 총체적으로 표현한 것으로서, 천지인의 기운이 하나로 응집되어 자연순응, 천지기운순행(天地氣運順行) 등을 구현하고자 했던 것으로 해석할 수 있다. 결국 춤절차의 규칙성은 ‘천지의 화(和)’를 형상화 했던 것으로 귀결된다. 본고의 연구결과는 과거 악무(樂舞) 제작의 원리를 설명할 수 있는 토대가 될 뿐만 아니라, 『악학궤범』 당악정재에 내재되어 있는 사상적 체계의 실현 양상을 객관적으로 확보할 수 있다는 데에 그 가치가 있다. (shrink)

This article attempts to answer a question that many dancers and non-dancers may have. What is dance according to the media? Furthermore, how does the written word portray dance in the media? To answer these ques-tions, this research focuses on the role that the discourse of dance in media plays in the public sphere’s knowledge construction of dance. This is impor-tant to study because the public sphere’s meaning of dance will determine whether dance education (...) is promoted or banned in schools and in society. The aim of this paper is to contribute to the existing literature of dance in the media. One limitation of this contribution is that the research uses only newspaper articles as a source of analysis. Future research should include an analysis of visual and audio clips of dance as portrayed in the media. (shrink)

The informative purpose of the research study is to describe the Applications of modern dance and creation in Chinese dance from dialectical materialist philosophy. This research study was conducted in china to measure Chinese and modern dance from materialist philosophy. Research based on primary data analysis for gathering the data developed almost 10 to 12 questions related to the variables. The Chinese dancers, department of Chinese dancers, film industries, etc., are all research study participants. For (...) measuring, the research study used smart PLS software, and run results included composite reliability, segmentations, smart PLS Algorithm, indicator correlations, and signification analysis related to the modern dance creation performance in China and the effect of dialectical materialist philosophy. Overall, the research found a positive and significant application of modern dance and creation from dialectical materialist philosophy. Modern dance and creation have a direct influence on dialectical materialist philosophy. (shrink)