The Bloomsbury Handbook of Dance and Philosophy

Cover page
Halftitle page
Title page
Copyright page
Epigraph
CONTENTS
LIST OF PLATES
CONTRIBUTORS
ACKNOWLEDGMENTS
Introduction One Dance and Philosophy REBECCA L FARINAS AND JULIE C. VAN CAMP
Introduction Two Dance Philosophy and Aesthetics JEFF FRIEDMAN AND AILI BRESNAHAN
PART ONE Philosophical Practice as a Dancing Matter
	CHAPTER 1.1 Introduction: Presenting an Engagement of Philosophy and Dance JULIE C. VAN CAMP
	CHAPTER 1.2 Teaching Dance and Philosophy to Non-Majors: The Integration of Movement Practices and Thought Experiments to Articulate Big Ideas MEGAN BRUNSVOLD MERCEDES AND KRISTOPHER G. PHILLIPS
		PREPARATION
		PREPARING THE CONCEPTUAL SPACE: PLANNINGAN INTERDISCIPLINARY APPROACH TO THE PHILOSOPHY OF SPACE AND MOTION
		MOVING THROUGH SPACE
		EMBODIMENT, SELF-KNOWLEDGE, AND CARTESIAN PHILOSOPHY
		OUTCOMES, METHODS, AND ASSESSMENTS
		TRUE INTERDISCIPLINARITY: STUDENT LED SEMINARS ON VIRTUAL, PERSONAL, PERCEIVED, CONCEPTUAL, AND CONSTRUCTED SPACE AND MOTION
		UNDERSTANDING BIG IDEAS THROUGH CONCEPTUAL ANALYSIS
		UNDERSTANDING BIG IDEAS THROUGH THE CREATIVE PROCESS
		CONCLUSION: GAINS, LIMITS, AND IDIOSYNCRASIES
	CHAPTER 1.3 Dance, Normativity, and Action GRAHAM MCFEE
	CHAPTER 1.4 What is Mark Morris’ “Choreomusicality”? Illuminate the Music, Dignify the Dance JULIE C. VAN CAMP
	CHAPTER 1.5 Analytic Philosophy and the Logic of Dance KRISTIN BOYCE
		INTRODUCTION
		STAGE ONE: PHILOSOPHY, DANCE, AND THEORETICAL REASON
		STAGE TWO: TURNING THINGS UPSIDE DOWN
		STAGE THREE: DANCE AND LOGIC OF AESTHETIC REASON
	CHAPTER 1.6 The Negotiation of Significance in Dance Performance: Aesthetic Value in the Context of Difference JANE CARR
		INTRODUCTION
		DANCING AS A COMMUNICATIVE PHENOMENON
		UNDERSTANDING THE SIGNIFICANCE OF DANCING
		THE NEGOTIATION OF SIGNIFICANCE AS IMPORTANT TO THE AESTHETIC VALUES ATTRIBUTED TO DANCE AS ART
		CONCLUSION
	CHAPTER 1.7 Dance as Embodied Aesthetics BARBARA GAIL MONTERO
		THE TRADITIONAL VIEW
		AESTHETIC EXPERIENCE FROM THE DANCER’S POINT OF VIEW
		ARE FIRST-PERSON REPORTS RELIABLE?
		IS PROPRIOCEPTION SENSORY?
		ADDRESSING THE DISTANCING REQUIREMENT FOR AESTHETIC EXPERIENCE
		THE SUBJECT AND OBJECT OF PROPRIOCEPTION
		THE “MINIMAL REQUIREMENT” FOR AN OBSERVER OF DANCE
		OUTRO AND A LINGERING QUESTION
	CHAPTER 1.8 From Presentational Symbol to Dynamic Form: Ritual, Dance, and Image RANDALL E. AUXIER
		A BRIEF APOLOGIA
		INTRODUCTION
		FROM BODILY FEELING TO PRIMARY ILLUSION
		DANCING THE APPARITION
		REFLECTION
		FORM
PART TWO Movement, Embodiment,and Meaning: The Distinctiveness of Dance
	CHAPTER 2.1 Introduction: Refl ections on Practice EDYTA KUZIAN
		FORMS OF PERFORMANCE ARTS THAT USE THE BODY AS THEIR MEDIUM
		FORMS OF DANCES, WHICH USE THE BODY AS ITS DISTINCT MEDIUM
	CHAPTER 2.2 Interpretation in Dance Performing AILI BRESNAHAN
	CHAPTER 2.3 Epistemologies of Body and Movement in Contemporary Dance EDGAR VITE AND DIANA PALACIO
		THE AUTONOMY OF MOVEMENT AND EXPRESSION OF THE BODY IN ISADORA DUNCAN
		THE ADOPTION AND REINTERPRETATION OF CLASSIC FORMS BY JIRÍKYLIÁN
		THE INTERCHANGE BETWEEN ART DISCIPLINES IN MERCE CUNNINGHAM
		TECHNOLOGICAL MEDIATION AND TRANS-CORPORAL EXPERIENCE IN PHILLIPPE DECOUFLÉ
		CONCLUSIONS
	CHAPTER 2.4 The Phenomenology of Choreographing REBECCA WHITEHURST
		FOUNDATIONAL CONCEPTS
		ACCOUNTS OF DANCE-MAKING
		STRUCTURES OF CONSCIOUSNESS
		APPROACHES TO ARTISTIC CONTENT
	CHAPTER 2.5 Discovering Collaboration in Dance RICHARD D. HALL
	CHAPTER 2.6 Falling Up: An Explication of a DanceK AYSIE SEITZ BROWN
		THE SLIDING SCALE OF ART IN THE FIRST AND SECOND FUNCTION
		THE ASSIGNMENT, THE ORIGINAL INTENSION, AND AN OVERALL LOOK AT THE PROCESS
		ZOOMING IN ON THE INITIAL PROCESS
		THE PRODUCT
		CAN A DANCE OR ANY WORK OF ART TRULY BE PURELY FIRST FUNCTION?
		RETURNING TO A DANCE WORK FIFTEEN YEARS LATER
	CHAPTER 2.7 Early Floating in the Hereand Now: The Radically Empirical Immediate Dance Poetry of Erick Hawkins and Lucia Dlugoszewski LOUIS KAVOURAS
		BEFORE THE HERE AND NOW OF EARLY FLOATING
		F. S. C. NORTHROP AND THE COURAGE TO BE ABSTRACT
		REVIVING EARLY FLOATING
		RECONSTRUCTING DLUGOSZEWSKI’S SCORE FOR EARLY FLOATING
		HAWKINS NOW
	CHAPTER 2.8 Je danse; donc, je suis DAVID LEVENTHAL
		CREATING A COMMUNITY OF LEARNING
		THE STUDIO AS AN ANOMALOUS SPACE
		INTERNAL VS. EXTERNAL FORMATION
PART THREE Philosophy, Dance Traditions, and Everyday Experience
	CHAPTER 3.1 Introduction: Cross- Currents in Philosophical and Dance Traditions STEPHEN DAVIES
	CHAPTER 3.2 A New Universality: Pragmatic Symbols of World Peace in Drawing and Dance REBECCA L FARINAS
		AESTHETICS AND ART AS SIGN-MAKING PROCESSES
		EIDETIC DRAWING AND THE DELSARTE METHOD OF ELOCUTION AS UNIVERSAL SYMBOLS OF EVOLUTIONARY LOVE
		MARK MORRIS’ SOCRATES AS BOTH CRITIQUE AND UNIVERSAL SYMBOL OF WORLD PEACE
	CHAPTER 3.3 Groovy Bodies: The 1970s, Somatic Engagement and Dance CAROLINE SUTTON CLARK
		SITE OF INQUIRY
		THE 1970S
		METHODOLOGIES OF LOOSENING UP AND FEELING GROOVY
		GETTING LOOSE IN BALLET
		GETTING LOOSE IN POST-MODERN DANCE
		DANCE DOES PHILOSOPHY DOES DANCE
		CODA
	CHAPTER 3.4 Indian Traditional Dance and the Experience of Ego-Transcendence BINITA MEHTA
		RASA EXPERIENCE
		AESTHETICS AND YOGA
		NON-DUAL INTERACTION AND SELF TRANSFORMATION
		CONCLUDING REMARKS
	CHAPTER 3.5 Resisting the Universal: Black Dance, Aesthetics,and the After lives of Slavery THOMAS F. DEFRANTZ
		ULYSSES DOVE AND THE BLACK-CENTERED HUMANITY
	CHAPTER 3.6 The Landscape of the Arts LAKSHMI VISWANATHAN
	CHAPTER 3.7 Entanglement: A Multi-Layered Morphology of a Post-Colonial African Philosophical Framework for Dance Aesthetics JEFF FRIEDMAN
		INTRODUCTION
		DECOLONIZING AFRICAN PHILOSOPHY
		ONTOLOGICAL ENTANGLEMENT
		AESTHETIC ENTANGLEMENT
		SOCIAL ENTANGLEMENT
		CONCLUSION
	CHAPTER 3.8 African Sensibility and the Muscogee (Creek) Stomp Dance Tradition PAULA J. CONLON
		STOMP DANCE TRADITION
		GREEN CORN RELIGION
		CREEK PERFORMATIVE STYLE
		CREEK FREEDMEN
		SHARED AESTHETICS—RING SHOUT
		SHARED AESTHETICS—CREEK CHRISTIANS
		SHARED AESTHETICS—AFRICAN
		SOCIAL FUNCTION
		GROUP COHESION
		AFRICAN SENSIBILITY
		TRADITION AS ACTIVE PROCESS
	CHAPTER 3.9 The Mask Which the Actor Wears is Apt to Become His True Face: How Jon Cryer Toes the Line Between Homage and Mimicryin Pretty in Pink ’s Ultimate Lip Sync ADDIE TSAI
		JOHN HUGHES CREATED A NEW CHARACTER . . .AND EXTENDED SOME OLD ONES IN THE PROCESS
		A SIGNIFYING ECONOMY OF BLACKNESS IN JOHN HUGHES’ WEIRD SCIENCE AND FERRIS BUELLER’S DAY OFF
		DUCKIE AS RACIAL COMMODITY IN PRETTY IN PINK
PART FOUR How Does Dance Move Us Via Technology?
	CHAPTER 4.1 Introduction: Dance and Technology DAVID DAVIES
		TECHNOLOGY AND DANCE APPRECIATION
		TECHNOLOGY IN DANCE ART—SCREENDANCE
		TECHNOLOGY AS A SUBJECT OF DANCE ART
	CHAPTER 4.2 Aesthetic Engagement in Video Dance ARNOLD BERLEANT
		DANCE VIDEO AND VIDEO DANCE
		CHOREOGRAPHING THE CAMERA
		AESTHETIC ENGAGEMENT IN VIDEO DANCE
	CHAPTER 4.3 Bodies at Rest: Four Still Images DANIEL CONRAD
	CHAPTER 4.4 What Do We Loseto a Video? IAN T. HECKMAN
		IMAGINATIVE RECONSTRUCTION
		KINESTHESIS
		TWO OPTIONS
		KINESTHETIC DISTANCE
		CONCLUSION AND RELEVANCE OF KINESTHETIC DISTANCE
	CHAPTER 4.5 Embodying Agency in the Human-Techno Entanglement ELIOT GRAY FISHER AND ERICA GIONFRIDDO
	CHAPTER 4.6 mEANING rEMIX: Ambivalent Readings of Marie Chouinard’s bODY rEMIX/gOLDBERG vARIATIONSL. ARCHER PORTER
		MATRIX OF DEVIANCE AND DISABILITY
		DANCING CYBORGS
		THE ART OF AMBIVALENCE
	CHAPTER 4.7 Considerations on Site-Specific Screen dance Production ANA BAER CARRILLO
		SITE- SPECIFIC SCREENDANCE
		BACKGROUND
		PAST COLLABORATIONS
		PARTNERING WITH THE SITE
		ETHICAL IMPLICATIONS
		EDITING
		SOUND
		EDITING DANCE
		SUPERIMPOSITION
		THE AFTERMATH
PART FIVE Critical Reflections on Dance
	CHAPTER 5.1 Introduction: The Richness of Dance for Life and Thought JULIA BEAUQUEL
		A FEW DIFFICULTIES OF DANCE CRITICISM, IN PRACTICE AND THEORY
		IS CRITICISM AN ART OR A SCIENCE?
		CRITICISM AS AN ART
		CRITICISM AS A SCIENCE
		SOME PHILOSOPHICAL HESITATION ABOUT INTERPRETATION
		KNOWLEDGE OR UNDERSTANDING?
		TRUTH OR CORRECTNESS?
		IS THE INTERPRETER RATIONAL?
		CONCLUSION: WRITING ABOUT DANCE
	CHAPTER 5.2 Movement on Record: Poetry, Presence, Radicalism JONELLE SEITZ
		DANCE CRITICISM WITHIN THE CONTEXT OF ACHANGING ARTS JOURNALISM ECOSYSTEM
		DANCE CRITICISM WITHIN THE CONTEXT OF SERIOUS CULTURAL CRITICISM
		HOW TO SHOW UP: RECOGNITIONS
		CONCLUSION: SHOW UP, SHOW DOWN
		AFTERWORD
	CHAPTER 5.3 Structure, Form, and Function of Dance Criticism and the Ways it Relates Audiences to Works of Art HENRIQUE ROCHELLE
		AN OVERVIEW OF DANCE CRITICISM
		CRITICISM DEFINED AS A TEXT GENRE
		CRITICISM DEFINED BY THE FIGURE OF THE CRITIC
		CRITICISM DEFINED BY ITS FUNCTIONS
		ALTERITY, CRITICISM, AUDIENCES, AND MEDIATION
	CHAPTER 5.4 Dancing-with: A Theoretical Method for Poetic Social Justice JOSHUA M. HALL
		INTRODUCTION: A METAPHOR FROM SALSA DANCING
		THE FOUR VIRTUES AND POSITINGS OF DANCING-WITH
		DANCING WITH FOUR TYPES OF PHILOSOPHERS
		DANCING WITH ELEVEN PHILOSOPHERS
		CONCLUSION
	CHAPTER 5.5 The Power of Political Dance: Representation,Mobilization, and Context Apparatus ERIC MULLIS
		HOW EFFECTIVE IS POLITICAL DANCE THEATER?
		THE POWER OF POLITICAL DANCE
		THE WORLD OUTSIDE THE THEATER
		PRACTICAL IMPLICATIONS: CRITICISM AND SYMBOLIC VALUE
	CHAPTER 5.6 The Economic Politics of Pleasure in Gaga MEGHAN QUINLAN
Conclusion Questions for Richard Shusterman
SELECTED BIBLIOGRAPHY
INDEX