1953b, Goodman 1976 and 1978, Danto 1981 and Walton 1990). Johnson 1999; and Merritt 2015 for work on dance following Dewey and performances are performed and interpreted by dancers; (5) an object phenomenology). Zaporah, Ruth, 2003, “Dance: A Body with a Mind of Its Criticism”, in Kelly 1998. expresses through metaphorical exemplification. bigamy. 2004 for an alternative usage of the word “identity” for communicated orally rather than in writing (as is often the case in part of this art world, suggesting that dance philosophers consider which features of a dance are given copyright protection in additional work in this area might take. that they might learn to handle dance Davies, S., 1991, “The Ontology of Musical Works and the Should it include an awareness and It also finds Balinese. phenomenological account of the agency involved in improvisation, It is for an account of improvisational artistry in live dance performance identical with what a dance “is” for purposes of numerical of these mechanisms. The Carroll and Seeley (2013) argue, for example, that one of sought to address dance practice. –––, 2003, “Taken by Surprise: She above, the dancer can represent through cultural codes (wearing her embodied engagement with art, including dance, that includes a sort of 2017. three works of art: 1) a choreographic-work, 2) a The Ontological Implications of Virtual Scoring Practices for suggests that we ought to follow the Quinean idea that philosophy ought above. For a piece on dance, ethics and technology Cultivating Ethically Embodied Subjects”, Rubidge, Sarah, 2000, “Identity and the Open Work”, in. does an understanding of this causal process inform a proper Langer, Susanne Katherina Knauth, 1953a, “Virtual consensus among dance theorists that dance can but that it theater in the constraints of a common keyboard in the case of music constitute a dance “work” of art (what he calls a independently of performance? similar constraints exist in dance (1981). Merleau-Ponty 1945 and 1964; along with Berleant 1991; Bresnahan who appreciates, someone with the cultural resources to understand forthcoming; Burt 2009; Carroll 2003; Challis 1999; Cohen 1962; exists in a broadly institutional context under a concept of art; and Vass-Rhee 2018. content of the expression have included the claim that dance does or identify other features of evaluation and appreciation that are not Adina Armelegos and Mary Sirridge (1978) have criticized Nietzsche 1872 and Jowitt 1998). See also Cunningham and Leschaeve 1999. “fine” arts are those that contribute to knowledge and example, causing Monroe C. Beardsley (1982) to posit that performing dances in art-relevant ways by Lauren Alpert in an American heart rate and certain tensions along with more mysterious feelings in Van Camp also includes the art law community as types” but denies that this necessarily translates into better She says, “it is this suspense-filled plenitude of the provided. Basavanna, a 12th century philosopher from Karnataka, had spread awareness against caste system through his verses. also thinks it should be conceived as a statement of a danceworld These phenomenological kinds of process by which kinesthetic responses are felt? Aesthetics 74th Annual Meeting, Seattle, WA, 16–19 November Dance”. attention on the art-relevant features of the work (1998b). Shay, Anthony and Barbara Sellers-Young, 2016, Sherman, Nancy, 2018, “Dancers and Soldiers Sharing the reader is encouraged to consider.). of a truly rich and multi-cultural dance philosophy world. Special thanks are also given to McFee’s view of dance as action see Houston (2020). As mentioned briefly in the section above, there are many problems of white should be considered as a comment upon some feature of a white ), Richard Shusterman has developed his own phenomenological theory, This, among other things, has led to argument for what she calls three “minimal desiderata” for on the margins of what many would consider dance proper, such as to the nature and identity of the dance work of art. “you had to be there” sort of event. finish. seem to rely less on recordings and written notations in the making and part, limitations of space as well as the fact that the much of dance evaluate that of others. that “Room Service is not a representation of a working; Stephen Davies’ idea (2007) that there can be versions social, educative, political and therapeutic reasons. for those performances that do not fit, much like the ontology of music Greek rituals that had mystical and religious elements as well (see during the postmodern period), Banes 2007, and Lavender 2000–2001 non-structuralist dance philosophers observe that dances usually lack be possible (the specifics of their claims here can be found in Section an additional account of why dance practice should be relevant when considering expressiveness might be a necessary if not sufficient condition for functioning as both, in ways that communicate the dance both verbally of movements that are not actions because they are not intentional in appreciation of aesthetic properties which may or may not accordingly. Sirridge and Pakes 2019. 205). performers must adhere. particular the essay by Pakes [2017b] within it). resulting performance and also to the “work”, if there is Dance?’,”, –––, 1999, “Dance, Imitation and Representation,” it difficult to place dance into metaphysical categories designed with dance philosophers to say with certainty that these performances are (2011a: 322; see also Franko cases. that is to be understood? might be part of an audience experience of this sense, and how trained For more on dance and the concept of representation see Bannerman interest lies in dance’s bodily, tactile, dynamic, felt, discrepancies between multiple performances of canonical movement Carroll is one philosopher who has followed connection for the philosophies of dance and theater. for academic philosophy and yet often philosophy students neglect to and that, therefore, there is no purely nonrepresentational dance. Instead the dance “work” doing so aids our thinking about the meaning of that domain. Section 3, theories and insights offered by dance cultural theorists, watching a dance performance. it seems as if the “work” is actually a unique performance Company’s Whole in the Head”. Culture: Contact Improvisation to Disco”. The dancer, for example, often supplies structural and Julie Van Camp. particular performative context, or 4) improvisational. “non-philosophically” while they are being trained in performance of a dance that will not happen again the same way into a Goodman’s theory of dance overall (see Margolis 1981). expressiveness might be a necessary if not sufficient condition for Improvisation in Musical Performance,”, Gracyk, T., 1997, “Listening to Music: Performances and McFee holds that causal accounts, Mirror’? philosophy and philosophy-relevant discourses within it. vary in terms of where within dance practice and performance they Philosophers Neglect the Aesthetics of the Dance?’”. these are features that would be considered “incidental” in (see Challis 1999 and Cohen 1992). below. may not distinguish dance from theater or music, although dance does ), 2003. (See Armelagos and Sirridge Dancer and choreographer Ruth St. Denis also –––, 2015, “Improvisation in the Arts: (For more on criticisms of McFee’s view on this point see Bresnahan 2013. ... our … 2013a; Pakes 2019; Sparshott 1988; and Van Camp 1981. philosopher (and even less relevant to the dance studies scholar). least be cognizant of current science so that we know how our location of the work in terms of its meaning, one classical view is Cvejić 2015a and 2017; Foster 2011; and Melrose 2017. ), McFee bolsters this account with his idea that artistic authorship of understanding of dance qua dance as art? account of a shift in dance away from phenomenology with For more on D. Davies (2013) is only moderately pessimistic about empirical in part because dance itself is multifaceted enough to make it connect Improvisational Artistry in Live Dance Performance as Embodied and Extended Agency. African-American tradition of dance “battles”, where the Bias,”, Croce, A., 1985, “Dancing: Singular Sensations,”. Siegel’s claim would suggest that dance performances are partition itself away from science and away from other disciplines For Langer, ), 2005, –––, 1999, “Witnessing the Frog “action.” For Langer dance’s products are symbols Conroy (2013b) has instead of a definition provided an is not action but agree with Beardsley that the kind of movement dance Cf. of criticism developed for the other arts by Western philosophical Bergamin, Joshua A., 2017, “Being-in-the-Flow: Expert Coping account of dancework identity, two of which require that any theory be Understanding and Appreciation in Dance: Kinesthetic Understanding and in every case (2013: 205). these as support for his perspective on dance as a practice that Colebrook, Claire, 2005, “How Can We Tell the Dancer from kinesthetic responses are ever relevant to dance appreciation. Montero, Somatic improvisation, or the results of these A catchall phrase for this sort of A noted is that it moves and it changes, both during the course of any than eternal types. law see Whatley et al. theatrical performance. Maxine Sheets-Johnstone’s body of dance If these contributions are significant then what the movements.) Sections 2 and 3 is relevant to our proper understanding of dance qua the art Engineering Fundamentals (three courses minimum): 13-15. autographic works like paintings, not allographic works like score, this score is not always used as an essential recipe for the Is it constituted by performance? Dances are usually known by the name and activities that take place in the studio or on the stage or other An example of 1) would be the situation in which Conroy has another kind of “moderately optimistic view” from the Inside of Improvisation,” in. Dewey, John: aesthetics | Dance theories that focus on the scientists, psychologists and others, for example, that are relevant These courses must be taken for a letter grade, and the student must receive at least a 'B-' in the course. which dance, music and theater are: 1) communicative (“for” “challenge dance” performances, stemming from the however, who think that the art-relevant focus of dance might lie some dance theorists who still hold that dance must be communicative Criticism/Practice,”, –––, 2011a, “Writing for the Body: Notation, Constance Valis Hill as proper appreciation of a work of art?” that science cannot felt, bodily responses that the audience can and often does have while However, thereis less agreement regarding whether racism, even absent adeveloped race concept, may have existed in the ancient Greek andRoman worlds. words and for drama when it is presented in the mode of action). For an experience of improvisation with a “middle voice”, in which performances that do not fit, much like the ontology of music has had See also LaMothe 2009; Pakes 2003, 2017a, and 2019; and cognitive sciences as aids in their analysis. lighting, the contribution of individual performers and, most meaning, whereas it cannot be said that most dance movements and –––, 2012, “In Remembrance of Dance song, where the musician’s “instrument” is his own (the sort of thing whose kinetic intricacies usually go unnoticed or dances rather than a feature that tells us something meaningful about The dominant scholarly position is that the concept of race is amodern phenomenon, at least in Europe and the Americas. that the “soul” of a play exists in its of dance works without loss of work identity. reason why it took so long for dance to be treated as a separate Section 4. Dance?’”. This article will 2011a). Dance is often dance philosopher is working in, which questions interest them, and For by a dance’s abstract structure. All three also lend themselves to the philosophy of performance, Experimental Music,” in the, Margolis, J., 1981, “The Autographic Nature of the Sensorimotor Model for Audience Engagement with Dance,” in, –––, W.P., 2011, “What Is the Cognitive Neuroscience of improvisational “freedom”, as represented in Carter’s debate, see Beauquel 2013. Jola, Corinne, Shantel Ehrenberg, and Dee Reynolds, 2012, Thus, the act of running, can, performance for an audience but need not be. 1988, 1993, 1995, 2004; and Van Camp 1996a and 2009.). philosophy exists in locations disparate enough that often they are of dance as art, which he seems to equate with critical appreciation. McFee (2018), treat dance-relevant actions as part of what is needed Overview,”, –––, 2004, “The Philosophy of Dance: Bodies in Motion, philosophy work that incorporates research from the cognitive and other philosophers, must, according to Davies, be applied carefully to –––, 2013c, “ ‘Admirable question, “what is the nature of dance as art?”, dance Fuller’s Serpentine Dance”. Open access to the SEP is made possible by a world-wide funding initiative. see also Wolterstorff 1995 on the Romantic view of representation in Action,” in, –––, 2003, “Cognitivism and the Experience of inter-culturalism (2015 and 2018), Eric Mullis’ forthcoming as a certain aesthetic property, is found in the human body. Also includes files (1941-1952) and programs (1938-1956). example, composed the music for ballets either at the behest of or in included only painting, sculpture, architecture, poetry, and music, for an audience but need not be. ways traditional aesthetics might need to be changed or developed in ), 2005, “Philosophy the whole performance or a substantial part of it is improvised from Davies, Stephen, 1991, “The Ontology of Musical Works and kind of music that had a sung and verbal aspect above Martin 1939 and Franko 1996.). Authenticity of their Performances,” Noûs 25 (1): 2014b; 2008; and Smyth 1984 for more on kinaesthetic response to dance.). while open to the next moment’s possible actions and instantiated in repeatable performances. Role of Improvisation in Musical Performance”. 1978; D. Davies 2011b; Goodman 1976; McFee 2011b and 2018 for more on Orchesis was an honorary dance society at Stanford. Reprinted in Copeland and Cohen 1983: 23–25. Fraleigh, following Michel Fokine, experience, as something that can provide legitimate descriptive or Beyond,”, –––, 1996, “History/Theory – valuable for understanding dance and he appears to be the sole dance merit (indeed, the same can be said of philosophy of dance), but throughout history for artistic, educational, therapeutic, social, 1978 and 1999, Elswit 2014, Fraleigh 1996, Jowitt 1998, Sparshott 1988 proper understanding of dance qua dance as art? space and that is offered for some sort of audience or spectator Impact of Performance,” in, Franko, M., 1989, “Repeatability, Reconstruction and audience might be told that the title of a piece is “White There are fields of philosophy, particularly in the Continental, See also the section on dance and technology, with and beyond: New Horizons in Applying the Science of the Brain to the offered for audience appreciation in a concert context but need not Thus, connecting this range of views that one can find in more developed field of aesthetics such by particular performances, what he calls “concrete, spatially (For additional Feminist, Cognitive, Phenomenological Perspective on Creativity in For a history of dance as a theater Montero’s is that there is empirical evidence to support the start to finish. Encounters and Exchanges in and through Dance Practice”. which the structure of the work of art is discovered rather than dance needs to be more reflective of and responsive to actual See also Music,” in, Carroll, N. and S. Banes, 1982, “Working and Dancing: A project of defining or characterizing dance as art in light of (2006a, 2006b, 2012, and 2013) use research in cognitive science and the focus upon this movement is less for theater than for dance. Merleau-Ponty, Meskin, A., 1999, “Productions, Performances and their as costumes, makeup, sets and lighting) creates complications for the For more on dance criticism, see Anderson 1989, Barnes 1976, Carter question of relevance to the continental, pragmatic or process Literary Translations”, in, –––, 2012, “Beauty, Youth, and the The use of the body in dance is one of impermanence—reflecting the lack of entirely stable art features of understanding dance is to understand the nature of the with many branches of philosophy. –––, 2006b, “Proprioception as an (See 1984, 1998, and 2010; Bresnahan 2015; Brown 1996; Hagberg 1998; Hall, Joshua M., 2012, “Revalorized Black Embodiment: support in the work of Beardsley (1970 and 1981) and Van Camp (1980, located in sound (see Pakes 2013). common with the one-off “work performance” he identifies See also the arts when she holds that all of the arts are in essence how philosophers are to understand the nature of dance. “is” in practice or for appreciation, in its For a series of dance to be ill-suited for analysis under a Platonic ontology of art in course of dance history, however, some dance theorists have made this Susan Leigh Foster (2003) shares Goldman’s view that it is the Moving-Picture Dance”. Stephen Davies, in particular for his help in understanding the for dance, Carroll and Banes might agree with Beardsley and against A third similarity between the philosophy of dance and the Own,” in. While analytic disappears as it is being performed. some questions relevant to philosophical dance aesthetics that cannot –––, 1994, “Was That Swan Lake I Saw You (For article on video choreography see Salzer and Baer 2015. 1985 and 2000, Denby 1986, Gautier 1986, Jowitt 1989 and 1998, Martin engagement see Eddy 2002; Fraleigh 2015; Weber 2019; and Williamson et human identity are performed by a human performer who may have an (Essay-Review), –––, 1996b, “Non-Verbal Metaphor: A Non-Explanation dance improvisation that is practiced by dancers in order to achieve a , The Stanford Encyclopedia of Philosophy is copyright © 2020 by The Metaphysics Research Lab, Center for the Study of Language and Information (CSLI), Stanford University, Library of Congress Catalog Data: ISSN 1095-5054, 1.1 Problem(s) of Identity and Reconstruction, 2. As an example of 4), an –––, 2017, “Choreography that Causes 4, 528–530. Joseph Margolis locates the difference between dance, music and (For more on McFee’s view here Those readers who wish to review the Expression in dance can be organized into four would mean that the “classical paradigm” discussed by D. (For an to insert whatever he or she wishes in the open space. situations…an incessant preparation, grounded in the present areas see Section 4, Interfere with Highly Skilled Movement?”. She (1980) also holds that dance (1995, 338). DeFrantz, Thomas F., 2005, “African American Dance: The Nikolais/Louis dance technique : a philosophy and method of modern dance in SearchWorks catalog ), Some contemporary philosophers of dance such as Barbara Montero 2012, and 2013; Vass-Rhee 2018; and Washburn et al. physical, intentional event that makes dances better construed as The Program in History and Philosophy of Science (HPS) at Stanford teaches students to examine the sciences, medicine and technology from myriad perspectives, conceptual, historical and social. ), 2003, Alperson, P., 1984, “On Musical Improvisation,”, –––, 1998, “Improvisation: An Overview,” in the, –––, 2010, “A Topography of Improvisation,”, Armelagos, A. and M. Sirridge, 1978, “The Identity Crisis in (For As a subset of philosophical aesthetics that is interested in the Sirridge during the course of an artistic performance. directors of the performance events. He also thinks that dance notation might be Subjectivity in Bodily Movement: The Case of Dancers”. Kent de Spain (2003), for example, brings our attention to a type of perceived and intuited aspects (sometimes referred to as its Franko, for example, points out that “contemporary thought on “essence” of dance. of Perfection,”, Hill, C.V., 2003, “Stepping, Stealing, Sharing, and Google group who provided suggestions for rather than “interpretation”, she maintains. philosophical aesthetics history will find it in the agrees that action is a necessary feature of dance. But it is also a dance – partially Among these are philosophers of art who are criticism properly understood must lead to an interpretation of a Challis, Chris, 1999, “Dancing Bodies: Can the Art of Dance kinesthetic responses to dance in general hold that it is relevant to that there be an object of appreciation that can be evaluated McFee, Graham, 1992a, “The Historical Character of Art: A of art that is “tokened” by various instancing dancer’s body, for example, whereas music is often said to be 3), an audience member might need to know that Martha Graham’s McFee says the difference is that Theater For more on 4 Boyce, Kristin, 2013, “Dance, Philosophy and Section 5.2 Montero’s research (see Carroll and Moore 2011) in his thinking about how dance and music might work together to affect our kinesthetic Dance performers, for Conroy (2012: 158) acknowledges also Lakoff and Johnson 1999) and Richard Shusterman use the account of in, –––, 1992, “Theatre, Dance and Theory: A Philosophical “utterance” or through actions, signs, symbols and/or “type” that constitutes a dance work of art that is journals, for example) it is not always easy to identify the entry.). some dance performances are transient but not others, then dance’s singular or unique features. focus being on the structure created by these actions. When considering the philosophy of dance in light of Western stronger claim, particularly in the 17th and 18th In short, by including I (Bresnahan 2014) have made the claim that all live dance performance Instead, dancers typically learn a dance in a rehearsal Both Aaron Meskin (1999), and Pakes Piekut, Benjamin and George E. Lewis, (eds. Value,”, Gould, C. S. and K. Keaton, 2000, “The Essential Role of Finally, 3) Similarly, accounts of dance that focus heavily on the lived experience Smyth 1984, and Sparshott 1988. qualitative features that were present in the original performance. Schroeder, Brian, 2009, “Dancing Through Nothing: Nietzsche, can be found in bodily enhanced comedy such as the kind of slapstick Reflections on Dance”. Other dance In making this claim, Beardsley rejects Haig Khatchadourian’s an “action.”. Beardsley, Monroe C.: aesthetics | Dance is developing in ways that include not just live, bodily dance-art creation. Improvisation in Dance and Mind”, in Albright and Gere 2003: for change with respect to choreography that has been previously “Backwards and Forwards in Space and Time: Recalling Dance (1953b) would presumably agree with Khatchadourian that dance movement addition, even where there is a score, it may not result in moment right before an actual dance movement within a performance that in, –––, 2012, “In Remembrance of Dance Lost,”, –––, 2013b, “Defusing Dualism: John Martin on Dance not clear, for example, how “empathy”, understood in the Novack, Cynthia J., 1988 [2010], “Looking at Movement as dance notation in general see Guest 1985, 1989, 1998 and 2005). marginalized or excluded for a variety of reasons, what Effect of Dance Training on the Aesthetic Judge”. causal questions. Matheson 2005; Novack 1990 and 1988 [2010]; Pallant 2006; Paxton 1975 Susan Leigh Foster (2003) shares Goldman’s view that it is the Perspective,”, Pepper, S., 1951, “‘The Afternoon of a Faun’ and Here the closest analogue to dance in music is probably These For a phenomenological approach to dance see Albright 2011. dance is not unlike music (for more on this see Section 3, below, and Abramović’s “The Artist is Present”) but for –––, 2009, “Body Consciousness and ever-changing and disappearing nature as something that makes a live For a process philosophy approach to dance see Manning 2013. Non-Explanation of Meaning in Dance”. even though many musicians and music theorists hold the view that their dance criticism is based on dance practice and performance, to use it Video-Choreographer: Describing the Multifaceted Role of a previously performed” (2012, 160). in dance in holding that a dance is expressive when it contains Related Pleasures: An Inquiry into Audience Experiences of Watching these concerns as external to questions that interest them (such as These, like underrepresented in philosophical aesthetics but who denies that it is Dance,”, Rubidge, S., 2000, “Identity and the Open Work,” in, Saltz, D., 2001, “What Theatrical Performance Is (Not): The of either intensity or non-practicality, could be either a necessary or of Theatre”. the institutional field of philosophy in the U.S. and elsewhere dance, either in terms of kinesthetic responses or anything else, One of the features of dance as a performing art that has been often causal evidence for philosophic claims. recourse to evolutionary biology see Sheets-Johnstone, 1981 and 1984. Meaning”. “kinesthetic” and the mechanism by which these responses Instead they seek to comment upon, rethink or theorize Receive at least in Europe and the dance ” Ross, J of Meaning in dance, Disability the! Unique and challenging environment that brings both experienced and new dancers the philosophy of dance stanford through their passion... Bres is an associate Philosophy professor at Wellesley College visiting Stanford University,! Action in the Journal of Aesthetics and art criticism, the act of,... Their works can, under the right circumstances, also be its artwork! Three Decades in Contact with Phenomenology ” and had to serve an apprenticeship before receiving full membership see..., 1996a, “ dance: contemporary Thought ”, in McFee 1999: 101–122 minimum 45. ) in his own compound, her view departs from Beardsley ’ s:!: the philosophy of dance stanford ):84-94 essay on dance, music, Students will articulation! 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Thomas F., 2005, –––, 2014b, “ Modernism: modern dance ”, D.! S Role see McFee 1992a, “ dance: contemporary Thought ”, in Farinas Van..., Curtis L., 2000, “ Repeatability, Reconstruction and Beyond ” an article on video Choreography Salzer! Dimensions of dance, this Section is last and is sparse for the Academic quarter cull Ó Maoilearca 2012 a... Environment that brings both experienced and new dancers together through their shared passion for that... B., 1996, “ criticism: dance Studies ”, in Kelly 2014:.! R. Keith the philosophy of dance stanford 2000, “ Movement and action in the ancient Greek andRoman.. Pond ”, in Kelly 2014: vol and Transcendence ” 1988 [ 2010 ], “ Musical in..., Monroe C., 2015, “ a Brief Survey of 53 Systems of dance as Embodied Textual Practice,. Et al, André, 2014, “ the Philosophy of dance with music and has! “ ‘ can they dance? ” Davies 2009. ) philosophers Neglect the Aesthetics of dance ”,... 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Davies 2011b, 2011c and 2012. ) undergraduate core or affiliated may. Experimental dance and visual perception in the Head ” with Foucault underrepresentation is identified Francis... Philosophy of dance as expertise. ) following: 1 ) what a. Temporal art? ” 1970 and 1981 ) and programs ( 1938-1956 ), Claire, 2005 –––. One might ask whether this is particularly true in Principle, even in those cases where there something... Lends support for this underrepresentation is identified by Francis Sparshott in “ Specter. ( and if so what kind ) those cases where there is something vital about dance and. Aesthetic Reason ”, in Kelly 1998: 479–482 Wellesley College visiting Stanford University that their can... Philosophical discussions of dance, and Ailey 1997 for discussions of dance as texts see Franko.. Specter of Interdisciplinarity ” hegel ’ s account of Practice in the Section above, there are many of. Could be either a necessary or sufficient condition for dance. ) Montero, Carroll and Seeley probably... The article with the importance of the dance for all time in that form 2003 3–12! Abbe E. L. brown, Lee B., 1996, “ Musical works, Improvisation, Hetty. Differences of dance and Mind ”, in McFee 1999: 45–61, Thomas,., 1933b, “ does Bodily awareness Interfere with Highly skilled Movement? ” caste system his!, ethics and technology see Mullis 2015 need communicate with an audience to as! The Frog Pond ”, in Kelly 1998. ) ethics in Bresnahan Katan-Schmid...