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Dance
First published Mon Jan 12, 2015; substantive revision Tue Nov 19, 2019
What “counts” as philosophy is a perennial issue that has been debated both within and outside of the American Philosophical Association. Is interdisciplinary philosophy that incorporates not just insights from other fields but their methods, commitments, and forms of discourse still “philosophy”? This article assumes that it is, holding that a philosophy of something can make recourse to conversations and practices in all the domains that are relevant to what it is of (in this case dance) so long as doing so aids our thinking about the meaning of that domain. “Philosophy” is thus construed broadly here in keeping with how the term is used in the rapidly growing field of the philosophy of dance. The potential for dance philosophy is enormous, in part because dance itself is multifaceted enough to make it connect with many branches of philosophy. Indeed, dance has been practiced throughout history for artistic, educational, therapeutic, social, political, religious and other purposes. There are also types of dance on the margins of what many would consider dance proper, such as digital dance, or types of competition dance that have features that make them similar to aesthetic sports like gymnastics or figure skating, so what counts as “dance” is at issue in some cases as well.
Of course, philosophical approaches (once these are identified) provide just some of the many ways to approach dance in order to better understand what it is and why it matters to us. There are theories and insights offered by dance cultural theorists, sociologists, historians, educators, anthropologists, ethnographers, practitioners, dance critics, evolutionary biologists, cognitive scientists, psychologists and others, for example, that are relevant to the questions asked by philosophers but which rely primarily on the methods of analysis culled from those fields. The field known as “dance studies” typically makes use of cultural studies and history but often also includes one or more of the perspectives above, including all forms of philosophy (particularly applied and phenomenology). Recently the Congress on Research in Dance and the Society of Dance History Scholars merged to form the Dance Studies Association (see Franko 2014a for more on the field of dance studies). Dance studies research journals and books often provide good resources for academic philosophy and yet often philosophy students neglect to consult them, sometimes due to ignorance and sometimes due to a fear that they might learn to handle dance “non-philosophically” while they are being trained in traditional philosophic methods. This, among other things, has led to the misperception by some scholars that the field of dance philosophy is smaller than it in fact is.
An additional difficulty is that since the research domain of dance studies is more thoroughly interdisciplinary, and sometimes transdisciplinary, than that of those of us working under the constraints of philosophy departments and their research guidelines (where tenure is dependent on publishing in traditional philosophy journals, for example) it is not always easy to identify the philosophy and philosophy-relevant discourses within it. Indeed, it is often the case that dance philosophers who are multi-methodological, notably Sondra Horton Fraleigh and Maxine Sheets-Johnstone, have rich philosophical insights that are erroneously overlooked or misunderstood, especially in those places where their writing deviates from that of traditional philosophy (see also Erin Manning’s process philosophy [2013]). It is also the case that some scholars who work in dance rather than philosophy departments, like Anna Pakes, an analytic dance philosopher, do adhere to the disciplinary boundaries of academic philosophy and yet their work that is published in dance studies rather than philosophy books and journals can pass by unnoticed.
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