Tough Fronts takes the difficult issues in urban education head on by putting street-savvy students at the forefront of the discussion on how to best make successful changes for inner city schools. Individual chapters discuss scholarly depictions of black America, the social complexity of the teacher-student relationship, individual success stories of 'at-risk' programs, popular images of urban students, and implications for education policy. With close attention to the voices of individual students, this engaging book gives vitality and legitimacy to (...) arguments for school changes that have been lacking in previous discussions. (shrink)

This chapter outlines a new theoretical method, which I call “dancing-with,” emerging from the process of writing my dissertation and the book manuscript that followed it. Defined formally, a given theorist X can be said to “dance-with” with a second theorist Y insofar as X “choreographs” an interpretation of Y which is both true to Y and Y’s historical communities, and also meaningful and actionable (i.e. facilitating social justice) for X and X’s historical communities. In this pursuit, the method (...) of dancing-with involves both (1) a creative “torsion” of Y’s thought (particularly in the direction of unconscious, embodied and political factors at work in Y’ texts), and (2) a resultant, sympathetic torsion of X’s thought toward Y. In other words, X and Y “meet in the middle,” like two dancers walking onto the dance floor, to explore the promise of a flourishing artistic partnership. In this partnership, each must attend to the way that political meanings are inscribed on the other’s raced/sexed/etc. body, both to react maximally justly, and to maximize the aesthetic movement options that can be brought into play. As the method of dancing-with is thus modeled on an ideal comportment for improvisational social dance (such as the contemporary Latin dance called “salsa”), I envision the end-goal of dancing-with as what I call “poetic social justice.” By this, I mean the “poetic justice” of two theorists’ mutually empowering each other for maximal social good. Though this process is admittedly more difficult between some theorists, in part as a function of their respective embodiments and sociohistorical positions, at least a move or two together is always possible. (shrink)

Clark and Fischer's depiction hypothesis is based on examples of western mimetic art. Yet social robots do not depict social interactions, but instead perform them. Similarly, dance and performance art do not rely on depiction. Kinematics and expressivity are better predictors of dance aesthetics and of effective social interactions. In this way, social robots are more like dancers than actors.

The ability of dance to address social isolation is argued, but there is a lack of both evidence of such an effect and interventions designed for the purpose. An interdisciplinary research team at University of Calgary partnered with Kaeja d’Dance to pilot test the effects of an intervention designed to facilitate embodied social connections among older adults. Within a mixed methods study design, pre and post behavioral tests and qualitative surveys about experiences of the body and connecting were (...) administered to thirteen participants along with test instruments of loneliness and body appreciation. In the short-term, no significant changes were found on quantitative tests. Exploratory analysis revealed intervention improvements on individual body appreciation questions only. This indication of change was strongly supported by converging qualitative data and identified as relating to: increased connection through task-based collaboration, increased awareness of interpersonal boundaries, and a shift to experiencing the body as responsive. These indications of increased relational capacity were deemed likely to cause further impact in the long term. Examining this possibility and the subsequently arisen factor of COVID-19 risks and restrictions, test instruments were administered again to 10 participants 4 and 5 months after the intervention. A significant increase in loneliness was found. Despite this negative impact of COVID-19 isolation, several positive intervention changes remained detectable and some continued to increase over time. Seventy percent of the participants, who made new social contacts during the intervention and later sought continued contact, improved significantly across all body appreciation measures over the full study. The qualitative data from the last two time-points revealed both consistent values and new, negative changes. While these preliminary findings speak to the durability of intervention changes, they also identify areas of urgent priority to help older adults restore embodied relational capacity that has declined during COVID-19. Within the limitations of a small-sample pilot study, converging mixed methods results support the hypothesis that dance interventions designed for the purpose can positively affect the social inclusion of older adults. Although we recommend further study, these promising results also indicate that dance interventions can help older adults recover from pandemic isolation. (shrink)

Savage et al. do an excellent job of making the case for social bonding in general, but do a less good job of distinguishing the manners by which dance and music achieve this. It is important to see dance and music as two parallel and interactive mechanisms that employ the “group body” and “group voice,” respectively, in engendering social cohesion.

Slovenes of African descent find themselves in a calculus of biopower. This points to the precariousness of life (or flesh), which is deemed as less “worthy.” We are at a historical moment in which Afro-pessimism offers a “realistic” glimpse into the past and future of Blackness in the White supremacist contexts of the West, due almost solely to the enormity of systemic violence that Black flesh has endured. In light of this very real political urgency, there is a very real (...) need for security, which in the short term might best be accomplished through concepts such as identity and authenticity. However, Afro-Slovene acts of living reject in passing the priorities that “progress” evokes through the standardization of Euro-normalizing biopolitical orders and slip the categories used to confine them to a limited form of existence. This analysis focuses on the Afro-Slovene insistence on living otherwise as a form of resistance to the tyranny of linear progressive subjectivities, without shedding responsibility for the need to confront race and racism head on. (shrink)

There has been strong interest in intergenerational arts practice in the United Kingdom since the 1980s; however, there is a generally weak evidence base for the effectiveness of intergenerational practice regardless of the domain. The aim of this study was to investigate the outcomes of an intergenerational arts project on participants’ social and psychological well-being using a mixed-methods, short-term longitudinal design. Generations Dancing brought together community artists with students (n = 25) and older adults (n = 11) living in (...) Bedford. Over an 11-week period, participants worked together to produce a new dance performance and photography exhibition. Focus groups were conducted with the participants to explore their feelings about the collaboration across generations and communities. Participants also completed a battery of questionnaires preproject and postproject, to assess any change in their levels of well-being. Results indicate that the older adults showed increased confidence and willingness to connect with others; they got immense enjoyment from talking about their experience with others. Furthermore, the project helped to address negative stereotypes that the older adults had of working with the young people. The older adults enjoyed the students’ company and felt encouraged and supported by the young people. While a small number of challenges were identified, including difficulties in traveling to the workshops for vulnerable participants, most challen... (shrink)

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.

This project was provoked by the almost nonexistent pushback from the Democratic liberal establishment to the (2020) exoneration of Kyle Rittenhouse, despite his acknowledged killing of two Black Lives Matters protesters against the police murder of George Floyd. It builds on three prior articles arguing for the revival of ancient Dionysian practice, Haitian Vodou, and Indigenous South American shamanism to empower leftist revolution. In essence, I propose an assemblage of spiritual practices that are accessible today for the neo-colonized 99% of (...) the global population, by synthesizing and reconstructing three democratic, lower-SES, Indigenous religions, all of which share a militant defiance of their respective tyrannical plutocracies. To avoid cultural appropriation, I center these reconstructed spiritual practices on the figure of the “mage,” a psychosocial healer loosely analogous to a shaman. And the mage’s signature activity, “magic,” I redefine naturalistically as free interpersonal performative action, practiced using two theoretical disciplines (philosophy and psychology) and two practical disciplines chosen by each mage. More precisely, Spirit/Dance channels the “spirits” of dead ancestors, historical figures, legendary heroes, mythical beings, and fictional characters, into the three ultimate objectives of “mindfulness” for psyches/souls, “liberation” for mindful bodies, and “social justice” for liberated communities, indirectly empowering long-term revolution. (shrink)

I argue that core aspects of musical rhythm, especially "groove" and syncopation, can only be fully understood in the context of their origins in the participatory social experience of dance. Musical meter is first considered in the context of bodily movement. I then offer an interpretation of the pervasive but somewhat puzzling phenomenon of syncopation in terms of acoustic emphasis on certain offbeat components of the accompanying dance style. The reasons for the historical tendency of many musical styles to (...) divorce themselves from their dance-based roots are also briefly considered. To the extent that musical rhythms only make sense in the context of bodily movement, researchers interested in ecologically valid approaches to music cognition should make a more concerted effort to extend their analyses to dance, particularly if we hope to understand the cognitive constraints underlying rhythmic aspects of music like meter and groove. (shrink)

This article is part of a larger project that explores how to channel people’s passion for popular arts into legal social justice by reconceiving law as a kind of poetry and justice as dance, and exploring different possible relationships between said legal poetry and dancing justice. I begin by rehearsing my previous new conception of social justice as organismic empowerment, and my interpretive method of dancing-with. I then apply this method to the following four “ethico-political choreographies of justice”: (...) the choral dance of souls qua winged chariot-teams, a dancingly beautiful friendship with the community, a tightrope-dance of the cool, and humans dancingly reimagined as positioned actors in fluidly moving groups. I then synthesize these analyses into “dancing justice,” defined as the dynamic equilibrium sustained by a critical mass of a community’s members comporting themselves like social dancers. (shrink)

Stress that the exchange of social legacy to what's in store is the main capability of schooling; social qualities should be shown for social turn of events, socialization of the individual and participation of a general public. With esteem schooling, it is feasible to introduce the information on many long periods of philanthropic qualities, which are situated external the mainstream society, to the understudies and pursue choices in the illumination of these aggregations. The conviction that social (...) legacy is a significant Behind the dreams are the resources that will be preserved and supplied to people in the future. This idea emphasizes the "leading side" of folk dance, and scientific and linguistic research has become the focus of interdisciplinary research influenced by the "state-of-the-art similarity hypothesis" presented in 1980. I am. The word illustration comes from "metaforin". It is a combination of the Greek words "meta" (develop) and "ferein" (send). "Metaforein" means "tell" or "send", but today two are used as equivalent / comparable links between events or connections. (Draaisma, 2007). (shrink)

I argue that when we use email, text messaging, or social media websites such as Facebook to interact, rather than communicating face-to-face, we do not experience the best kind of empathy, which is most conducive to experiencing benevolence for others. My arguments rely on drawing interdisciplinary connections between sources: early modern accounts of sympathy, dance theory, philosophy of technology, and neuroscience/psychology. I reflect on theories from these disciplines which, taken together, suggest that to empathize optimally, we must see or (...) hear each other’s bodily gestures, vocal intonations, and facial expressions. (shrink)

This essay seeks to scrutinize Kierkegaard’s critical philosophical theology. The intent is to demonstrate how his religious thought, especially on God’s relation to the world and to the human being, can contribute to generating a cogent response to the challenges presented by our accelerating secular world. Apart from the narrative on the Dane’s passionate reflections, I employ two other narratives to facilitate this inquiry into Kierkegaard. The first of these facilitating narratives comes from highlighting the work on the concept of (...) resonance by the social theorist Hartmut Rosa. Rosa’s rich analysis of our contemporary situation provides a persuasive case for the accelerating pace of our secular world, the complex dynamics of alienation that are at play within it, and the need for social transformation that creates space for increasing resonance within personal and social relationships and structures. The second facilitating narrative centers on the notion of dancing in God, which I believe holds promise for effectively communicating moving, bodily, rhythmic, passionate, and responsive thoughts and actions concerning God’s engagement in our contemporary world. I hope to show that these three complementary discourses together provide a provocative religious discourse and vision that can prove helpful in addressing many of the challenges of our time. (shrink)

This article offers an analysis of embodied experiences and connections in social salsa dancing. Framed within a theoretical context that views bodily practices as both the enactment of normative ideals and as a negotiation of personal freedom against normative ideals, social salsa dancing offers a rich empirical context to explore how we make sense of our bodies, bodily practices, and embodied experience. Drawing on fieldwork conducted as part of a doctoral study in addition to a decade of personal (...) experience, I argue that social salsa dancing cultivates kinesthetic, tactile, and musical senses, and emphasizes the value of attentive embodied interactions and momentary connections with others. I conclude that exploring the possibilities of these interactions and connections offers a potentially emancipatory way of working on one’s embodied self. (shrink)

Background:Women's health has received renewed attention in the last few years including health rehabilitation options for women affected by breast cancer. Dancing has often been regarded as one attractive option for supporting women's well-being and health, but research with women recovering from breast cancer is still in its infancy. Dancing with Health is multi-site pilot study that aimed to evaluate a dance programme for women in recovery from breast cancer across five European countries.Methods:A standardized 32 h dance protocol introduced a (...) range of Latin American dances presented within a sports and exercise framework with influences from dance movement therapy. Fifty-four women (M age 53.51; SD 7.99) participated in the study who had a breast cancer diagnosis 6 weeks, no indication of metastasis, or scheduled surgery/chemotherapy/radiation treatment for the duration of the intervention. Primary outcome data was collected for anthropometric and fitness measures next to cancer-related quality of life.T-tests and Wilcoxon signed ranked tests were used to establish differences pre and post intervention. Cohen's d was also calculated to determine the effect size of the intervention.Results:Statistically significant changes were found for: (i) weight, right and left forearm circumference and hip; (ii) 6 min walking, right and left handgrip, sit-to-stand and sit-and-reach; (iii) the EORTC-QLQ C30 summary score as well as the subscales of emotional and social functioning and symptoms. In all cases the direction of change was positive, while Cohen's d calculated showed that the effect of the intervention for these parameters ranged from intermediate to large.Conclusion:Changes on the above anthropometric, fitness and quality of life measures suggest that the intervention was of value to the participating women recovering from breast cancer. Results also advocate collaborative efforts across countries to further research. (shrink)

Dance has traditionally been viewed from a Eurocentric perspective as a mode of self-expression that involves the human body moving through space, performed for the purposes of art, and viewed by an audience. In this Hypothesis and Theory article, we synthesize findings from anthropology, sociology, psychology, dance pedagogy, and neuroscience to propose The Synchronicity Hypothesis of Dance, which states that humans dance to enhance both intra- and inter-brain synchrony. We outline a neurocentric definition of dance, which suggests that dance involves (...) neurobehavioral processes in seven distinct areas including sensory, motor, cognitive, social, emotional, rhythmic, and creative. We explore The Synchronicity Hypothesis of Dance through several avenues. First, we examine evolutionary theories of dance, which suggest that dance drives interpersonal coordination. Second, we examine fundamental movement patterns, which emerge throughout development and are omnipresent across cultures of the world. Third, we examine how each of the seven neurobehaviors increases intra- and inter-brain synchrony. Fourth, we examine the neuroimaging literature on dance to identify the brain regions most involved in and affected by dance. The findings presented here support our hypothesis that we engage in dance for the purpose of intrinsic reward, which as a result of dance-induced increases in neural synchrony, leads to enhanced interpersonal coordination. This hypothesis suggests that dance may be helpful to repattern oscillatory activity, leading to clinical improvements in autism spectrum disorder and other disorders with oscillatory activity impairments. Finally, we offer suggestions for future directions and discuss the idea that our consciousness can be redefined not just as an individual process but as a shared experience that we can positively influence by dancing together. (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)

Until recently, dance was not considered to warrant copyright protection because it existed only as a live performance that was not fixed in a ‘tangible medium of expression’. Not being an object, it could not be property. But the more we try to fold dance into existing modes of copyright and conventional notions of property, the more it resists, upsetting the core assumptions of Locke's social contract theory. Legal scholars argue that the expansion of copyright protection shrinks the public (...) domain. While copyright has become more important for dancers and choreographers who wish to control the appropriation of their work that is now made available to millions of end-users online, it also potentially restricts them from engaging in a dialog with other dancers or building on inspiring dance moves across communities. This paper investigates notions of property that rely on both the commons and individual personhood in the context of dance. (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)

In the present article, the first section recapitulates my “figuration” philosophy of dance, the “dancing-with” interpretive method derived therefrom, and my previous application of figuration to salsa dance as a decolonizing gestural discourse. The second section deepens and modifies this analysis through a reinterpretation of Argentinian philosopher Ernesto Laclau’s concept of hegemony and his dance-resonant interpretations of Derrida. And the final section offers a template for this hegemonic dancing-with in the Birmingham, Alabama Latin dance troupe, Corazon de Alabama (Heart of (...) Alabama), as a new strategy for decolonizing and reconstructing social justice. (shrink)

In excerpts from my Dancing with the Sacred (2002), I use ideas from modern science, our world's religions, and my own experience to highlight three themes of the book. First, working within the framework of a scientific worldview, I develop a concept of the sacred (or God) as the creative activity of nature, human history, and individual life. Second, I offer a relational understanding of human nature that I call our social‐ecological selves and suggest some general considerations about what (...) it means to live meaningfully and morally in an evolutionary world. Third, I explore how we might be at home in a universe that is constantly changing and in which suffering and death are interwoven with life and new creation. (shrink)

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)

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 article explores the history of Vodou from outlawed African dance to revolutionary magic to depoliticized national Haitian religion and popular dance, its present reduction to Diaspora interpersonal healing, and a possible future. My first section, on Kate Ramsey’s The Spirits and the Law: Vodou and Power in Haiti, reveals Vodou as a sociopolitical construction of racist legal oppression of Africana dances rituals, and artistic-political resistance thereto. My second section, on Karen McCarthy Brown’s Mama Lola: A Vodou Priestess in (...) Brooklyn, a “postmodern ethnography” of intersectional oppressions and Black female Haitian resistance in the Diaspora, foregrounds the figure of Gedelia, a feminist variant on Papa Gede, central Vodou spirit (lwa) of resurrection and healing. Finally, my last section, on the “observing participant” analyses of Black dance anthropologist Yvonne Daniel’s Dancing Wisdom: Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomblé, finds a dancing Gedelia in her centering of Oyá, a warrior spirit of storms and death. On this basis, I propose the figure of tornadic black angels as a possible magical tool (in Vodou, a pwen, or “point”) intended to re-spiritualize and thereby re-politicize the secularized and whitewashed social Latin dance called “salsa” for social justice. (shrink)

Evidence suggests that humans might have neurological specializations for music processing, but a compelling adaptationist account of music and dance is lacking. The sexual selection hypothesis cannot easily account for the widespread performance of music and dance in groups (especially synchronized performances), and the social bonding hypothesis has severe theoretical difficulties. Humans are unique among the primates in their ability to form cooperative alliances between groups in the absence of consanguineal ties. We propose that this unique form of (...) class='Hi'>social organization is predicated on music and dance. Music and dance may have evolved as a coalition signaling system that could, among other things, credibly communicate coalition quality, thus permitting meaningful cooperative relationships between groups. This capability may have evolved from coordinated territorial defense signals that are common in many social species, including chimpanzees. We present a study in which manipulation of music synchrony significantly altered subjects’ perceptions of music quality, and in which subjects’ perceptions of music quality were correlated with their perceptions of coalition quality, supporting our hypothesis. Our hypothesis also has implications for the evolution of psychological mechanisms underlying cultural production in other domains such as food preparation, clothing and body decoration, storytelling and ritual, and tools and other artifacts. (shrink)

This paper will describe the rite for the exorcism of toch'aebi and examine its symbolic significance in the wider social reality of Cheju shamanism. Toch'aebi is a stranger deity who visits Cheju randomly and tries to get on good terms with the people. However, this deity afflicts people, particularly women, wearing down their vitality and causing a kind of “madness” (turida). The exorcism ritual of toch'aebi requires a sacrificial feast of roast pig and several days of dancing by the (...) possessed. For this reason, the exorcism ritual is called a dancing rite, or ch'unun kut. It is supposedly toch'aebi himself who has the desire to dance. Shaman's songs (seouje sori) are used to induce the toch'aebi, who is hiding in the patient's body, to dance and reveal his identity. The trance dance and singing are directed toward a dialogical construction of the demonic reality, which entails a romantic entanglement of toch'aebi and the possessed. By translating a history of personal suffering into the idiom of love, the shaman's songs develop a particular cultural logic of cure. Through an analysis of curing song texts, along with various modes of performance such as dance and comic play, this paper explores the transformative process in which a particular cultural logic of illness and cure are produced and enacted to reintegrate the patient into the social world. In practice, the analysis addresses the articulation of a personal case of madness that afflicted Sunho, a twenty-one year old female factory worker, whose social values and understanding are reflective of contemporary Korea. (shrink)

This paper integrates methods associated with language socialization and pragmatics to examine how participants in one middle school dance program use the indefinitely referential language of ‘some people’ as a robust resource for socializing embodied competencies related to dance, linguistic competencies related to the ability to use ‘some people’ in indexically and pragmatically complex ways, cognitive competencies related to error-correction and problem-solving, and social-moral competencies related to responsibility-taking. A key argument is that the referential vagueness inherent in ‘some’ as (...) an indefinite determiner contributes fundamentally to the usefulness of ‘some people’ as a language socialization resource in this community of practice. (shrink)

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. (shrink)

A recent (2020) special issue in Critical Philosophy of Race dedicated to Maria Lugones illustrates and thematizes the continuing challenge of (re)constructing coalitions among Latina and Black feminists and their allies. As one proposed solution to this challenge, in their guest editors’ introduction to that special issue, Emma Velez and Nancy Tuana suggest an interpretive “dancing with” Lugones. Drawing on my own “dancing-with” interpretive method (which significantly predates that special issue), in the present article I choreograph an interpretive duet between (...) Lugones and Saidiya Hartman. My first section retraces Lugones’ essay on queering tango as a decolonizing practice, and how the latter echoes Marta Savigliano’s Tango and the Political Economy of Passion. My second section then utilizes Lugones’ queering of tango as a lens for interpreting her magnum opus, Pilgrimages/Peregrinajes, emphasizing the dance-resonance of its central concepts, including “playfulness” reinterpreted as a “dance-fulness” that empowers the peregrina’s “world-traveling.” My third section identifies this dancing peregrina’s world-traveling with the wayward young Black female chorus member, or “chorine,” at the center of Saidiya Hartman’s tour de force history, Wayward Lives, Beautiful Experiments. And my conclusion names chorines of color in Afro-Latin social dance communities today as exemplary agents for empowering coalitions among Latina and Black feminists and allies. (shrink)

The “new” paradigm proposed by Shanker & King is neither new nor a significant advance in our understanding of communication. Although we agree that social interaction is important, ignoring the roles of mental processes and the significance of information exchange is theoretically dangerous. Moreover, the “communicative dance” is sequential. If one partner does not lead, how is the other to follow?

The purpose of this research is to explore the acceptance of social robots as companions. Understanding what affects the acceptance of humanoid companions may give society tools that will help people overcome loneliness throughout pandemics, such as COVID-19 and beyond. Based on regulatory focus theory, it is proposed that there is a relationship between goal-directed motivation and acceptance of robots as companions. The theory of regulatory focus posits that goal-directed behavior is regulated by two motivational systems—promotion and prevention. People (...) with a promotion focus are concerned about accomplishments, are sensitive to the presence and absence of positive outcomes (gains/non-gains), and have a strategic preference for eager means of goal-pursuit. People with a prevention focus are concerned about security and safety, are sensitive to the absence and presence of negative outcomes (non-losses/losses), and have a strategic preference for vigilant means. Two studies support the notion of a relationship between acceptance of robots as companions and regulatory focus. In Study 1, chronic promotion focus was associated with acceptance of robots, and this association was mediated by loneliness. The weaker the promotion focus, the stronger was the sense of loneliness, and thus the higher was the acceptance of the robots. In Study 2, a situationally induced regulatory focus moderated the association between acceptance of robots and COVID-19 perceived severity. The higher the perceived severity of the disease, the higher was the willingness to accept the robots, and the effect was stronger for an induced prevention (vs. promotion) focus. Models of acceptance of robots are presented. Implications for well-being are discussed. (shrink)

This essay is part of a larger project in which I construct a new, historically-informed, social justice-centered philosophy of dance, centered on four central phenomenological constructs, or “Moves.” This essay in particular is about the fourth Move, “resilience.” More specifically, I explore how Judith Butler engages with the etymological aspects of this word, suggesting that resilience involves a productive form of madness and a healthy form of compulsion, respectively. I then conclude by showing how “resilience” can be used in (...) the analysis of various Wittgensteinian “families” of dance, which in turn could facilitate positive educational changes in philosophy, dance and society, with particular efficacy on the axis of gender. In brief, by teaching a conception of strength as vulnerability (instead of machismo’s view of strength as apathetic “toughness”), a pedagogy of dancing resilience provides additional support for feminists (including Anzaldúa, Haraway, Butler and Concepción) who advocate a cautious openness toward seemingly-unlikely resources and allies (including analytic methodologies, Machiavellian politics, and the discourses of the natural sciences). (shrink)

_A passionate and moving tribute to the captivating power of dance, not just as an art form but as a language that transcends barriers__ “[A] smart, bracing book of reflection, analysis, memoir and history.”—Willard Spiegelman, ___Wall Street Journal___ “A veritable master class.”—Anne Doventry, _Booklist__ Mindy Aloff, a journalist, an essayist, and a dance critic, analyzes dance as the ultimate expression of human energy and feeling. From her personal anecdotes, her engaging collection of stories about dance from around the world, or (...) her description of the captivating photograph by Helen Levitt of two children dancing, which she sees as one embodiment of the mystery and joy that dancing can evoke, Aloff’s exploration of the aesthetic, social, and spiritual impacts of dance will prove spellbinding. Aloff takes us on a journey through various forms of dance—rituals, religious observances, storytelling, musical interpretations—to show why dance matters to human beings. Interlaced with personal experiences, this book builds on analysis to reveal the intimate relationship we have with dance—personal, spiritual, soul-searching, medicinal, and entertaining. The ideas speak to both specialist and general readers. (shrink)

The upshot of this article is that dance functions in Irigaray’s work in the following three ways: as (1) a symbol of a more positive comportment for heterosexual relationships; (2) an indication that the ambivalence in Irigaray’s work is self-consciously strategic; and (3) an example that teases apart the concepts of negative and positive mimesis, specifically by fleshing out the latter. More concisely, dance constitutes a figure of positive ambivalence (whether between heterosexual lovers, participants in a philosophical dialogue, or aspects (...) of a concept) as self-mimetic, curved silvering in the pursuit of social justice. (shrink)

The Narrow Evolutionary Psychology Movement represents itself as a major reorientation of the social/behavioral sciences, a group of sciences previously dominated by something called the ‘Standard Social Science Model’. Narrow Evolutionary Psychology alleges that the SSSM treated the mind, and particularly those aspects of the mind that exhibit cultural variation, as devoid of any marks of its evolutionary history. Adherents of Narrow Evolutionary Psychology often suggest that the SSSM owed more to ideology than to evidence. It was the (...) child of the 1960s, representing a politically motivated insistence on the possibility of changing social arrangements such as gender roles: " ‘Not so long ago jealousy was considered a pointless, archaic institution in need of reform. But like other denials of human nature from the 1960s, this bromide has not aged well.’ ) " This view of history does not ring true to those, like the authors, who have worked in traditions of evolutionary theorizing about the mind that have a continuous history through the 1960s and beyond: traditions such as evolutionary epistemology and psychoevolutionary research into emotion (Griffiths. (shrink)

This article explores Fanon's thought on dance, beginning with his explicit treatment of it in Black Skin, White Masks and The Wretched of the Earth. It then broadens to consider his theorization of Black embodiment in racist and colonized societies, considering how these analyses can be reformulated as a phenomenology of dance. This will suggest possibilities for fruitful encounters between the two domains in which (a) dance can be valorized while (b) opening up sites of resignification and resistance for Black (...) persons and communities-including a revalorization of Black embodiment as a kind of empowering danced experience. (shrink)

Complex social and ethical problems are often most effectively solved by engaging them at the messy and uncomfortable intersections of disciplines and practices, a notion that grounds the InVisible Difference project, which seeks to extend thinking and alter practice around the making, status, ownership, and value of work by contemporary dance choreographers by examining choreographic work through the lenses of law, bioethics, dance scholarship, and the practice of dance by differently-abled dancers. This article offers a critical thesis on how (...) bioethics has come to occupy a marginal and marginalizing role in questions about the differently-abled body. In doing so, it has rendered the disabled community largely invisible to and in bioethics. It then defends the claim that bioethics – as a social undertaking pursued collaboratively by individuals from different disciplines – must take much better notice of the body and the embodied individual if it is to better achieve its ends, which include constructing a moral and just society. Finally, this article considers how the arts, and specifically dance, provides us with rich evidence about the body and our ability to respond positively to normally ‘othered’ bodies. It concludes that greater attention to empirical evidence like that being generated in InVisible Difference will help to expand the reach and significance of bioethics, and thereby its relevance to important questions about the status of bodies and bodily differences, which must be considered as central to its ambitions. (shrink)

Carceral spaces such as prisons are designed to restrict freedoms and keep inhabitants confined and under surveillance through various mechanisms. As a result, prisons are spaces where movement is restricted through confinement, while prisoners’ ability to move is conflated with freedom. We aim to move beyond this dichotomy and consider a complex rethinking of the body in criminological theory and practice through dance in carceral space. In doing so, we explore under what conditions movement represents agentic practices. Understanding these nuances (...) requires an interrogation of prisoner agency, including prisoners’ subtle maneuverability of power dynamics within the prison. We explore these dynamics using feminist and arts-based methods, specifically dance workshops delivered to twenty participants incarcerated in a Canadian provincial women’s prison. We find that movement and expression in prison may create moments of agentic freedom for incarcerated women under certain conditions. We argue that more nuanced understandings of incarcerated women’s agency can be found in their daily negotiations of time and space, and movement can provide numerous meanings. Our findings suggest arts-based approaches within prison environments create opportunities for women to express their identity and sexuality through movement in ways otherwise not permitted in prison. For many incarcerated women in this study, this sense of freedom may be associated with the ability to focus and take care of themselves while confined. (shrink)

This article investigates the ways in which discourses and experiences of health and healing have shaped the development of contemporary dance in France. It confronts the problem of how to situate contemporary dance in relation to other dance genres and suggests Robert Desjarlais’ concept of the ‘aesthetic of experience’ as a helpful framework for understanding the ways in which technique and virtuosity operate differently in contemporary dance than in other dance forms. The article is ethnographic and historical and attempts to (...) create a dialogue between dance studies and medical anthropology. The ethnographic and historical material has three parts. First, I offer an analysis of the cultural idiom of illness as blocageand argue that contemporary dancers in Aix-en-Provence experience their work as a form of healing or dÈblocage. Next, I show how two historical and political events in France led to the promotion of dance as a means of social reform: (1) the Situationist art movement of the 1960s and its idea of ‘awakening’ society through public art; and (2) the renovation of the French Ministry of Culture in 1982 and its subsequent promotion of contemporary dance in state-funded community outreach projects in the 1980s. Finally, drawing on rich narratives from fieldwork interviews, I define awareness, expression and presence as the primary technical elements of contemporary dance in Aix-en-Provence, France, in 2002, and explain their relationship to the notion of ‘dance as l'intervention’ that has grown out of the historical context of contemporary dance in France. (shrink)

Perhaps owing to frictions between his Christological worldview and the dominant secularism of contemporary French thought as taken up in the U.S., and persistent worries about a seeming solipsism in his phenomenology, Michel Henry's innovative contributions to aesthetics have received unfortunately little attention in English. The present investigation addresses both issues simultaneously with a new interpretation of his recently-translated 1996 interview, “Art and Phenomenology.” Inspired by this special issue’s theme, “French Thought in Dialogue,” it emphasizes four levels of dialogue in (...) the interview, as follows: (1) the interview as such, with Brohm; (2) its titular dialogue between art and phenomenology; (3) what I term a “trans-religious” dialogue between Christianity’s Jesus and Nietzsche’s Dionysus; and (4) a related dialogue between painting (Henry’s favored genre) and dance that is “Dionysian” (in Nietzsche’s sense). It concludes with new phenomenological accounts of a literal and a figurative dance, namely the social Latin dance called bachata, and an improvised musical dialogue with the mockingbirds of my hometown. In sum, thanks to Henry’s engagement with various forms of dialogue, including with Brohm, the arts, paganism, and dance, one can find room in his transcendental subjectivity of Life for others, dancingly transcending even humanity. (shrink)

Human action has generally appeared to the sociologist as instrumental action, movement conceptualized and valued in terms of its utility, with the actor defined in terms of agency within rationalized social systems . Dance provides a way of seeing that conditions for human existence cannot be reduced to socio-economic relations and forms. Drawing on my ethnographic study of a dance improvisation group, I explore some of the ways in which innovative action resists the productive and textual relations that turn (...) bodies into objects of social control in the capitalist world-order, and creates relations that enable ‘free’ action and liberated subjectivities. Innovations disrupt the pre-existing frames of reference, physical and linguistic, that position the subject in the world of work, and establish an unlimited and undetermined time-space for experiencing ‘something new’. In this case the something new is an opportunity to create oneself anew through choices that are made moving ‘free’ from the constraints of practical activity. Within the intersubjective life-world established through innovative action a space is created for individuation and empowerment. Although these conditions for existence are episodically produced and contingent, they begin and end with the dancing, the relations are self-affirming rather than self-alienating. Dance improvisation experience provides a sociological context for presenting human activity as a contested category in sociological theory, and it raises some important questions about what it means to be human in the world. (shrink)

Dance is an art of human movements, and it is an art form that takes refined, organized and artistically processed human movements as the main means of expression, expresses people's thoughts and feelings, and reflects social life. Humans not only transfer knowledge by means of dance, but also communicate with heaven and earth and soothe the soul by means of dance. Dance drama, an art form, is more and more popular among the masses. With the development of the times (...) and science and technology, dance drama forms are constantly bringing forth the new. On the basis of the ancient stage art, it glows with new splendor and enriches the treasure house of human spirit and culture. During the development of history and culture, both religious culture and dance culture have tenacious vitality, and are constantly developing and evolving. The two are inextricably linked, interacting and influencing each other. This paper studies the relationship between dance and religion, trying to learn from historical experience, analyze the relationship between dance and religion, solve the problems in the creation of dance drama, provide theoretical basis for the development of dance drama, and promote the vigorous development of dance art. (shrink)

In Michel de Certeau’s Invention of the Everyday, improvisational community dance function as a catalyst for the subversive art of the oppressed, via its ancient Greek virtue/power of mētis, being “foxlike.” And in de Certeau’s The Possession of Loudun, this foxlike dance moves to the stage, as an improv chorus that disrupts the events at Loudon when reimagined as a tetralogy of plays at City Dionysia. More precisely, Loudun’s tetralogy could be interpreted as a series of three tragedies and one (...) comedy, the latter of which involves the chorine nuns’ channeling of anomie into a proto-feminist transfiguration. More precisely, the tactical prowess of the nuns’ chorus leader, namely the prioress Jeanne des Anges, elevates her to the status of an angelic prophet, which in de Certeau’s theatrical dancing critique makes her the Loudun tetralogy’s Dionysian, foxlike mage. In conclusion, this analysis suggests de Certeau’s relevance for revolutionary social justice today. (shrink)

This paper critically reviews phenomenological philosophy of the body in light of postmodern and postcolonial critiques of universalism. It aims to recast the notion of the lived body in plural rather than singular terms. It does so within the context of phenomenology and dance, using cultural anthropology to highlight the sense in which bodies are culturally and corporeally specific. The notion of corporeal specificity is applied to the perception of dance, paying particular attention to questions of power and hegemony. This (...) is not to reject phenomenology, but to differentiate it according to its social, historical and kinaesthetic milieux. (shrink)