The Bloomsbury Handbook of Dance and Philosophy

Rebecca Farinas is an Instructor in Philosophy at Loyola University, USA. She is the author of Classical American Philosophy (Bloomsbury, 2021). Julie Van Camp is Professor Emerita of Philosophy, California State University, Long Beach, USA. She is the executive director of the American Society for Aesthetics.

List of Images
Contributors
Acknowledgements

Introductions:
Rebecca Farinas and Julie C. Van Camp, “Dance and Philosophy”
Jeff Friedman and Aili Bresnahan, “Engagement: A Brief Introduction to Dance Philosophy, Aesthetics, and Practice”

Part 1: Philosophical practice as a dancing matter
Introduction: Julie C. Van Camp, “Presenting an Engagement of Philosophy and Dance”
Chapter 1: Kristopher G. Phillips, Megan Brunsvold Mercedes, “Teaching Dance and Philosophy to Non-Majors: The Integration of Movement Practices and Thought Experiments to Articulate Big Ideas”
Chapter 2: Graham McFee, “Dance, Normativity and Action”
Chapter 3: Julie C. Van Camp, “The Case of Mark Morris’ Choreomusicality”
Chapter 4: Kristin Boyce, “Thought, Dance and Aesthetic Reason”
Chapter 5: Jane Carr, “The negotiation of significance in dance performance: a model for human interaction in the context of difference”
Chapter 6: Barbara Montero, “Embodied Aesthetics and Proprioception”
Chapter 7: Randall E. Auxier, “From Presentational Symbol to Dynamic Form: Ritual, Dance, Image”

Part II: Movement, Embodiment, and Temporality: The Distinctiveness of Dance
Introduction: Edyta Kuzian, “Reflections on Practice”
Chapter 8: Aili Bresnahan, “Interpretation in Dance Performance”
Chapter 9: Edgar Vite, Professor and Diana Palacio, Professor, “A New Epistemology of Body and Movement in Modern and Contemporary Dance”
Chapter 10: Rebecca Whitehurst, “The Phenomenology of Choreography, a Creative Embodied Encounter”
Chapter 11: Richard Hall, “Discovering Collaboration in Dance”
Chapter 12: Kaysie Seitz Brown, “Falling Up: An Explication of a Dance”
Chapter 13: Louis A. Kavouras, “Early Floating in the Here and Now: The Radically Empirical Immediate Dance Theater of Erick Hawkins and Lucia Dlugoszewski”
Chapter 14: David Leventhal, “From Patients to Dancers: a Case Study in Identity Transformation through the Arts”

Part III: Philosophy, Dance Traditions, and Everyday Experience
Introduction: Stephen Davies, “Cross-currents in Philosophical and Dance Traditions”
Chapter 15: Rebecca L. Farinas, “A New Universality: Pragmatic Symbols in Drawing and Dance”
Chapter 16: Caroline Sutton Clark, “Groovy Bodies the 1970’s Somatic Engagement in Dance”
Chapter 17: Mehta Binita, “The Experience of Self-Transcendence: Traditional Hindu Perspective on Art and Dance”
Chapter 18: Thomas F. DeFrantz, “Resisting the Universal: Black Dance, Aesthetics, and the Afterlives of Slavery”
Chapter 19: Lakshmi Viswanathan,”The Landscape of the Arts”
Chapter 20: Jeff Friedman, “Entanglement: A Multi-layered Morphology of Post-colonial African Philosophical Frameworks for Dance Aesthetics'
Chapter 21: Paula J. Conlon, “Synergy and Syncretism at Creek Stomp Dance Grounds”
Chapter 22: Addie Tsai, “The Mask which the Actor Wears is Apt to Become His True Face: How Jon Cryer Toes the Line Between Homage and Mimicry in Pretty in Pink’s Ultimate Lipsync”

Part IV: How does dance move us via technology?
Introduction: David Davies, “Extending Dance Performance”
Chapter 23 Arnold Berleant, “An Aesthetics of Video Dance”
Chapter 24: Daniel Conrad, “Bodies at Rest: Four Still Images”
Chapter 25: Ian T Heckman, “What Do We Lose to a Video”
Chapter 26: Eliot Gray Fisher and Erica Gionfriddo, "Embodying Agency in the Human-Techno Entanglement"
Chapter 27: L. Archer Porter, “Dance Performance: Disability or Cyborg Utopia? Ambivalent Readings of Marie Chouinard’s “bODY rEMIX/gOLDBERG vARIATIONS”
Chapter 28: Ana Baer Carrillo , “Considerations on Site-Specific Screendance Production”
Part V: Critical Reflections on Dance
Introduction: Julia Beauquel, “Contemporary Dance Criticism”
Chapter 29: Jonelle Seitz, “Ways of Looking: Association, Presence, Radicalism”
Chapter 30: Henrique Rochelle,“Meneghini Structure, Form and Function of Dance Criticism and the Ways it Relates Audiences to Works of Art”
Chapter 31: Joshua Hall, “Dancing with: a Theoretical Method of Poetic Social Justice”
Chapter 32: Eric Mullis, “The Power of Political Dance: Representation, Mobilization, and Context Apparatus”
Chapter 33: Meghan Quinlan, “The Economic Politics of Pleasure in Gaga”
Conclusion Questions for Richard Shusterman
Selected Bibliography