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To browse Academia. Helena Wulff. During the s, perhaps as part of several strategies aimed at slowing down the boom of the s, a discursivation of the body and its activity took place in the field of dance in analogy to speech acts.
This analogy was much needed to help dance become more intellectual and self-reflexive, but it also made it difficult to think about bodies outside the cultural and ideological grids capturing them. Two further assumptions go hand in hand with this approach: first, that all bodily movements write from the perspective of those performing them; and second, that these movements be read from the perspective of those observing or even performing them.
What can a body do? In short, the answer to this famous Spinozian question with regard to a body being understood in terms of language is that it can parody the grid, subvert the discourses, and write singularily. In the s, therefore, the body often moved through already codified spaces of culture and ideology, but it rarely constru Julie C Van Camp. These two books were Sparshott's "first steps to a philosophical consideration of the dance," but they most certainly were not the first attention paid to the art form by serious philosophers.
The first book focuses on the nature of dance, its unusual char- acteristics, and how it might be understood philosophically. Sparshott avoids proposing his own "definition" of dance, but painstakingly ex- plores definitions offered by others. Using standard analytical tech- niques, he compares dance with other human phenomena, in both the arts and the broader culture, and he considers perennial issues such as "meaning" and "expression.