In recent decades, dance has become a vehicle for querying
assumptions about what it means to be embodied, in turn
illuminating intersections among the political, the social, the
aesthetical, and the phenomenological. The Oxford Handbook of Dance
and Politics edited by internationally lauded scholars Rebekah
Kowal, Gerald Siegmund, and the late Randy Martin presents a
compendium of newly-commissioned chapters that address the
interdisciplinary and global scope of dance theory - its political
philosophy, social movements, and approaches to bodily difference
such as disability, postcolonial, and critical race and queer
studies. In six sections 30 of the most prestigious dance scholars
in the US and Europe track the political economy of dance and
analyze the political dimensions of choreography, of writing
history, and of embodied phenomena in general. Employing years of
intimate knowledge of dance and its cultural phenomenology,
scholars urge readers to re-think dominant cultural codes, their
usages, and the meaning they produce and theorize ways dance may
help to re-signify and to re-negotiate established cultural
practices and their inherent power relations. This handbook poses
ever-present questions about dance politics-which aspects or
effects of a dance can be considered political? What possibilities
and understandings of politics are disclosed through dance? How
does a particular dance articulate or undermine forces of
authority? How might dance relate to emancipation or bondage of the
body? Where and how can dance articulate social movements,
represent or challenge political institutions, or offer insight
into habits of labor and leisure? The handbook opens its critical
terms in two directions. First, it offers an elaborated
understanding of how dance achieves its politics. Second, it
illustrates how notions of the political are themselves expanded
when viewed from the perspective of dance, thus addressing both the
relationship between the politics in dance and the politics of
dance. Using the most sophisticated theoretical frameworks and
engaging with the problematics that come from philosophy, social
science, history, and the humanities, chapters explore the
affinities, affiliations, concepts, and critiques that are inherent
in the act of dance, and questions about matters political that
dance makes legible.
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