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Indeed, in her article “Philosophy of Dance (Essay-Review)”, Van Camp (1996a) asserts that Sparshott overlooks or neglects many important works of dance philosophy in his assessment of the field, both relying on ideas from others without attribution and in failing to fully research the sources that exist in fields of dance scholarship outside of the academy of philosophy that are philosophically relevant.As a subset of philosophical aesthetics that is interested in the question, “what is the nature of dance as art?”, dance philosophy has faced some unique challenges and difficulties.First, dances usually lack words or texts and are often developed without the use of a written plan, script or score of any kind (see Franko 19a).Dance is practiced in many forms and for many reasons, including social, educative, political and therapeutic reasons.
Here Sparshott explains that dance was not originally construed as a fine art under the 18-century system of the fine arts that culminated in G. Music only made it into the system as a kind of analog of poetry, so Hegel elevated the kind of music that had a sung and verbal aspect above “absolute” or instrumental music.
For more on the relation between philosophy and dance see Foster, Rothfield and Dunagan 2005, Sparshott 2004, and Van Camp 2009.) Dance is underrepresented in philosophical aesthetics.
This means that, as a whole, the philosophical aesthetics of dance lacks the full range of views that one can find in more developed field of aesthetics such as literature or music. Hegel’s idea was that the fine arts were those that realized the spirit of the people by bringing truth or the “idea” to light in material form (for more on Hegel’s aesthetics see Houlgate 2014).
Borrowing from action theory, Beardsley says that one causal bodily action can, under the right circumstances, be sortally generated into another kind of action.
Thus, the act of marrying can, under the right circumstances, also be bigamy.