This paper offers a way of rethinking Howard Gardner's theory of Multiple Intelligences. The bodily-kinesthetic intelligence is used as the point of critique. The author provides a detailed discussion of the act of dancing as counterpoint to Gardner's understanding of the intelligence. The author critiques Gardner's exemplar and evolutionary…

In this article, the author assumes that choreographers sometimes choose to present their dancers undressed because they believe it contributes to the meanings of the dance as a work of art. It is this idea that nudity can be artistically meaningful that the author wishes to explore. The author begins by defining "art dance" in relation to other…

The neural processes of a person comprehending or creating music have intrigued neuroscientists and prompted them to examine the processing of information and emotion with some of the most recent and sophisticated techniques in the brain sciences (see, for example, Zatorre and his colleagues' work). These techniques and the excitement of studying…

This essay discusses the manner in which the human body is developed and transformed into an aesthetically expressive medium. This process entails capitalizing on functions performed by the body schema and, more specifically, on using the perceptual experience (or "image") of the body to consciously form motor schemata. Since this process is…

Questions who decides what a culturally literate person needs to know and its social implications. Comments on the lack of dance references in E. D. Hirsch's book, "Cultural Literacy." Discusses what a person needs to know about dance. Analyzes dance as art in the context of cultural literacy's requirements. (KM)

John Dewey's aesthetic has been invoked in recent discussions because many have realized that it resists the pull toward conceptualism that characterizes a great deal of aesthetic theory. Further, Art as Experience--Dewey's chief work on the philosophy of art--is rich with ideas that call for development. Richard Shusterman's work does just this…

Author considered the two-horned dilemma the teacher of dance is faced with concerning the aesthetic quality of her art; in the first case is the insistence on the importance of individual emotional response and secondly is the problem of being rational in one's approach to teaching dance. (Author/RK)

Article focused on the lack of information on the contemplative experience in dance. (Author/RK)

A four-stage chart of skills and concepts can be used as a basis for dance analysis. The use of the chart may provide a means by which a more informed response to and a deeper experience of dance may be made possible and in consequence a more discerning dance public may be created. (AM)

The visible in dance encompasses two possible worlds: a world of "doingness" and a world of quality. Each of these worlds in turn engenders two possibilities: accomplishing, or making something happen, on the one hand; qualitative presence or qualitative flow on the other. (Author)

Article described a course taught at a university department of theater that was designed to deepen our cognizance of the potential of the human body as a dance instrument as it widened our knowledge of dance in the context of human history. (Author/RK)

The authors argue that the expression theory of dance is subjectivistic and false, thus failing to provide an adequate rationale for criticism and dance education. They sketch out a theory of dance which focuses squarely on movement itself, and claim this provides a coherent, objective basis for dance education. (KC)

Practical and academic, the interrelationship of the visual and performing arts opens unique frontiers to aesthetic pioneers. Divergent in aim from the historic search for similar tonalities between the Synchronists and Stravinsky or atonal musicians of the 1950s-70s and minimalist painters and sculptors, the present use of the visual arts as a…

Reviews the problem of defending expressive arts education within a rationalistic, reductionist, outcome-oriented educational milieu. Maintains that until expressive arts are seen as being mainly concerned with the development of mind, in the broad sense, the status of expressive arts in curriculum theory and educational practice will remain…