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Dance-Based Dance Theory: From Borrowed Models to Dance-Based Experience

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Respected UCLA dance pedagogue, Judy Alter has compiled a thoroughly useful review of 20th century dance theory that should find its place as a resource text in Dance Theory courses throughout academia. An overview of important contemporary schools of thought, Alter's book emanates from her belief that Dance theory must come from the experience of Dance rather than from borrowed aesthetic philosophies that do not incorporate the corporeal in their initial musings.

To that end, Dr. Alter's first chapter lays out what could be called a manifesto of belief; a definition of Dance and what she believes is required for the creation of a complete dance-based dance theory. It is here that several paradoxes appear: Art-based aesthetics are seen as inadequate yet Dance as a discipline has fought hard to be considered an Art; theory is essentially derived from Word and Symbol yet Dance is essentially Movement and Body; the vast majority of Dance is participatory and improvisational yet most Dance Theory focuses upon the presentational and choreographic forms.

The following chapters review the basic tenants of various theories and it is here where I have a few quibbles. Alter's analysis of H'Doubler's work focuses solely upon "Dance: A Creative Art Experience", ignoring the evolution that H'Doubler's ideas underwent with the following generations of Dance educators. Alter reveals her bias towards Rudolph Laban's work through her insistence that a complete Dance Theory must include a viable notation system as well as her claim that LMA is not culturally biased because Laban was familiar with many different cultures.

These quibbles aside, Dr. Judith Alter has contributed a very strong entry into a field of study that desperately needs fresh inquiry. The review of literature will work well in undergraduate courses and her call for a truly Dance-based Dance theory raises a standard that Dance must attain to be considered a serious academic discipline.