Dance as L'intervention: Health and Aesthetics of Experience in French Contemporary Dance

• Published in: Body & society Vol. 11; no. 4; pp. 109 - 139
• Main Author: Wilcox, Emily E.
• Format: Journal Article
• Language: English
• Published: London, Thousand Oaks and New Delhi SAGE Publications 01.12.2005
• Subjects: Aesthetics; Artistic movements; Body; Cultural history; Cultural studies; Dance; Dance therapy; Discourse; Ethnography; Expression; France; Healing; Health; Medical anthropology; Social reform; aesthetics; France; 1968; postmodern dance; medical anthropology
• ISSN: 1357-034X; 1460-3632
• DOI: 10.1177/1357034X05058023

This article investigates the ways in which discourses and experiences of health and healing have shaped the development of contemporary dance in France. It confronts the problem of how to situate contemporary dance in relation to other dance genres and suggests Robert Desjarlais’ concept of the ‘aesthetic of experience’ as a helpful framework for understanding the ways in which technique and virtuosity operate differently in contemporary dance than in other dance forms. The article is ethnographic and historical and attempts to create a dialogue between dance studies and medical anthropology. The ethnographic and historical material has three parts. First, I offer an analysis of the cultural idiom of illness as blocageand argue that contemporary dancers in Aix-en-Provence experience their work as a form of healing or dÈblocage. Next, I show how two historical and political events in France led to the promotion of dance as a means of social reform: (1) the Situationist art movement of the 1960s and its idea of ‘awakening’ society through public art; and (2) the renovation of the French Ministry of Culture in 1982 and its subsequent promotion of contemporary dance in state-funded community outreach projects in the 1980s. Finally, drawing on rich narratives from fieldwork interviews, I define awareness, expression and presence as the primary technical elements of contemporary dance in Aix-en-Provence, France, in 2002, and explain their relationship to the notion of ‘dance as l'intervention’ that has grown out of the historical context of contemporary dance in France.