ABSTRACT
As discussed in the General Introduction, the activities of analysing dance and locating it within its context are now inextricably linked. It could be argued, therefore, that to make the distinction that is reflected in these final two discrete Parts is no longer tenable as it reflects boundaries of knowledge which cannot be sustained. There is, however, a large body of scholarship which takes a dance(s) or a choreographic oeuvre as its prime focus, and examples of these are included here. Jordan and Thomas identify their methodology; in other writers, the analytic approaches are implicit and frame different purposes.
