ABSTRACT
I have referred often to a political aesthetic or an aesthetic of politics. The phrase draws attention to the political implications of an approach to aesthetics, to the arts and to dance which takes a wider view than usual of the aesthetic field. This view rejects any ivory tower, elitist, intellectual and privileged approach to the arts. Such an approach suggests that the arts comprise a special kind of excellence to be appreciated by a specially qualified minority. This minority exists and has powerful advocates in government, the Arts Council, the media and other sources of influence. Arnold Haskell, one of the first British ballet critics, was such an advocate and was proud to be so.1 Not surprisingly the greater part of the population rejects arts of this kind which play no part in their lives. Yet there is a popular, lively culture, including dance culture, forming and being formed by majority taste. I remarked on it in chapter 1, developed it in chapter 5 and ask now the question: Whose dance culture are we discussing?
