ABSTRACT
This section introduces the reader to chapters that reveal some of the philosophical arguments for and against the acceptance of choreography as a form of knowledge. In what ways is it possible to perceive choreographic processes and products as ‘knowing’, ‘thinking’, ‘being’ and ‘interpreting’? How can a philosophic field of enquiry help us to understand, contextualise, interpret and unfold the significance of the dance? What are the seminal texts in this territory, and what are the ‘well-rehearsed’ and not-so-well-rehearsed arguments?
