A new foundation: physical Integrity, disabled dance and cultural heritage

Abstract

Introduction Leading dance commentators have argued that ‘disability remains a marginalised and under-theorised area in dance studies’, notwithstanding advances in the growth of mixed ability dance companies, and the expansion of critical scholarship around dance and disability (Albright Copper and Brandstetter 2015:3, 5). We agree that ‘disabled dance’ is under-theorised; in the light of this we have chosen to continue to use the term ‘disabled dance’, but we stress that we do not claim that disabled dance should be seen as a distinct art-form, and certainly not a distinct genre, but as a unique and important integrated element of the dance community that deserves its place alongside any other sector within that community. Further, for as long as this is so and disabled dance lacks a philosophy to deepen understanding and knowledge of the dance and its philosophy, disabled dance will continue to evolve in fits and starts, and to be persistently at the margins of dance. [...]