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culture of knowledge. These are major themes that refer
to a long and complex history of interdisciplinary academic discourse.
The social-science perspective, which I would like to contribute,
makes it possible to narrow down the extremely wide-ranging subject of
›dance knowledge‹ although – due to the very sophisticated sociologicaltheories of its history – I am only able to outline a few ideas for a social-
science theory of dance knowledge here.
What is special about the social-science perspective on dance know-
ledge is the fact that it considers the
deployment of symbolic action and negotiation of collective representations per-
vading all levels of social life and now often deemed increasingly distinctive of
our times – if also deeply transformed, among else, by the expansion of the in-
ternet (Brizarielli/Armano 2017; Ezrahi, 2015; Hénaff and Strong 2001).3
From the point of view of current sociologicaltheory, at any rate, theatre as a
metaphor is still very much at work in shaping our thinking, as the focus is not
any more, or at least not only, on what used to be subsumed under the notion of
of Arts. His work is influenced by architecture, thea-
tre, the visual arts, Feldenkrais, Pilates, Yoga, and BMC. Koegel graduated
in his self-designed degree programme for Dance, Design and Commu-
nication at the University of Minnesota.
Notes on Contributors | 329
Rudi Laermans teaches sociologicaltheory at the Catholic University of
Leuven. He is also a regular guest teacher at P.A.R.T.S. in Brussels. His
current research work deals with social systems theory, post-Foucauldian
critical theory and contemporary art theory.
Scott deLahunta works as a
pants to preenact the complexities of contemporary societal affairs.
2 THEORETICAL BACKGROUND
When we first started to investigate ways of participatory storytelling, we were fol-
lowing the assumption that sociologicaltheory had already disseminated into the
field of participatory storytelling. Much to our astonishment, we discovered that if
sociology had inspired the literature it mostly supported either discursive instances
or critical societal theory (Friedrich/Kramer 2008; Leeker/Schipper/Beyes 2016).
Yet, we identified a lack of micro
know retrospectively. But while these events are happening, there is no
question that they offer new forms of praxis. Their call is to participate; not just
to interpret. The language of the new culture is struggle. It is: Action!
Abbott, Andrew (2014): The Problem of Excess. In: SociologicalTheory 32 (1),
Artaud, Antonin (1958): The theater and its double. London: Grove Press (Ever-
green books, E-127).
Badiou, Alain (2005): Being and event. Bloomsbury revelations edition. London,
New York: Bloomsbury Academic (Bloomsbury revelations
Face: Toward a SociologicalTheory of In-
terpersonal Behavior, Stanford, Cal.: Stanford University Press.
Waldenfels, Bernhard (1997): „Das Un-ding der Gabe“, in: Gondek, Hans-
Dieter/Waldenfels, Bernhard (Hg.), Einsätze des Denkens. Zur Philosophie
von Jacques Derrida, Frankfurt a.M.: Suhrkamp, S. 385-409.
Weber, Max (1972): Wirtschaft und Gesellschaft, Tübingen: Mohr-Siebeck.
. Thus, the performative is embedded between prac
tices and these orders, opening up a perspective that microsocio
logical positions in practice theory neglect or even reject. For micro
sociologicaltheories locate the mode of execution in practice alone;
they inquire into performatively generated knowledge and the re
lationship between the success and failure of the act of execution.
This shifts attention to the relationship between stability and in
stability, thus taking a perspective that conceptualizes the social
as something dynamic and concentrates on the
ment of Studies.” In: SociologicalTheory 6/1, pp. 1039.
Garfinkel, Harold/Sacks, Harvey
(1986): “On Formal Structures
of Practical Actions.” In:
Harold Garfinkel (ed.), Ethno
methodological Studies of
Work, London/New York:
Routledge, pp. 160193.
Flick, Uwe/Schmidt, Robert
(eds.) (2004): Treue zum Stil:
Die aufgeführte Gesellschaft,
Gebauer, Gunter/Schmidt, Robert
(2013): “Aspekte des Performa
tiven im Sport und der Arbeits
welt.” In: Erika FischerLichte