| Sumario: | In recent years, it has become almost I de rigueur i for a philosopher to write about dance or to associate with a certain dancer: Giorgio Agamben and Isadora Duncan; Georges Didi-Huberman and Israel Galván; Alva Noë and William Forsythe (among others); Bruno Latour and Stéphanie Ganachaud; Jacques Rancière and everyone; Alain Badiou and... no one in particular. What I am about to describe is by no means every dance student's experience of a dance class. 2 Much good work has been done on the ontological status of the "dance" as a specific type of work to be separated from the dancers who embody it; see, for instance, Frédéric Pouillaude, I Le désoeuvrement chorégraphique: Étude sur la notion d'oeuvre en danse i (Paris: Vrin, 2014); Isabelle Launay, I Les Dances d'après (1): Poétiques et politiques des repertoires (Pantin: Centre national de danse, 2017). i 36 Rudolf von Laban, the dancer, choreographer, and theorist (who invented the Laban dance notation system) identified eight different "effort qualities" based on four movement elements: (1) directionality - direct or indirect; (2) weightedness - light or heavy; (3) speed - quick or sustained; and (4) flow - bound or free.
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