{"id":11290,"date":"2026-11-14T08:00:00","date_gmt":"2026-11-14T08:00:00","guid":{"rendered":"https:\/\/www.raziemah.com\/blog\/?p=11290"},"modified":"2026-09-05T18:29:10","modified_gmt":"2026-09-05T18:29:10","slug":"looking-at-alva-noes-book-2023-entanglement-part-13-of-24","status":"publish","type":"post","link":"https:\/\/www.raziemah.com\/blog\/?p=11290","title":{"rendered":"Looking at Alva Noe&#8217;s Book (2023) &#8220;Entanglement&#8221;\u00a0 (Part 13 of 24)"},"content":{"rendered":"\n<p>0161 Chapter three (C3) applies the broad brush of &#8220;entanglement&#8221; to dance&#8230; er&#8230; I mean&#8230; dancing.<\/p>\n\n\n\n<p><em>Dance<\/em> is different than <em>dancing<\/em>.<\/p>\n\n\n\n<p>Many civilized folk enroll in introductory dance classes, aiming to learn how to perform the proper steps for each dance style.&nbsp; The classes are awkward, but rewarding.&nbsp; The instructor, who is a dancer, works as a second-order guide.&nbsp; The dancer is one who achieves virtuosity, makes moves, and then studies under a choreographer.<\/p>\n\n\n\n<p>0162 To me, <em>introductory dance classes<\/em> associate to <em>the three-level interscope for hand-speech talk<\/em>.&nbsp; Instead of hand-speech parole, there are dance steps for any particular style of dance. These dance steps<sub>2af<\/sub> are forms that are substantiated by stylized motions<sub>2am<\/sub>.&nbsp; In effect, the steps<sub>2af<\/sub> are images and indicators<sub>1a<\/sub> of their referents<sub>2am<\/sub> in the normal context of dancing<sub>3a<\/sub>.&nbsp; Dancing<sub>3a<\/sub> is like structure<sub>3a<\/sub>.&nbsp; We are disposed<sub>1a<\/sub> to imitate by pantomiming and pointing to an exemplar<sub>1a<\/sub>.&nbsp; <em>The exemplar<\/em> is <em>the dance instructor<\/em>.<\/p>\n\n\n\n<p>0163 Here is <em>a picture of dancing<\/em> as <em>a reproduction of<\/em> the <em>hand-speech talk interscope<\/em>.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide38-1.png\"><img loading=\"lazy\" decoding=\"async\" width=\"540\" height=\"360\" src=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide38-1.png\" alt=\"\" class=\"wp-image-11291\" srcset=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide38-1.png 540w, https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide38-1-300x200.png 300w\" sizes=\"auto, (max-width: 540px) 100vw, 540px\" \/><\/a><\/figure>\n\n\n\n<p>0164 The instructor assists with the situation level by telling students to move their bodies with the music<sub>2bm<\/sub>, and so on.&nbsp; This is the awkward part, because most Western cultures simply do not encourage children to move with the music, because dancing is not regarded as&#8230; well&#8230; &#8220;necessary&#8221;.&nbsp; Since the mechanical revolutions, experts in education have devoted their efforts to restricting motion and elevating obedience and recitation.<\/p>\n\n\n\n<p>0165 I suspect that this is why Dr. Noe regards dancers&#8230; I mean&#8230; dance instructors as &#8220;resisting&#8221; the habitus of their students, inculcated in the civilizational expectations of <em>our particular civilizational Lebenswelt<\/em>.<\/p>\n\n\n\n<p>I suspect that the author is only dimly aware that dance instructors are reinforcing their students at the same time.&nbsp; They introduce their students to a restrained re-enactment of <em>the Lebenswelt that we evolved in<\/em>, where dance was a communal tradition<sub>2cf<\/sub> that virtually contextualized an adornment<sub>2bf<\/sub> to exchanges that were negotiated earlier<sub>2af<\/sub>.&nbsp; The student&#8217;s reward comes outside the instructor&#8217;s view, when the individual is called to dance in a celebratory setting.<\/p>\n\n\n\n<p>0166 What does a choreographer do?<\/p>\n\n\n\n<p>A dancer works with a choreographer, who sculpts a dance show<sub>3c<\/sub>.<\/p>\n\n\n\n<p><em>The atmosphere of choreographer&#8217;s studio<\/em> differs from <em>introductory dance classes<\/em>.&nbsp; The students already know many steps. &nbsp;They want to participate<sub>2cf<\/sub> in the artifact<sub>2bf<\/sub> that validates<sub>2cm<\/sub> the choreographer&#8217;s spoken words<sub>2af<\/sub>.<\/p>\n\n\n\n<p>0167 Here, I shout out the choreographer Kyle Hanagami, whose business is built on serving as a video-based dance instructor.&nbsp; In his numerous videos, recording dancers performing his choreography, he conveys <em>the feel of the hand-speech interscope,<\/em> while executing <em>a reproduction of the speech-alone talk interscope,<\/em> pictured below.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide39-1.png\"><img loading=\"lazy\" decoding=\"async\" width=\"540\" height=\"360\" src=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide39-1.png\" alt=\"\" class=\"wp-image-11292\" srcset=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide39-1.png 540w, https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide39-1-300x200.png 300w\" sizes=\"auto, (max-width: 540px) 100vw, 540px\" \/><\/a><\/figure>\n\n\n\n<p>0168 For example, <em>many of the moves<sub>1a<\/sub> that Hanagami names<\/em> (by consciously creating them) operate as <em>icons, indexes and symbols of pop-song lyrics<\/em>.&nbsp; On one hand, his thinking<sub>2am<\/sub> entertains stylized motions<sub>2am<\/sub> that substantiate dance steps<sub>2af<\/sub> and, on the other hand, his thinking<sub>2am<\/sub> is arbitrarily related to the steps<sub>2af<\/sub> in the same way that, in speech, <em>what I think<sub>2am<\/sub><\/em> does not necessarily substantiate <em>what I say<sub>2af<\/sub><\/em>.&nbsp; Or, maybe I should say, <em>what I say<sub>2af<\/sub><\/em> does not necessary sculpt <em>what I think<sub>2am<\/sub><\/em>.<\/p>\n\n\n\n<p>0169 Similarly, <em>Hanagami&#8217;s organizing principle<sub>2bm<\/sub><\/em> is to unify the music and the dance steps<sub>2bm<\/sub> in the normal contexts of technical<sub>3b<\/sub> and aesthetic<sub>3b<\/sub> work.&nbsp; The resulting performance<sub>2bf<\/sub> emerges from (and situates) the potential of &#8216;the pop music as well as the lyrics (serving as the referent)&#8217;<sub>1b<\/sub>.<\/p>\n\n\n\n<p>The overall impression is that his dance class<sub>3c<\/sub> is a dance show<sub>3c<\/sub>.&nbsp; The proof<sub>2cm<\/sub> is in the dance itself<sub>2cf<\/sub>, performed on computerized screens, calling individuals to not only engage in dancing<sub>3a<\/sub>, but to dance<sub>3a<\/sub>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>0161 Chapter three (C3) applies the broad brush of &#8220;entanglement&#8221; to dance&#8230; er&#8230; I mean&#8230; dancing. Dance is different than dancing. Many civilized folk enroll in introductory dance classes, aiming to learn how to perform the proper steps for each dance style.&nbsp; The classes are awkward, but rewarding.&nbsp; The instructor, who is a dancer, works [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[417],"tags":[],"class_list":["post-11290","post","type-post","status-publish","format-standard","hentry","category-book-review"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Looking at Alva Noe&#039;s Book (2023) &quot;Entanglement&quot;\u00a0 (Part 13 of 24) - An Archaeology of the Fall<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.raziemah.com\/blog\/?p=11290\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Looking at Alva Noe&#039;s Book (2023) &quot;Entanglement&quot;\u00a0 (Part 13 of 24) - An Archaeology of the Fall\" \/>\n<meta property=\"og:description\" content=\"0161 Chapter three (C3) applies the broad brush of &#8220;entanglement&#8221; to dance&#8230; er&#8230; I mean&#8230; dancing. 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