A Space with No Place (Straus and Ecstasy)

Summary

Erwin Straus argues that dance belongs to smooth, acoustic space, which contrasts with the optical space of directed, purposeful movement. Music enables dance by creating a homogeneous, nebulous acoustic space where the directionality of praxis is obliterated. Optical space is described as historical, while acoustic space is presentic. Dance, as an extension of music, allows a presentic relation to space called ecstasy or becoming one, which is most apparent in dances that are not yet dances, such as children's dances, social dances, or primitive dances.

Study at a glance

Abstract

This chapter argues that Erwin Straus assigns dance very definitely to the domain of smooth space. Music is dance’s condition of possibility because it establishes the only space that could be adequate to dancing: an acoustic space, both homogeneous and nebulous, in which the directionality of praxis is obliterated. This acoustic space of dance contrasts with the optical space of directed and purposeful movement. The optical space, Straus tells us, is “historical”; the acoustic space, meanwhile, is “presentic.” Dance, as an extension of music, enables this “presentic” relation to space, which Straus calls “ecstasy” or “becoming one.” But ecstasy is only really apparent in dances “which are not yet dances” such as children’s dances, social dances, or primitive dances.