Dance Literacy: Intelligence and Sensibility in the Dance

modes of thinking , by their very nature ; they employ reflective thought and analysis more than the first hand perceptual impressions of criticism. Critics and others accustomed to their language of sensibility might object that theoretical concepts are too abstract for discussing dance. But this objection applies inappropriately the standards for evaluating criticism to theoretical . writing . Instead of establishing criteria for good aesthetics, philosophy, and theory of dance, these writers cry , " abstract" and " removed " when they should be concerned with clarity of concepts , adequacy of explanatory hypotheses, appropriate principles of theory, the qual ity of reflective thinking , the rigor of reasoning , the adequacy of research , and the appropriateness of research methodologies to particular topics. Fundamental deficiencies in these areas will go unnoticed if the crit ical examination of concepts of theory remains at the lowest level of name calling. Dance writers and their readers should not confuse the necessity for remaining in d irect contact with the facts of dance experience, which is incumbent upon every