Lucy Weir Bingham McAndrew

This book argues that philosophy is as practical as plumbing and what we need right now is what philosophers can offer as philosophers to help us all, our species, and beyond, through this ecological emergency, this climate change, this anthropocene. This book is about the meaning and purpose of philosophy as a way of, a practice of, responding to the ecological emergency, which includes climate change, biodiversity loss, pollution, habitat destruction, and all the associated impacts that fragment, and threaten to create collapse, among the systems that created and sustain us. There are the related economic and social impacts, the fragmentation of communities and political ideologies through attitude polarisation, and the increasing threats to systems by those who seek to promote further exploitation at the expense of attempts to regain some system of cooperation and an attitude of compassion which is at the heart of our survival strategies as a species. Philosophy has always sought to address questions related both to our place in the universe, and to how to live, given our understanding of our place. Those of us committed to a philosophical life have used a range of metaphors and narratives to enlighten, and to exhort to action, those who would seek to understand what to do, how, and why. Philosophy has played a key role in helping us as a species to respond to the ecological emergency. What, then, is the practice of philosophy, given that we’re in an ecological emergency? This question is the thread, and it forms the framework for the dialogue that runs through the book.

This paper situates the original choreography of Sacre as a basis for an ongoing exploration of non-Western themes in modern dance, a persistent fascination with the Orientalist ‘Other,’ before exploring the versions choreographed by Wigman, Bausch and Graham in chronological order of their first performances. In analysing different interpretations of the same score, two themes become apparent: first, that this piece heralded the birth of Modernism in classical dance performance, and second, that the driving anti-classical, anti-traditional rhythms that characterise the piece communicate an enduring interest in primitive aesthetics. Accordingly, this discussion takes Nijinsky’s Sacre as a starting point in re-evaluating the influence of primitivism and Otherness on contemporary dance, and represents an early indication of the significance of the Saidian, non-Western ‘Other’ in shaping the evolution of avant-garde dance.