Music: Bill Evans & Claus Ogerman’s Orchestra — ‘Symbiosis 2nd Movement’


Music: Bill Evans & Claus Ogerman’s Orchestra — ‘Symbiosis, 1st Movement’


Music: Marcos Valle & Stacey Kent feat. Jim Tomlinson — ‘My Nightingale’


Music: Vinicius Cantuaria — ‘Fugiu’


The dancing species: How moving together in time helped make us human

By Kimerer LaMothe

Dancing is a human universal, but why? It is present in human cultures old and new; central to those with the longest continuous histories; evident in the earliest visual art on rock walls from France to South Africa to the Americas, and enfolded in the DNA of every infant who invents movements in joyful response to rhythm and song, long before she can walk, talk or think of herself as an ‘I’. Dancing remains a vital, generative practice around the globe into the present in urban neighbourhoods, on concert stages, as part of healing rituals and in political revolutions. Despite efforts waged by Christian European and American colonists across six continents over 500 years to eradicate indigenous dance traditions and to marginalise dancing within their own societies, dancing continues wherever humans reside. Any answer to the question of why humans dance must explain its ubiquity and tenacity. In so doing, any answer will challenge Western notions of human being that privilege mind over body as the seat of agency and identity. 

Current explanations for why humans dance tend to follow one of two approaches. The first, seen in psychological and some philosophical circles, begins with a human as an individual person who chooses to dance (or not) for entertainment, exercise, artistic expression or some other personal reason. Such approaches assume that dance is one activity among others offering benefits to an individual that may be desirable, but not necessary, for human well being. Alternatively, a raft of sociological and anthropological explanations focus on community, asserting that dancing is one of the first means by which the earliest humans solidified strong social bonds irrespective of blood lines. In these accounts, dancing is eventually replaced by more rational and effective means of social bonding that the dancing itself makes possible, such as language, morality and religion. While the first type of reasoning struggles to explain why so many humans choose to dance, the second struggles to explain why humans continue to dance. What is missing from these accounts?

What if humans are the primates whose capacity to dance (shared by some birds and mammals) was the signature strategy enabling the evolution of a distinctively large and interconnected brain, empathic heart and ecological adaptability? And what if dancing plays this role for humans not just in prehistoric times, but continuing into the present? What if humans are creatures who evolved to dance as the enabling condition of their own bodily becoming?

[Read more…]

Music: Vinicius Cantuária — ‘Amor Brasileiro’


Music: Balanço — ‘Metti Una Sera A Cena’ (Jazzanova Remix)


Music: Joan Chamorro presents Carla Motis, Èlia Bastida & Andrea Motis — ‘Doodlin”


Music: Milton Nascimento — ‘Cravo e Canela (Clove and Cinnamon)’


Music: Milton Nascimento — ‘Francisco’