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later to a spot further away (l. 5). These spots are not understandable in any
absolute sense, their particular geographical placement in the hall is of no
relevance. The points can only be understood within the couple’s dance
space at the given moment. The here is thus a complex construct affected
by the sociocultural context of the dance. The target of the reference is not
objectively available before the relevant position is performed. It is con-
structed within the teaching activity as a body placement in the three-dimen-
sional and conventionalised couple’s dance space.
In summary, one way to decompose dance movement for pedagogical
purposes is to lift a certain body configuration out of its context and treat it
as a steady position that can ...