A Somaesthetics of Performative Beauty

Somaesthetics plays a central role in the author's analysis of performative beauty. It emphasizes the importance of bodily experiences and actions in aesthetic appreciation, focusing on the somatic aspects of perception and cognition. This contrasts with traditional aesthetic theories, which often prioritize the contemplation of external objects and the observer's role as a passive recipient of beauty. The author uses his own experiences in Argentine tango as a case study, demonstrating how the body is integral to the experience of beauty. Somaesthetics allows for a more holistic understanding of aesthetics, integrating physical, emotional, and cognitive dimensions, and emphasizes the active participation of the body in creating and experiencing beauty. This approach differs from traditional theories by placing the body and its experiences at the core of aesthetic analysis, rather than treating them as secondary or derivative.

The author integrates findings from new phenomenology, neuroaesthetics, enactivism, and somaesthetics to reassess existing inquiries into beauty by emphasizing the role of embodied experience and action. They argue that aesthetic experiences, particularly the experience of beauty, are deeply rooted in our somatic practices and movements. By incorporating new phenomenology, the author highlights the importance of the felt body and the dynamic interplay between perception and action. Neuroaesthetics is used to demonstrate the neural and somatic processes involved in aesthetic experiences. Enactivism underscores the role of the body in shaping our interactions and understanding of the world. Finally, somaesthetics provides a framework that integrates theory and practice, emphasizing the importance of awareness and embodiment in aesthetic experiences. This holistic approach allows the author to challenge traditional aesthetic theories that often neglect the body and action, offering a more comprehensive understanding of beauty.

The key elements of Argentine tango contributing to performative beauty include the embrace, music, and interaction. The embrace fosters a physical, sensory, and energetic connection between dancers, anchoring the experience. Music creates a distinct auditory atmosphere, while lyrics narrate emotional stories, enhancing the experience. Interaction, particularly between dance partners, is crucial, as it allows for a sense of unity and alignment, embodying the concept of sensus communis. These elements relate to the book's broader concepts by highlighting the importance of embodiment, interactivity, and collective experience in aesthetic appreciation. They demonstrate how aesthetic experiences can arise from somatic engagement and collective interaction, challenging traditional aesthetics that focus solely on external objects.

The author argues that somatic awareness is crucial in the aesthetic experience of dancing, as it allows dancers to be both active participants and recipients of the dance. This somatic engagement leads to a sense of transcendence, where dancers feel as if they are being moved by the dance itself, transcending their individual agency. This experience of being moved and the resulting awareness of movement are central to the aesthetic experience, suggesting that beauty and aesthetics are not solely about contemplation but also about active participation and embodiment.

This perspective challenges traditional aesthetics, which often focuses on the objectivity of beauty and the separation of the subject from the object. By emphasizing somatic awareness and transcendence, the author suggests that beauty is a dynamic, embodied experience that is deeply connected to our physicality and social interactions. This has implications for our understanding of beauty and aesthetics, as it encourages a more inclusive and embodied approach that considers the full range of human experiences, including those that arise from our physical engagement with the world.