coherent and well-supported way that fits the fine art model as it has been conceived by analytic aesthetics. Even if one chooses to approach dance in another way, it is certainly of some value to consider how dance might belong not just in our social lives, our tribes, our temples, and our communities, but as a fine art of the eighteenth-century, Western European sort. There should be room in dance theory for an analysis like this of dance as part of high culture that can be analyzed in cognitive, abstract, and intellectual ways as well as felt and experienced in our blood, bones, sinews, nerves, and hearts.