Distributed corporeality: Anatomy, knowledge and the technological reconfiguration of bodies in ballet

Abstract

Various specialist cultures configure bodies as complex technological devices. We know little about how exactly this is done. I focus on one of these cultures, classical ballet, to praxeologically reconstruct the conceptual, situational and material configuration of bodies as particular instruments. The technologization of the body is closely intertwined with the scientification of the practice – its ladenness with scientific knowledge about the body and an elaborate apparatus for the production of bodies. When anatomical knowledge and didactics intertwine in ballet class, this facilitates an opening of the black box ‘body’ for technical improvement. ‘A body’ becomes a plurality of (in this case, anatomically distinguished) actants. This distributed corporeality suggests that ‘the body’ is an assemblage that becomes apparent as such in moments of its modification. The empirical case as well as the analytical approach here give reason to reconsider the distinction between humans and non-humans that still prevails in actor-network theory and elsewhere.