Dance, Disability and Law: InVisible Difference tracks a revision of ideas about the dancing body and related stage aesthetics in the twentieth and twenty-first centuries. The book is an extension of a United Kingdom Arts and Humanities Research Council–funded, interdisciplinary project that unites questions of the social context of dance making with the legal frameworks of social justice. The project’s goal is to study the role of human rights norms alongside the broad, legal frameworks in which dance is made, with the additional goal of conceiving new theoretical frameworks responsive to the diversity of dance practice. The four-year project, lasting from 2012 to 2016 and gathered in this volume, combines extensive unstructured conversations, micro-ethnographies, semi-structured interviews, analyses of performances, and knowledge exchanges among artists, dance scholars, and legal experts from England and Australia. The fifteen chapters of Dance, Disability and Law: InVisible Difference are organized into three sections: “Disability, Dance and Critical Frameworks,” “Disability, Dance and the Demands of a New Aesthetic,” and “Disability, Dance and Audience Engagement.” Each section is followed by three blog posts in which the authors expand on ideas introduced in the chapters and policy briefs. Each section is also followed by a policy brief on venues, copyright, and legal tools for dancers that evolved from the project’s conversations among dancers, choreographers, and legal scholars. In the initial chapter, “Disabled Dance: Barriers to Proper Inclusion within Our Cultural Milieu,” Shawn Harmon, Charlotte Waelde, and Sarah Whatley ask the question that is central to the entire project, “What is ‘normal’?” (p. 16). As Harmon, Waelde, and Whatley articulate, the implication of the question is that normal is an unstable category that constantly changes as a cultural milieu evolves new attitudes. They conclude that the public no longer assumes that disability limits the human potential for expressiveness but that current audiences have a limited cultural framework to appreciate the differently abled

中文翻译：

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追踪无形的差异

舞蹈、残疾和法律：看不见的差异追踪了二十世纪和二十一世纪有关舞蹈身体和相关舞台美学的观念的修订。这本书是英国艺术与人文研究委员会资助的跨学科项目的延伸，该项目将舞蹈制作的社会背景问题与社会正义的法律框架结合起来。该项目的目标是研究人权规范与广泛的舞蹈形成法律框架的作用，另外的目标是构想新的理论框架，以适应舞蹈实践的多样性。为期四年的项目从 2012 年持续到 2016 年，汇集在本卷中，结合了广泛的非结构化对话、微观民族志、半结构化访谈、表演分析、以及来自英国和澳大利亚的艺术家、舞蹈学者和法律专家之间的知识交流。《舞蹈、残疾和法律：无形的差异》共十五章，分为三个部分：“残疾、舞蹈和批判框架”、“残疾、舞蹈和新美学的需求”和“残疾、舞蹈和观众参与”。每个部分之后是三篇博客文章，作者在其中扩展了章节和政策简介中介绍的想法。每个部分之后还有一个关于场地、版权和舞者法律工具的政策简报，这些内容是由舞者、​​编舞者和法律学者之间的项目对话演变而来的。在第一章“残疾人舞蹈：在我们的文化环境中适当融入的障碍”，Shawn Harmon、Charlotte Waelde、莎拉·沃特利提出了整个项目的核心问题，“什么是‘正常’？” （第 16 页）。正如 Harmon、Waelde 和 Whatley 所阐明的那样，这个问题的含义是，正常是一个不稳定的类别，随着文化环境演变出新的态度，它会不断变化。他们得出的结论是，公众不再认为残疾会限制人类的表达能力，而是认为当前观众的文化框架有限，无法欣赏不同能力的人。