Another traditional way, besides those mentioned in Section 1, that dance philosophers in analytic aesthetics have considered the question “what is dance?” is to characterize dance as a particularly expressive form of art, or one that involves “action” in a particular way. Dance historian Selma Jean Cohen (1962) has held that expressiveness is present in all dance, for example, causing Monroe C. Beardsley (1982) to posit that expressiveness might be a necessary if not sufficient condition for