Judson Dance Theater involved such collaborators as Merce Cunningham, Yvonne Rainer, Steve Paxton, Carolee Schneemann, Trisha Brown, Robert Rauschenberg, David Tudor, et al.

Where are all the bodies? Political institutions are populated by living, breathing human beings, who eat, sleep, gesture, desire and suffer. And yet participants of the political realm are often depicted as disembodied minds, detached and distinct from their corporeal existence. Amanda Machin considers six embodied modes of democratic politics: representation, deliberation, disagreement, protest, occupation and counsel. Drawing on diverse thinkers such as Maurice Merleau-Ponty, Michael Polanyi, Simone de Beauvoir, Donna Haraway and Judith Butler, she offers an absorbing illustration of the ways human bodies are not only the disciplined objects of politics, but the generative subjects of democracy.

On the 200th anniversary of Abraham Lincoln’s birth, renowned choreographer and director Bill T. Jones developed three tributes: Serenade/The Proposition, 100 Migrations, and Fondly Do We Hope . . . Fervently Do We Pray. These widely acclaimed dance works incorporated video and audio text from Lincoln’s writings as they examined key moments in his life and his enduring legacy. Democracy Moving explores how these works provided both an occasion and a method by which democracy and history might be reconceived through movement, positioning dance as a form of both history and historiography. The project addresses how different communities choose to commemorate historical figures, events, and places through art—whether performance, oratory, song, statuary, or portraiture—and in particular, Black US American counter-memorial practices that address histories of slavery. Advancing the theory of oscillation as Black aesthetic praxis, author Ariel Nereson celebrates Bill T. Jones as a public intellectual whose practice has contributed to the project of understanding America’s relationship to its troubled past. The book features materials from Bill T. Jones/Arnie Zane Company’s largely unexplored archive, interviews with artists, and photos that document this critical stage of Jones’s career as it explores how aesthetics, as ideas in action, can imagine more just and equitable social formations.

"What is the hangman but a servant of law? And what is that law but an expression of public opinion? And if public opinion be brutal and thou a component part thereof, art thou not the hangman's accomplice?" Writing in 1842, Lydia Maria Child articulates a crisis in the relationship of democracy to sovereign power that continues to occupy political theory today. Is sovereignty, with its reliance on singular and exceptional power, fundamentally inimical to democracy? Or might a more fully realized democracy distribute, share, and popularize sovereignty, thus blunting its exceptional character and its basic violence? In Democracy's Spectacle, Jennifer Greiman looks to an earlier moment in the history of American democracy's vexed interpretation of sovereignty to argue that such questions about the popularization of sovereign power shaped debates about political belonging and public life in the antebellum United States. In an emergent democracy that was also an expansionist slave society, Greiman argues, the problems that sovereignty posed were less concerned with a singular and exceptional power lodged in the state than with a power over life and death that involved all Americans intimately. Drawing on Alexis de Tocqueville's analysis of the sovereignty of the people in Democracy in America, along with work by Gustave de Beaumont, Lydia Maria Child, Nathaniel Hawthorne, and Herman Melville, Greiman tracks the crises of sovereign power as it migrates out of the state to become a constitutive feature of the public sphere. Greiman brings together literature and political theory, as well as materials on antebellum performance culture, antislavery activism, and penitentiary reform, to argue that the antebellum public sphere, transformed by its empowerment, emerges as a spectacle with investments in both punishment and entertainment.

Sport has gained increasing importance for welfare society. In this process, however, the term of ‘sport’ has become less and less clear. Larger parts of what nowadays is called ‘sport for all’ are non-competitive and derived from traditions of gymnastics, dance, festivity, games, outdoor activities, and physical training rather than from classical modern elite sports. This requires new philosophical approaches, as the philosophy of sport, so far, has been dominated by topics of elite sports. Based on Scandinavian experiences, the book presents studies about festivities of sport, outdoor activities, song and movement, and play and game. The engagement of elderly people challenges sports. Games get political significance in international cooperation, for peace culture and as means against poverty (in Africa). The empirical studies result in philosophical analyses on the recognition of folk practice in education and on relations between identity and recognition. The study of ‘sport for all’ opens up for new ways of phenomenological knowledge, moving bottom-up from sport to the philosophy of "the individual", of event, of nature, and of human energy. Popular sports give inspiration to a philosophy of practice as well as to a phenomenological understanding of ‘the people’, of civil society and the ‘demos’ of democracy – as folk in movement. This book was published as a special issue in Sport, Ethics and Philosophy.

Citizenship education is currently the subject of worldwide attention, and this book reports on research in a range of countries including South Africa, Finland, Portugal, Argentina, Australia. the US and Canada.

No one in this world truly understands what democracy means. We operate democracy only through best guesses. This uncertainty has caused, and continues to cause, significant political troubles. This book offers a way forward. It provides a new tool that will allow us to understand democracy for the entire planet and all of humanity.