A Kinesthetic Mode of Attention in Contemporary Dance Practice

Ehrenberg, Shantel

doi:10.1017/s0149767715000212

Cited by 23 publications

(16 citation statements)

References 37 publications

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“…In other words, we should also consider an improvisational aspect more specifically related to the way the dancers engage in kinesthetic explorations of their bodies while dancing. As has been highlighted by several dance researchers, despite steps and movement patterns being well-known, the body never feels the same when dancing choreographed steps (Purser 2017;Ravn 2017;Ehrenberg 2015). For example, one of the ballet dancers at the Royal Danish Ballet emphasized that when taking daily classes, as well as preparing himself for performances, he engages in a continuous exploration of the intertwinement between the look and the sensation of his movement in order to continuously develop his technique and to perform according to the balletic ideal.…”

Section: To Think Of Any Dance As Improvisedmentioning

confidence: 99%

Investigating Dance Improvisation: From Spontaneity to Agency

Ravn¹

2020

Dance Res. J.

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This article argues that the performance of a dance entails varying degrees of openness and spontaneity and that, on these terms, any dance can be considered improvised. The first part substantiates this claim, whereupon the second part deals with the contingent question as to how dancers then handle openness and spontaneity differently in improvisation practices. To answer this question, the article turns to enactive and phenomenological clarifications of agency—our capacity to perform acts—and by analyzing the improvisation of Danish performer Kitt Johnson, indicates how this clarification can help us understand the different ways agency is exercised when improvising.

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Section: To Think Of Any Dance As Improvisedmentioning

confidence: 99%

Investigating Dance Improvisation: From Spontaneity to Agency

Ravn¹

2020

Dance Res. J.

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“…Based on the study's specific objectives and literature review, the relevant topics were identified from which the questions were elaborated to ensure the credibility of what is being investigated (Roller & Lavrakas, 2015). Qualitative studies that were consulted, showed a focus on the dancer's moving experiences as a central point for exploring different topics, due to in-depth interviews to dancers: Ehrenberg (2015); Legrand and Ravn (2009); Hanley (2004); Long (2002); Lussier-Ley (2013); Potter (2008); Ravn and Hansen (2012); Rouhiainen (2003); Wilson (2009). Most of these studies don't present the interview guide, and some of them include the analysed issues and data discussion as a narrative.…”

Section: Design Of the Studymentioning

confidence: 99%

Somatic Education and the Undergraduate Dance Student’s Body Image: A Qualitative Study

Rato

Alves

2020

Br. J. Ed., Tech. Soc.

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Regarding dance practitioners, body image associated with dance movement is a dynamic and complex phenomenon involving internal processes that cause impact on the psychological, emotional and behavioural areas. Balance between internal and external body experience is crucial for the construction of body image, and is associated with the way the student acquires knowledge about his own movement. In many contexts of dance teaching-learning, we found a focus centred almost exclusively on the reproduction of movement from the external visual image, in which body shapes and movement, should match an idealized model. Somatic education, on the other hand, is a disciplinary field that privileges the somatosensory experience of the body as a source of knowledge. Starting out from an experiential approach based on movement perception, we intended to study the body image of the dance student. For this purpose, we developed and applied a Somatic Movement (SM) program to a group of undergraduate dance students. We used a qualitative methodological design with multiple data collection approach methods, which included in-depth semi-structured interviews, explicitation interviews (Vermersch, 2003), participant journals and group discussions. Our primary purpose is not only to present, develop and substantiate the adopted methodological procedures but also to articulate them with the sub-questions of the study, which according to our point of view will contribute to a more categorical knowledge of how to investigate highly subjective concepts such as body experiences.

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“…Bodies are an essential, ever present aspect of the self. Michel Foucault argues that the body is marked by social norms (Ehrenberg 2015). The physical nature of culture means that our bodies are essential to how we understand, comprehend, and form meaning (Assaf 2013).…”

Section: The Body Spongementioning

confidence: 99%

“…Affect is continuously present in the body and experience; it is inseparable from perception. Leading dance philosopher and phenomenologist Shantel Erhenberg postulates that to access this noncerebral, kinesthetic intelligence and intuit others' emotional states of being, one must expose the proprioceptive, sensuous sense of an embodied self (Ehrenberg 2015). An example of this can be found in Assaf's research (2013).…”

Section: The Body Spongementioning

confidence: 99%

Acute Awareness of the Self and Interaction: Responsive Embodiment among Dancers and Sociologists

Shimota

2018

JUE

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My experience and observation of the physical manifestations of insecurities as a dancer and sociologist led me to develop questions surrounding kinesthetic intelligence, critical cerebral processing, the concept of a “self,” and feelings of embodiment. I became interested in how these reconcile under structures that promote external validation, alienation, and logical thought. This article describes a research-creation project that I began by choreographing a dance with six conservatory students researching themes of alienation, socialization, and scripted behavior. These dancers were individually interviewed about the creation process as well as their experience of dancing. I also conducted a contact improvisation event and group interview with the six dancers and three sociology students. An analysis of the results revealed that they felt a pervasive sense of monotony and disenchantment occurring with routine behavior and interaction in everyday life. They were able to disrupt this disenchantment by working to generate a sense of their own embodiment. Specifically, this entailed attending to concrete details, personal responsiveness, and acknowledging their own impulses toward and away from others. This allowed them to connect to a “self” and to others. In addition, novel physical interactions helped facilitate an understanding of where attention lies, amplified social connection, and combated alienation and disenchantment.

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A Kinesthetic Mode of Attention in Contemporary Dance Practice

Cited by 23 publications

References 37 publications

Investigating Dance Improvisation: From Spontaneity to Agency

Investigating Dance Improvisation: From Spontaneity to Agency

Somatic Education and the Undergraduate Dance Student’s Body Image: A Qualitative Study

Acute Awareness of the Self and Interaction: Responsive Embodiment among Dancers and Sociologists

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