Dance as a moving spirituality: A case study of Movement Medicine

Abstract

This article describes dance as a moving spirituality through the case study of a specific practice called Movement Medicine. It addresses how a danced spirituality differs from other forms of spirituality, such as meditation and contemplation, and attempts to explore some of the aspects that make dance a unique medium for an embodied, lived and creative spirituality. ‘Feel good feelings’, as well as emerging from difficult emotions encountered on the dance floor, generate a sense of meaning which is translated to taking sustainable, socially just action. Through dance, different states of consciousness can be experienced through which ‘other’ knowledge is accessed and subsequently embodied. In these states, people can also meet and relate to spirit beings, and simultaneously express that relationship through the moving body. Finally, three qualities of dance are discussed, which contribute to concrete, lasting changes in existing life structures.

Tarek Pukat Dance from Aceh: Representation of the Beauty of Coastal Culture

“…[…] Dancing can be still, quiet, receptive and reflective, as well as exuberant and celebratory. It includes all aspects of the body-heart-mind unity or continuum, each of which finely influence and affect each other [2]. Dance is a medium of expression to convey moral messages, social reality, establishment, and spiritual education.…”

transformative potential of Nia® as experienced by six advanced Nia® instructors

“…Boleyn (2014) explored adult learning theory in relation to the somatic learning of White Belt Nia students, suggesting an increase in value of the body as a site of knowing and learning, and positive shifts in perspective. The importance of community was suggested by studies of circle dance (Borges da Costa & Cox, 2016), Movement Medicine (Kieft, 2014) and tai chi (Taylor-Piliae et al, 2006).…”

“…Studies regarding certain dance practices have described the participants' experience of joy, freedom and an enhanced positive perspective of life (Boleyn, 2014;Borges da Costa & Cox, 2016;Kieft, 2014;Wort & Pettigrew, 2003). Hoffman (2015) explored the potential of Authentic Movement as a catalyst for personal transformation, suggesting a sense of oneness with the universe and altruism.…”

Glancing back – looking forward

“…Other topics include: somatic dance practices marked by non-hierarchal democratic methods of working (Ramaswamy and Deslauriers 2014;Deasy 2014), to areas of dance, philosophy, deep ecology and dance therapy (LaMothe 2012;Margolin 2014). I am encouraged that under the dominant cannon of western theatrical performance dance (a hierarchy still prevalent in some cases), this journal makes space for the academic study of both performance and choreography through to lay (developing in the fringe) community forms (Kieft 2014), and it is personally uplifting that this journal creates space for -to use Shaun McNiff's (1992) words, the meeting 'of art and medicine' -what I call danceas-care-of-the-soul, a renewed appreciation in the ancient medicinal philosophies and properties inherent in dance (Kurnaedy 2014;Margolin 2014). This journal then breaks with and balances long-established hierarchies in placing equal value on all dance and movement forms as viable sites of research; each research site contributing to the collection of new cultural data from miscellaneous historical, cultural, geographic, contextual and situated differences that might otherwise remain eclipsed by secular enquiry.…”

“…I am encouraged that under the dominant cannon of western theatrical performance dance (a hierarchy still prevalent in some cases), this journal makes space for the academic study of both performance and choreography through to lay (developing in the fringe) community forms (Kieft 2014), and it is personally uplifting that this journal creates space for -to use Shaun McNiff's (1992) words, the meeting 'of art and medicine' -what I call danceas-care-of-the-soul, a renewed appreciation in the ancient medicinal philosophies and properties inherent in dance (Kurnaedy 2014;Margolin 2014). Most encouraging is that this journal supports and correspondingly values research into both the religiously traditional and the non-traditional -our articles range from research into New Age contextual influences and productions (Kieft 2014) through to critiques on the Evangelical Christian dance movement and biblical performance studies (Wright 2014;Mcmillian 2014;LaMothe 2014), and indeed research into even more secular modes of enquiry within our arts education system (Jameison 2014). Most encouraging is that this journal supports and correspondingly values research into both the religiously traditional and the non-traditional -our articles range from research into New Age contextual influences and productions (Kieft 2014) through to critiques on the Evangelical Christian dance movement and biblical performance studies (Wright 2014;Mcmillian 2014;LaMothe 2014), and indeed research into even more secular modes of enquiry within our arts education system (Jameison 2014).…”