Despite its worldwide use in grassroots confl ict approaches, dance, and the body more generally, remain largely unaddressed within confl ict theory and conventional practice. We argue that the body is an essential focus of confl ict theory and a ready resource for confl ict practice by exploring the implications of compelling discoveries within the fi eld of neuroscience. Examining the embodied dimensions of cognition, emotion, and memory, the physical roots of empathy, and the relationship of right-and left-brain processes to confl ict, we outline neuroscientifi c underpinnings of dance-based approaches to confl ict and the range of creative tools that arises from its use.I'm not interested in how people move, but in what moves them.
Pina BauschC onfl ict is-among other things-often accompanied by a sense of inertia, a feeling of being bound up in discomfort, a visceral need for a shift. While much confl ict resolution training and intervention is centered around cognitive analysis, a new wave of theory and practice draws on the arts to inform choices and frameworks (Liebmann