Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance

Abstract

Dance is frequently described as being “about” movement. “Dance,” writes Ann Daly, “although it has a visual component, is fundamentally a kinesthetic art” (Daly 1992, 243). Audience experiences of dance can therefore be conceptualized in terms of responses to movement, most prominently in terms of what has been described as “kinesthetic empathy.” What does it mean, however, to watch, respond to, or appreciate movement? And how does the historical and theoretical concept of kinesthetic empathy relate to contemporary audiences' articulations of the experience of watching dance?This article sets out to answer these questions by exploring different kinds of kinesthetic and empathetic responses and pleasures (and indeed displeasures) articulated by spectators of live dance across different styles and contexts. Pleasure is of particular importance to audience studies because it relates to motivations. Why do people seek out dance performances to watch? What are they looking for in the experience? In this context, we are interested in kinesthetic empathy as a mode of engaging with dance that can give pleasure to spectators and can be a strong motivating factor in why people choose to watch dance.

On the edge of their seats: Comparing first impressions and regular attendance in arts audiences

“…These are bold generalisations to make from a small sample, though they are consistent with previous studies of audiences for specific art forms (e.g. Walmsley, 2011;Reason & Reynolds, 2010), and begin to make a contribution to comparisons across the arts which are notably absent in the literature (Carnwaith & Brown, 2014). These preliminary findings also illustrate the challenges that are familiar to arts organisations of recruiting and satisfying ticket purchasers whose habits are easily influenced by factors external to the event itself, therefore highlighting the complexities of what constitutes audience engagement and how it can best be supported.…”

Audience development and its blind spot: a quest for pleasure and play in the discussion of performing arts institutions

“…gender or race. Reason and Reynolds (2010) investigate audience experiences of dance through the prism of empathy and kinaesthesia.…”

Differences in Itself: Redefining Disability through Dance

“…Foster (2011), Reason and Reynolds (2010), and Wildschut (2003) speak of kinesthetic empathy when referring to the embodied empathic process that takes place within the spectator. They refer to the inner-felt physical sensations that are evoked in the spectator while watching/experiencing the dance performance.…”