Perceiving subjectivity in bodily movement: The case of dancers

Legrand, Dorothée; Ravn, Susanne

doi:10.1007/s11097-009-9135-5

Cited by 86 publications

(76 citation statements)

References 30 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…This embodied perspective is plausible given that the dancers" narrative of music in this study was found to be particularly related to the dimensions of autotelic experience, loss of self-consciousness, action-awareness and to some degree, control. Although highly conjectural, it is possible that dancers" varying levels of engagement with and awareness of the music suggests that dancers experience music and hearing through their bodies in an embodied sense (Legrand and Ravn, 2009). It is also probable that the analysis revealed individual differences in the flow experience as related to accounts of the role of music in flow, which may too allude to variability"s in experienced intensities of flow, suggested by Csikszentmihalyi (1990).…”

Section: Musicmentioning

confidence: 96%

“…Another lens through which one can try to make sense of the role of music in ballet dancers" experience of flow is to consider the findings from an embodied perspective, particularly in relation to Legrand and Ravn"s (2009) contention that subjective experiences, particularly dancers" experiences, are perceived and expressed bodily. Dancers" experience of music and movement should be approached with a multidimensional embodied perspective, hence their experience of sound and music is therefore not only through exteroception (audition) but through embodied movement, in other words, they hear through their bodies.…”

Section: Musicmentioning

confidence: 99%

“…The act of communication between a performer, verbal or musical, involves a blurring of the performer"s sense of self in a complex state of embodied cognition and affect. Legrand and Ravn (2009) explore subjectivity in bodily movement in dancers and argue that subjectivity is expressed bodily. They contend that dancers experience states of the external world (e.g.…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

Exploring the dimensions of flow and the role of music in professional ballet dancers

Panebianco¹

2014

Muziki

View full text Add to dashboard Cite

Flow, also known as the "zone", is a positive enjoyable psychological state often linked to optimal performance. The aim of this study is to explore professional ballet dancers" subjective experiences of flow in a current performance context. Csikszentmihalyi"s (1990) model of the flow state is used for its applicability to professional ballet dancers. Furthermore, the study aims to gain an understanding of the role of music in dancers" experience of flow.Seventeen ballet dancers from two South African ballet companies shared their experiences in separate semi-structured interview sessions. The interviews took place during the 2013 productions of Don Quixote in Johannesburg and Camille in Cape Town respectively, so that the dancers could draw on recent performance experience in their recollection of flow. The interviews were transcribed and analysed deductively and inductively using interpretative phenomenological analysis.The study found resemblances with Csikszentmihalyi (1990) dimensions of flow in professional ballet dancers. The three dimensions that stood out as most predictive of flow in this study were the merging of action and awareness, autotelic experience and loss of selfconsciousness. Music clearly played an important role in dancers" experience of flow. Dancers" varying levels of awareness of and engagement with music during flow could suggest differing intensities in flow among ballet dancers. The study argues that processing music places an extra demand on dancers" concentration, which presents a unique insight into their experience of flow.

show abstract

Section: Musicmentioning

confidence: 96%

Section: Musicmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Exploring the dimensions of flow and the role of music in professional ballet dancers

Panebianco¹

2014

Muziki

View full text Add to dashboard Cite

show abstract

“…In other words, Deleuze and Guattari contend that phenomenological analysis cannot ignore the question of art and aesthetics without distancing itself from the emerging quality of sensation as the pre-condition for perception. Here aesthetics should not be understood in the traditional sense 2 Such phenomenological scholars as Nöe (2000,2012), Sheets-Johnstone (1980, 2011a, Legrand (2007), Legrand and Ravn (2009), and Krüger (2009 have all included discussions of art, aesthetic experience or different artistic practices in relation to phenomenological issues. However, all of these theorists more or less introduce art or aesthetic experience as paradigmatic or exemplary for perception in general.…”

Section: Introductionmentioning

confidence: 99%

Aesthetics of Hyperactivity: A Study of the Role of Expressive Movement in ADHD and Capoeira

Levin

2016

Am J Dance Ther

View full text Add to dashboard Cite

In the established classification of attention-deficit/hyperactivity disorder (ADHD), the symptoms of inattention and hyperactivity are primarily interpreted as neurodevelopmental disorders connected to a set of behavioral symptoms or traits. In this construction, behaviors or actions are understood in terms of a fundamental dualism between the acting body and the regulating or executing mind, which expresses a representational model of the mind. As an effort to challenge the representational description, this article addresses the expressive aspects of movement and behavior in ADHD. Based on a qualitative study combining ethnographic and phenomenological methods, the article focuses on a relationship between aesthetic or expressive bodily movement and behavioral awareness in children diagnosed with ADHD, and draws on the experimental and expressive aesthetics of capoeira to propose a rethinking of the role of movement in ADHD behavior. Capoeira's perpetual movement is shown to transform the general traits of hyperactivity into a medium for expression and experimentation. When practiced by diagnosed children, capoeira helped them to gain expressive release, rather than to feel imprisoned, victimized, or even categorized by the hyperactive events that happen to them. Capoeira thus seems to afford a therapeutic potential for change immanent to the hyperactive movements associated with ADHD.

show abstract

“…We think this roaming, flexible allocation of mindful attention is itself a skill that may be honed through learning. Here we develop and apply this view in a case study of yoga practice in two related traditions, building on parallel phenomenological and ethnographic studies of skilful performance and embodied apprenticeship in other domains (Sudnow, 2001;Howe, 2003;Wacquant, 2004;Grasseni, 2007;Smith, 2007;Downey, 2008;Samudra, 2008;Allen-Collinson & Hockey, 2009;Legrand & Ravn, 2009;Bicknell, 2010).…”

Section: Introductionmentioning

confidence: 99%

Yoga From the Mat Up: How words alight on bodies

McIlwain¹,

Sutton

2013

Educational Philosophy and Theory

View full text Add to dashboard Cite

Yoga is a unique form of expert movement that promotes an increasingly subtle interpenetration of thought and movement. The mindful nature of its practice, even at expert levels, challenges the idea that thought and mind are inevitably disruptive to absorbed coping. Building on parallel phenomenological and ethnographic studies of skilful performance and embodied apprenticeship, we argue for the importance in yoga of mental access to embodied movement during skill execution by way of a case study of instruction and practice in two related traditions, Iyengar and Anusara. Sharing a pose repertoire, they are based on distinctive philosophical systems with different teaching styles and metaphoric structures. To address relations between pedagogy and practice in embodied expertise, and to investigate the reciprocal influences of embodiment and thought, we explore in detail the linguistically mediated learning context where practitioners work with yoga teachers. Here, the mind/body problem comes to practical life. We demonstrate the effects of words on bodies, as knowledge is literally incorporated. We show why interpersonal influence on our movement capacities is sometimes needed to enhance expertise. We theorize and identify 'signature patterns of tension' among practitioners. These patterns have four sources: ghost gestures, innate differences in bodily form, functional fusing, and signature patterns of affective experience, modulation and expression. These patterns of tension produce 'silent zones', cognitively impenetrable actions, functional fusing of a skilful, compensatory form, and signature patterns of pain and damage. We show how instruction can disrupt these silent zones, enhancing mental and physical flexibility.

show abstract

Perceiving subjectivity in bodily movement: The case of dancers

Cited by 86 publications

References 30 publications

Exploring the dimensions of flow and the role of music in professional ballet dancers

Exploring the dimensions of flow and the role of music in professional ballet dancers

Aesthetics of Hyperactivity: A Study of the Role of Expressive Movement in ADHD and Capoeira

Yoga From the Mat Up: How words alight on bodies

Contact Info

Product

Resources

About