Performative Somaesthetics: Principles and Scope

Mullis, Eric

doi:10.1353/jae.2006.0036

Cited by 13 publications

(3 citation statements)

References 7 publications

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“…Psychologically speaking, dance encompasses a set of experiences relating to the strength of the body, its position and movements, its spatial orientation as well as the interior sense of a dancers' muscles, joints and tendons (Fenemor, 2003;Golomer & Dupui, 2000;Hamby, 1984;Hugel, Cadopi, Kohler, & Perrin, 1999;Montero, 2006;Mullis, 2006;Thomas, 1980) so dance is a type of kinaesthetic art or "art of the muscular sense" as suggested by Arnheim (1966, p. 261). Joy and satisfaction, self-worth, feelings of strength and freedom of body, the feeling of space, liberty and beauty may be recognized as psychological spin-offs of dance (Biddle, Fox, & Boutcher, 2000;Biddle & Mutrie, 2001;Kent, Camner, & Camner, 1984;Kogan, 2002).…”

Section: Palabras Clave Descriptoresmentioning

confidence: 99%

An Audience’s Subjective Experience of the Freedom of Artistic Expression in Different Dance Forms from the Perspective of the Cultural Psychology of Creativity

Vukadinović¹

2013

Univ Psychol

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A b s t r A c tPrevious studies on different dance forms, including classical ballet, modern ballet and flamenco, show that the objective classification of these forms of dance is subjectively relevant, or in other words, the subjective categorization of dance is based on its formal properties. Based on this standpoint, this study aims to examine the audience's subjective experience of the freedom of artistic expression in three dance forms: classical ballet, modern ballet and flamenco. This study also aims to place an audience's subjective experience of the freedom of artistic expression in different dance forms, into the context of the cultural psychology of creativity. Sixtynine participants assessed three choreographies from each dance form. The participants observed the choreographies audio-visually. The assessment of the freedom of artistic expression included seven-point scales of freedom to use space, use different figures and to express different emotions. The results showed that the dance form effects the assessment of an audience's subjective experiences (using these 3 criteria) in relation to the freedom of artistic expression. Likewise, Choreography has a marked effect on the assessment of subjective experience within the aforementioned criteria for the freedom of artistic expression within each observed dance form. In conclusion, a dance form determines, by its formal characteristics, not only how certain choreography will be created, but also how an audience will experience the choreography. The various implications of the research results on creativity in the field of dance, and the importance of understanding the complex dialogical connections between particular dance forms, choreographers, choreographies and audience in the context of the cultural psychology of creativity were discussed. Key words authorSubjective experience, dance, the freedom of artistic expression, university students (audience). Social and Cultural Psychology, Qualitative Research, Creativity. r e s u m e n Este artículo tiene por objeto examinar la experiencia subjetiva del observador de la libertad de expresión artística en tres formas de danza: ballet clásico, ballet moderno y baile flamenco; adicionalmente, pretende situar la investigación en el contexto de la psicología cultural de la creatividad. Los 69 participantes evaluaron tres coreografías para cada forma de danza, Key words plus

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Section: Palabras Clave Descriptoresmentioning

confidence: 99%

An Audience’s Subjective Experience of the Freedom of Artistic Expression in Different Dance Forms from the Perspective of the Cultural Psychology of Creativity

Vukadinović¹

2013

Univ Psychol

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“…Because, as a body, I am also a thing among things in the world, that world of things is also present and comprehensible to me. Because the soma 4 Such implicit memory of knowing who one is in terms of knowing one is the same person now as in the past does not, as implicit memory, require that one remembers who one is in terms of an explicit descriptive identity of being a certain person with a par ticular name, age, gender, and profession. The formulation of such descriptive terms involves, of course, explicit thought, but on the basis of implicit memory of self one could recall these descriptions if one were asked.…”

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confidence: 99%

Muscle Memory and the Somaesthetic Pathologies of Everyday Life

Shusterman¹

2011

Human Movement

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Memory is a cherished cognitive skill that contributes enormously to human flourishing, yet it sometimes proves detrimental. Much of the memory we productively employ in everyday life is implicit memory that results from habit. The paper first demonstrates the important somatic dimension of implicit memory that gives rise to the popular notion of "muscle memory" by articulating six different forms of implicit memory in which the body plays a central role. The paper next focuses on some problems relating to these forms of memory and deriving from flawed habits of somatic perception and performance. I then explain how these problems of muscle memory can be treated by disrupting such memory through heightened, explicit consciousness involving methods of somaesthetic attention and reflection.

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“… 13 Jay 2002, Mullis 2006a, Mullis 2006b, Barber 2008, and Arnold 2005. An entire issue of the music journal Action, Criticism, and Theory for Music Education 8, no.…”

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confidence: 99%

Soma, Self, and Society: Somaesthetics as Pragmatist Meliorism

Shusterman

2011

Metaphilosophy

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This article explains the pragmatist project of somaesthetics in five different ways. First, it clarifies the notion of soma as encompassing both subjective intentionality and material objectivity in the world. Second, it highlights the social dimensions of somaesthetics, building on the basic insight that the soma is always shaped by the social and physical environments in which it is nested. Third, it examines the similarities and differences between somaesthetics and the Merleau-Ponty tradition of somatic phenomenology, while answering some of the critical questions phenomenologists raise about the pragmatic value of reflective body consciousness. Fourth, in exploring the uses of reflective body consciousness, the article examines the continuity of learning over different levels and the different forms of evidence that can be used for empirical testing of the value of somatic reflection. It concludes with an overview of some of the main directions of future somaesthetic research.

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Performative Somaesthetics: Principles and Scope

Cited by 13 publications

References 7 publications

An Audience’s Subjective Experience of the Freedom of Artistic Expression in Different Dance Forms from the Perspective of the Cultural Psychology of Creativity

An Audience’s Subjective Experience of the Freedom of Artistic Expression in Different Dance Forms from the Perspective of the Cultural Psychology of Creativity

Muscle Memory and the Somaesthetic Pathologies of Everyday Life

Soma, Self, and Society: Somaesthetics as Pragmatist Meliorism

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