The Embodiment of Aerial Practice: Body, Mind, Emotion

Kosma, Maria; Erickson, Nick

doi:10.1080/15290824.2019.1622706

Cited by 13 publications

(40 citation statements)

References 26 publications

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“…Physical theater encompasses theatrical performance (e.g., storytelling) primarily through physical movement. It emphasizes physical skills, training, and body form, where the somatic and cognitive elements of movement are emphasized (Artaud, 1994;Kosma & Erickson, 2019). It is important to note that in this study aerial practice was taught either as a form of theatrical play or dance.…”

Section: Techne For the Love Of Movementmentioning

confidence: 99%

“…Excelling at movement-related artistic skills and performativity, such as aerial dance or physical theater, requires a combination of regular practice and cognitive knowledge regarding positions of the body, expression, and safety. In this case, cognition and practice inform each other regarding the mastery of a skill as exemplified in technai models (Angier, 2010;Kosma & Buchanan, 2018a;Kosma & Erickson, 2019;Montero, 2010). Physical theater encompasses theatrical performance (e.g., storytelling) primarily through physical movement.…”

Section: Techne For the Love Of Movementmentioning

confidence: 99%

“…Sensory information from joints, ligaments, tendons, muscles, and skin (proprioception) and the visceral system (interoception) can influence decisions regarding how to execute a movement (Montero, 2010). Analytical thinking about how to move and wrap in aerial silks has shown to be prevalent when aerial practice movements are first learned; however, for mastered skills sensory bodily awareness takes precedence (Kosma & Erickson, 2019).…”

Section: Embodiment For the Love Of Movementmentioning

confidence: 99%

“…US traceurs, who participated in parkour and free running, expressed exhilarating experiences, including childlike play; feeling flow in movement; risk taking and managing; and environmental interactions with other traceurs, community members, and the physical environment (Clegg & Butryn, 2012). Embodied sensations in aerial practice included integration of cognitive and sensory bodily awareness, diminished sensation of pain over time, and embodied bodily expressions with or without music (Kosma & Erickson, 2019).…”

Section: Embodiment For the Love Of Movementmentioning

confidence: 99%

“…Contrary to logical positivism, it will be outlined below that choices about movement experiences are based on elements in the concepts of phronesis (practical reasoning or moral wisdom), techne (art), and bodily awareness and can be performed with or without music (see e.g. Kosma & Erickson, 2019).…”

Section: Introductionmentioning

confidence: 99%

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The Love of Aerial Practice: Art, Embodiment, Phronesis

Kosma

Erickson

2020

IJKSS

Self Cite

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Background of study: Given the importance of movement and low exercise adherence among young adults, it is imperative to understand reasons for the love of movement. Objective: The purpose of this phronetic, qualitative study was to examine if the values of aerial practice encompassed elements of embodiment, techne (art), and phronesis (practical wisdom). Method: Participants were 13 undergraduate college students in an aerial practice class. Individual-based interview topics included exercise behavior and the values and meaning of aerial practice. Results: All participants were active regardless of aerial practice classification (e.g., beginners vs advanced). Beyond aerial practice, other exercises included dancing, yoga and aerial yoga, Pilates, aerobic activities (e.g., running and spinning classes), rock climbing and hiking, weight lifting, somatics and acrobatics. Based on the first theme, the love of aerial practice, techne aspects reflected fitness, skill improvement; challenging, infinite learning and determination. Art, performativity, fluidity included techne and embodiment, while the sensation of whole-body movement encompassed an embodied element for the love of aerial silks. A combination of phronetic and embodied elements were sense of community and inclusivity; novelty; it fits me. Embodied qualities of the second theme, challenges with aerial practice, included fear, injuries, bruises, pain. Fitness, skill, performance and the struggle to learn new movements linked to techne and the integral parts of movement. Phronetic categories regarding situation-specific reflections were time on the silk and unhealthy competition in the business world (territorial traits and lack of sharing). The third theme was future exercise plans and its categories included phronetic (decision-related) elements: practice and/or teach aerial silks; keep exercising. Conclusion: Artistic, embodied, and phronetic approaches in movement education can enhance the value and pursuit of movement.

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Section: Techne For the Love Of Movementmentioning

confidence: 99%

Section: Techne For the Love Of Movementmentioning

confidence: 99%