The article investigates the work of Accademia sull’Arte del Gesto, created in 2007 by Italian choreographer Virgilio Sieni, by examining the relationship within teaching and practising gestures with Delfina Stella, his artistic collaborator. Accademia sull’Arte del Gesto is a research project devoted to the study of the gestures, the meaning of body movement and the transmission of dance. This work on the art of the gesture aims to positively intervene on liveability and a possible sense of belonging, tending towards a renewal of the relationship between the body and the territory. The practice of gesture is transmitted both from the choreographer to the movers and vice versa. How are these practices of gestures open to a variety of people? To what extent is a somatic approach supportive in transmitting this practice? In what ways has Sieni, together with his collaborators, developed these pedagogies for gestures? The enquiry combines my own field research experience and narration around the creation , a project by Sieni.
本文考察了意大利编舞家Virgilio Sieni于2007年创建的“艺术学院”(Accademia sull’arte del Gesto)的工作，通过研究他的艺术合作伙伴Delfina Stella在教学和练习手势中的关系。“艺术学院”是一个致力于研究手势、身体运动的意义和舞蹈传播的研究项目。这项关于姿态艺术的工作旨在积极地干预宜居性和可能的归属感，趋向于身体和领土之间关系的更新。动作的练习从编舞者传递给动作者，反之亦然。这些手势练习是如何对不同的人开放的?身体疗法在多大程度上支持这种实践的传播?Sieni和他的合作者在哪些方面发展了这些手势教学法?这次调查结合了我自己的实地研究经验和对Sieni的一个创作项目的叙述。
{"title":"Teaching and practising gestures: An investigation of the work of Accademia sull’Arte del Gesto","authors":"Elisa Frasson","doi":"10.1386/jdsp_00097_1","DOIUrl":"https://doi.org/10.1386/jdsp_00097_1","url":null,"abstract":"The article investigates the work of Accademia sull’Arte del Gesto, created in 2007 by Italian choreographer Virgilio Sieni, by examining the relationship within teaching and practising gestures with Delfina Stella, his artistic collaborator. Accademia sull’Arte del Gesto is a research project devoted to the study of the gestures, the meaning of body movement and the transmission of dance. This work on the art of the gesture aims to positively intervene on liveability and a possible sense of belonging, tending towards a renewal of the relationship between the body and the territory. The practice of gesture is transmitted both from the choreographer to the movers and vice versa. How are these practices of gestures open to a variety of people? To what extent is a somatic approach supportive in transmitting this practice? In what ways has Sieni, together with his collaborators, developed these pedagogies for gestures? The enquiry combines my own field research experience and narration around the creation , a project by Sieni.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135142721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers the role of play in the context of creative writing. Taking up Winnicott’s theory of play and Levi-Strauss’s definition of bricolage, I aim to provide a flexible framework that can benefit writers and educators across various creative fields, while avoiding rigid prescriptions of how playing might be enacted. Employing the motions swerving, rebounding and straying , and adding to this set the action of hesitating , I offer an exploded view of my writing practice which serves to demonstrate how practitioners can map the movements in their own creative process, encouraging a playful engagement with creativity that nurtures unexpected and unforeseen outcomes.
{"title":"Practising playing: Thinking through movement and the creative writing classroom","authors":"Hayley Elliott-Ryan","doi":"10.1386/jdsp_00096_1","DOIUrl":"https://doi.org/10.1386/jdsp_00096_1","url":null,"abstract":"This article considers the role of play in the context of creative writing. Taking up Winnicott’s theory of play and Levi-Strauss’s definition of bricolage, I aim to provide a flexible framework that can benefit writers and educators across various creative fields, while avoiding rigid prescriptions of how playing might be enacted. Employing the motions swerving, rebounding and straying , and adding to this set the action of hesitating , I offer an exploded view of my writing practice which serves to demonstrate how practitioners can map the movements in their own creative process, encouraging a playful engagement with creativity that nurtures unexpected and unforeseen outcomes.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135142722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Fashion is a practice involving diverse habits of coordination by which affects, signs, sensations and desires are transmitted between bodies in varied spatial, temporal, material and affective encounters. Reflecting on fashion design pedagogies and their somatic resonances in the classroom, this article expands the traditional definition of fashion beyond its formal materiality such that it becomes understood as an intensive encounter between a body and an object in an event of wearing. Grounded in a discussion of a series of pedagogical experiments for teaching new habits of the body, I emphasize new ways of paying attention to the diverse sensations and affects that encounters with abstracted fashion garments can give rise to. This article concludes with the need to consider the practice-based extensive, material dimensions that constitutes the making of fashion in an attempt to work through the production of intensity, affect and sensation in the body.
{"title":"Abstract combinations","authors":"Andrea Eckersley","doi":"10.1386/jdsp_00095_1","DOIUrl":"https://doi.org/10.1386/jdsp_00095_1","url":null,"abstract":"Fashion is a practice involving diverse habits of coordination by which affects, signs, sensations and desires are transmitted between bodies in varied spatial, temporal, material and affective encounters. Reflecting on fashion design pedagogies and their somatic resonances in the classroom, this article expands the traditional definition of fashion beyond its formal materiality such that it becomes understood as an intensive encounter between a body and an object in an event of wearing. Grounded in a discussion of a series of pedagogical experiments for teaching new habits of the body, I emphasize new ways of paying attention to the diverse sensations and affects that encounters with abstracted fashion garments can give rise to. This article concludes with the need to consider the practice-based extensive, material dimensions that constitutes the making of fashion in an attempt to work through the production of intensity, affect and sensation in the body.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135142724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Confluence of the Global Somatic Community1","authors":"Ethan Balcos","doi":"10.1386/jdsp_00031_5","DOIUrl":"https://doi.org/10.1386/jdsp_00031_5","url":null,"abstract":"","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49407114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this short piece, I highlight the question of how to bring somatics skills acquired in a somatics class to bear upon other life contexts. I use the example of scholarly work: I show how I use somatic methods as I conduct research in the archives of the choreographer Jerome Robbins (1918–98), housed at the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts at Lincoln Center. I suggest that we need to pay more attention to the question of how students and practitioners could bring physical awareness into their various life scenarios and tasks. I propose that if we learn how to transfer our somatic knowledge into different life contexts, our lives can become more embodied and we can tap into the knowledge that emanates from the physical self.
{"title":"Somaticist in the dance archives: Exploring Jerome Robbins’ diaries through somatics","authors":"Hiie Saumaa","doi":"10.1386/jdsp_00025_1","DOIUrl":"https://doi.org/10.1386/jdsp_00025_1","url":null,"abstract":"In this short piece, I highlight the question of how to bring somatics skills acquired in a somatics class to bear upon other life contexts. I use the example of scholarly work: I show how I use somatic methods as I conduct research in the archives of the choreographer Jerome Robbins (1918–98), housed at the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts at Lincoln Center. I suggest that we need to pay more attention to the question of how students and practitioners could bring physical awareness into their various life scenarios and tasks. I propose that if we learn how to transfer our somatic knowledge into different life contexts, our lives can become more embodied and we can tap into the knowledge that emanates from the physical self.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42417041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, the author shares their processes and reflections from a somatic and pedagogical research project conducted at a Title I middle school in Tempe, Arizona. The project, ‘The superhero in me: Connectivity between the dual identities of inner superhero and outer alter-ego’ explores the duality, perceived dualism and duel-ism of the embodied middle school experience through the lens of superheroes and alter-egos. The research served several purposes: (1) exploration into how to communicate Laban Movement Analysis and Bartenieff Fundamentals along with key somatic concepts, such as self-awareness, self-control and autonomy to early adolescent learners in a way that is accessible and relatable, (2) facilitating an embodied understanding of the dualism between personal inner and outer identities, expressivity, attitudes and tendencies, with the aim of helping early adolescent students improve navigation of the challenging contexts they encounter (such as conflicting self and social identities, vulnerabilities, insider/outsider feelings, body image, self-confidence and the desire to be both unique and to fit in), (3) providing an opportunity for adolescent students to explore perceptions of inner and outer identities and the duel between these identities as carried within their own bodies and (4) creating an opportunity for students to collaboratively generate choreography. The dance classroom community chosen for this project had prior experience in dance within the school’s existing programme, specific learning challenges and opportunities for somatic knowledge development. Preliminary research and classroom observations unveiled thematic concepts (such as body image issues, low self-confidence and conflicting perceptions of self-identity) which informed teaching strategies, curriculum and subject matter. The framework of the curriculum considered critical theories of development, somatic practice, philosophy and collaborative inquiry. Questions that inspired the research included: how do early adolescent students construct understanding of their individual identities and experiences in a meaningful somatic way? How do we create lessons that integrate somatic exploration, social emotional learning and choreographic practice into early adolescent dance class? What is it about the adolescent experience that makes superheroes so compelling? What do superheroes tell us about ourselves?
{"title":"The superhero in me: Connectivity between the dual identities of inner superhero and outer alter-ego","authors":"Helen Buck-Pavlick","doi":"10.1386/jdsp_00028_1","DOIUrl":"https://doi.org/10.1386/jdsp_00028_1","url":null,"abstract":"In this article, the author shares their processes and reflections from a somatic and pedagogical research project conducted at a Title I middle school in Tempe, Arizona. The project, ‘The superhero in me: Connectivity between the dual identities of inner superhero and outer alter-ego’ explores the duality, perceived dualism and duel-ism of the embodied middle school experience through the lens of superheroes and alter-egos. The research served several purposes: (1) exploration into how to communicate Laban Movement Analysis and Bartenieff Fundamentals along with key somatic concepts, such as self-awareness, self-control and autonomy to early adolescent learners in a way that is accessible and relatable, (2) facilitating an embodied understanding of the dualism between personal inner and outer identities, expressivity, attitudes and tendencies, with the aim of helping early adolescent students improve navigation of the challenging contexts they encounter (such as conflicting self and social identities, vulnerabilities, insider/outsider feelings, body image, self-confidence and the desire to be both unique and to fit in), (3) providing an opportunity for adolescent students to explore perceptions of inner and outer identities and the duel between these identities as carried within their own bodies and (4) creating an opportunity for students to collaboratively generate choreography. The dance classroom community chosen for this project had prior experience in dance within the school’s existing programme, specific learning challenges and opportunities for somatic knowledge development. Preliminary research and classroom observations unveiled thematic concepts (such as body image issues, low self-confidence and conflicting perceptions of self-identity) which informed teaching strategies, curriculum and subject matter. The framework of the curriculum considered critical theories of development, somatic practice, philosophy and collaborative inquiry. Questions that inspired the research included: how do early adolescent students construct understanding of their individual identities and experiences in a meaningful somatic way? How do we create lessons that integrate somatic exploration, social emotional learning and choreographic practice into early adolescent dance class? What is it about the adolescent experience that makes superheroes so compelling? What do superheroes tell us about ourselves?","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42327233","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In a recent ethnographic study of Sacred Circle Dancing, I noticed that prominent circle dancing websites focused on its meditative and community-building aspects, whilst distinguishing features of practice – circling, handholding, centring and the sacred – remain mostly unaddressed. Developed in 1976 for Findhorn’s spiritual community in Scotland, Sacred Circle Dancing is usually considered from a folk roots perspective. What might somatic analysis offer Sacred Circle Dancing? In their editorial note to the Journal of Dance & Somatic Practices (6:1) on dance and somatic practices across cultures, Sylvie Fortin and Andrée Grau describe a prototype for somatic analysis that uses embodied methodology and challenges logocentric ways of knowing. I argue that somatic analysis excavates a spectrum of values embedded in practice, vital for the ethnographer in understanding why a group chooses a particular dance form. In the case of Sacred Circle Dancing, a contemporary discourse emerges engaging intimacy, culture and identity, ecology and the sacred, suggesting that the practice addresses these needs.
{"title":"Hold my hand: A somatic analysis of Sacred Circle Dancing","authors":"M. Buckwalter","doi":"10.1386/jdsp_00026_1","DOIUrl":"https://doi.org/10.1386/jdsp_00026_1","url":null,"abstract":"In a recent ethnographic study of Sacred Circle Dancing, I noticed that prominent circle dancing websites focused on its meditative and community-building aspects, whilst distinguishing features of practice – circling, handholding, centring and the sacred – remain mostly unaddressed. Developed in 1976 for Findhorn’s spiritual community in Scotland, Sacred Circle Dancing is usually considered from a folk roots perspective. What might somatic analysis offer Sacred Circle Dancing? In their editorial note to the Journal of Dance & Somatic Practices (6:1) on dance and somatic practices across cultures, Sylvie Fortin and Andrée Grau describe a prototype for somatic analysis that uses embodied methodology and challenges logocentric ways of knowing. I argue that somatic analysis excavates a spectrum of values embedded in practice, vital for the ethnographer in understanding why a group chooses a particular dance form. In the case of Sacred Circle Dancing, a contemporary discourse emerges engaging intimacy, culture and identity, ecology and the sacred, suggesting that the practice addresses these needs.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45343873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editorial","authors":"Lily Hayward-Smith, K. Wood","doi":"10.1386/jdsp_00021_2","DOIUrl":"https://doi.org/10.1386/jdsp_00021_2","url":null,"abstract":"","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46102366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Javanese dance artist Suprapto Suryodarmo (Prapto) led a keynote workshop as part of the Dance and Somatic Practices Conference 2017 at Coventry University. This workshop took a ‘wave’ format that involved different groups of participants flowing in and out of the durational workshop over three hours. The ‘somatic music’ created by Tim Jones and Adrian Lee accompanied and supported this flow, bringing the Amerta Movement practice into conversation with musical improvisation. The musicians later played with Prapto and presented their own ‘gig’ as part of the ‘Amerta Movement in Performance’ events in July 2018 and 2019 in Stroud, Gloucestershire, UK.1 After the Stroud workshop in 2019, Prapto asked researcher Emma Meehan to write to the musicians to discuss their exploration of ‘somatic music’. The following set of e-mail exchanges over the past year share excerpts of this ongoing dialogue instigated by Prapto. Following Prapto’s death in December 2019, we gathered our conversations here to pay tribute to his work and celebrate his inspiration to artists experimenting in Amerta Movement in performance. Alongside these conversations, we invite readers to listen to audio recordings of somatic music with Tim Jones, Adrian Lee and Prapto. Rather than presenting a definition of what somatic music is, we want to share perspectives on somatic music as an ongoing dialogue that will continue as part of Prapto’s legacy in years to come. A title for these exchanges suggested itself from Prapto’s comment (2018, 151–152) ‘the idea for receiving the idea, that is the seed’, to acknowledge his seeding of this conversation into existence.
{"title":"‘the idea for receiving the idea, that is the seed’: percolating and steeping in somatic music","authors":"Tim Jones, Adrian Lee, E. Meehan","doi":"10.1386/jdsp_00022_1","DOIUrl":"https://doi.org/10.1386/jdsp_00022_1","url":null,"abstract":"Javanese dance artist Suprapto Suryodarmo (Prapto) led a keynote workshop as part of the Dance and Somatic Practices Conference 2017 at Coventry University. This workshop took a ‘wave’ format that involved different groups of participants flowing in and out of the durational workshop over three hours. The ‘somatic music’ created by Tim Jones and Adrian Lee accompanied and supported this flow, bringing the Amerta Movement practice into conversation with musical improvisation. The musicians later played with Prapto and presented their own ‘gig’ as part of the ‘Amerta Movement in Performance’ events in July 2018 and 2019 in Stroud, Gloucestershire, UK.1 After the Stroud workshop in 2019, Prapto asked researcher Emma Meehan to write to the musicians to discuss their exploration of ‘somatic music’. The following set of e-mail exchanges over the past year share excerpts of this ongoing dialogue instigated by Prapto. Following Prapto’s death in December 2019, we gathered our conversations here to pay tribute to his work and celebrate his inspiration to artists experimenting in Amerta Movement in performance. Alongside these conversations, we invite readers to listen to audio recordings of somatic music with Tim Jones, Adrian Lee and Prapto. Rather than presenting a definition of what somatic music is, we want to share perspectives on somatic music as an ongoing dialogue that will continue as part of Prapto’s legacy in years to come. A title for these exchanges suggested itself from Prapto’s comment (2018, 151–152) ‘the idea for receiving the idea, that is the seed’, to acknowledge his seeding of this conversation into existence.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45848863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dance improvisation in performance is often spirited and unpredictable. But the form can also be hampered by its conditions of uncertainty so that a state of open, spontaneous creativity can actually become difficult to achieve in performance situations. In particular, the perceived ‘judgment’ of an audience can alternately enhance or inhibit the performer’s creative engagement with open improvisation. This article describes a studio process utilizing Authentic Movement which was directed towards a performance in which the dancers attempted to diminish the negative impact that external factors, or internalized perceptions of external factors, can have on improvisation. However, the article is specifically focused on the experiences of a single dancer (the author) in the studio practice which underpinned the performance. At the heart of this practice were personal explorations of how best to discern a positive personal interest while improvising. This discernment is framed as a means to define an ‘inner witness’ (drawing from Authentic Movement theory): an internal perceptual anchor at the centre of the practice which helps fosters an open, imaginative engagement with improvisation. The article also seeks to clarify a subjective situation in objective, theoretical terms and so to shed light on a phenomenon also experienced by many other performers of improvisation. Drawing on the work of Teresa Brennan and Mihali Csikszentmihalyi, the article examines how the affective impact of judgment can interrupt the spontaneous flow of embodied imagination in improvisation.
{"title":"Dance improvisation through Authentic Movement: A practice of discernment","authors":"S. Mcleod","doi":"10.1386/jdsp_00023_1","DOIUrl":"https://doi.org/10.1386/jdsp_00023_1","url":null,"abstract":"Dance improvisation in performance is often spirited and unpredictable. But the form can also be hampered by its conditions of uncertainty so that a state of open, spontaneous creativity can actually become difficult to achieve in performance situations. In particular, the perceived ‘judgment’ of an audience can alternately enhance or inhibit the performer’s creative engagement with open improvisation. This article describes a studio process utilizing Authentic Movement which was directed towards a performance in which the dancers attempted to diminish the negative impact that external factors, or internalized perceptions of external factors, can have on improvisation. However, the article is specifically focused on the experiences of a single dancer (the author) in the studio practice which underpinned the performance. At the heart of this practice were personal explorations of how best to discern a positive personal interest while improvising. This discernment is framed as a means to define an ‘inner witness’ (drawing from Authentic Movement theory): an internal perceptual anchor at the centre of the practice which helps fosters an open, imaginative engagement with improvisation. The article also seeks to clarify a subjective situation in objective, theoretical terms and so to shed light on a phenomenon also experienced by many other performers of improvisation. Drawing on the work of Teresa Brennan and Mihali Csikszentmihalyi, the article examines how the affective impact of judgment can interrupt the spontaneous flow of embodied imagination in improvisation.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46285761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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