This article introduces reflections on Somatics and its emergence at the turn of the twentieth century among the Body Culture movement in association with modern dance, in opposition to the scientific dualism that separates mind and body. We also reflect upon the blooming of Somatics following the paradigm shift brought about by phenomenology and neurophenomenology. They all produced an extensive scope of research and arrived to the conclusion that the mind is corporealized. Somatics in Brazil gained notoriety from the 1960s on, mainly if we consider the seminal work of Brazilian dancers Klauss and Angel Vianna. Mostly connected to dance, Somatics in Brazil entered private dance schools, dance festivals and later on it penetrated universities, in both undergraduate and postgraduate levels. Initiated by Thomas Hanna in the 1970s, the scholarly new paradigm brought by Somatics broadens the use of the term and allows this movement to be recognized as a field of study. To conclude, we articulate Somatics’ new developments towards the new social and political agendas within contemporary culture.
{"title":"A reflection on Somatics, its relationship with dance and its development in Brazil","authors":"Maria Albertina Silva Grebler, Diego Pizarro","doi":"10.1386/jdsp_00010_1","DOIUrl":"https://doi.org/10.1386/jdsp_00010_1","url":null,"abstract":"This article introduces reflections on Somatics and its emergence at the turn of the twentieth century among the Body Culture movement in association with modern dance, in opposition to the scientific dualism that separates mind and body. We also reflect upon the blooming of Somatics following the paradigm shift brought about by phenomenology and neurophenomenology. They all produced an extensive scope of research and arrived to the conclusion that the mind is corporealized. Somatics in Brazil gained notoriety from the 1960s on, mainly if we consider the seminal work of Brazilian dancers Klauss and Angel Vianna. Mostly connected to dance, Somatics in Brazil entered private dance schools, dance festivals and later on it penetrated universities, in both undergraduate and postgraduate levels. Initiated by Thomas Hanna in the 1970s, the scholarly new paradigm brought by Somatics broadens the use of the term and allows this movement to be recognized as a field of study. To conclude, we articulate Somatics’ new developments towards the new social and political agendas within contemporary culture.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41633115","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}
Suzane Weber da Silva, Mônica Fagundes Dantas, Eva Schul, Eduardo Severino, Robson Lima Duarte, Luísa Beatriz Trevisan Teixeira
In this photographic article, we gather five Brazilian choreographers and dancers who are over 50 years old: Eva Schul (72), Robson Duarte (57), Eduardo Severino (57), Suzi Weber (55) and Monica Dantas (52). Movement and dance photos support a narrative about age, longevity and fragility in contemporary dance. We try to answer some questions: how old is too old to dance? How do we embody time? How do we integrate damage and fragility to our dance? We have been collaborating with Eva Schul since the 1990s, and in parallel, we have been developing our own work. Since the 1980s, Eva Schul has been working with contemporary dance integrating somatic practices. So, this visual essay addresses topics related to the history of somatic practices and contemporary dance in southern Brazil and somatic perspectives on the ageing issue. We intend to give voice and image to those dancers and choreographers that are challenging the perspective of body image in dance, and highlight their older bodies, which can display vulnerability and fragility and, at the same time, strength and desire, ready to fight the battles of art and life. Our vision is that to give voice and image to those dancing bodies matured by the passage of time constitutes a political act.
{"title":"I am/we are: Contemporary dance, somatics and new older bodies","authors":"Suzane Weber da Silva, Mônica Fagundes Dantas, Eva Schul, Eduardo Severino, Robson Lima Duarte, Luísa Beatriz Trevisan Teixeira","doi":"10.1386/jdsp_00018_3","DOIUrl":"https://doi.org/10.1386/jdsp_00018_3","url":null,"abstract":"In this photographic article, we gather five Brazilian choreographers and dancers who are over 50 years old: Eva Schul (72), Robson Duarte (57), Eduardo Severino (57), Suzi Weber (55) and Monica Dantas (52). Movement and dance photos support a narrative about age, longevity and fragility in contemporary dance. We try to answer some questions: how old is too old to dance? How do we embody time? How do we integrate damage and fragility to our dance? We have been collaborating with Eva Schul since the 1990s, and in parallel, we have been developing our own work. Since the 1980s, Eva Schul has been working with contemporary dance integrating somatic practices. So, this visual essay addresses topics related to the history of somatic practices and contemporary dance in southern Brazil and somatic perspectives on the ageing issue. We intend to give voice and image to those dancers and choreographers that are challenging the perspective of body image in dance, and highlight their older bodies, which can display vulnerability and fragility and, at the same time, strength and desire, ready to fight the battles of art and life. Our vision is that to give voice and image to those dancing bodies matured by the passage of time constitutes a political act.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47802453","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 traces the arrival of the Alexander Technique in Brazil in the 1980s and its later insertion in higher education in the country. It focuses on two experiences: one at Universidade Federal do Estado do Rio de Janeiro – UNIRIO (Federal University of the State of Rio de Janeiro) – as a university extension course for musicians and one at Universidade Federal de Minas Gerais – UFMG (Federal University of Minas Gerais and State University of Campinas) as an elective subject for dancers as part of the undergraduate dance course. The article aims to discuss the particularities as well as the challenges of introducing the Alexander Technique for the first time to trained dancers and musicians. The methodological approach included interviews with Alexander Technique teachers working and living in Brazil as well as the author’s personal experiences teaching the Alexander Technique in a university setting, articulated with the literature on this topic. The article hopes to contribute to the reflection on the role of somatic practices in higher education in order to collaborate with strategies that may help the teaching-learning process in an artistic-pedagogical academic environment.
{"title":"From how we’ve made it here to where we stand now: The presence of the Alexander Technique in higher education in Brazil","authors":"Raquel Pires Cavalcanti","doi":"10.1386/jdsp_00012_1","DOIUrl":"https://doi.org/10.1386/jdsp_00012_1","url":null,"abstract":"This article traces the arrival of the Alexander Technique in Brazil in the 1980s and its later insertion in higher education in the country. It focuses on two experiences: one at Universidade Federal do Estado do Rio de Janeiro – UNIRIO (Federal University of the State of Rio de Janeiro) – as a university extension course for musicians and one at Universidade Federal de Minas Gerais – UFMG (Federal University of Minas Gerais and State University of Campinas) as an elective subject for dancers as part of the undergraduate dance course. The article aims to discuss the particularities as well as the challenges of introducing the Alexander Technique for the first time to trained dancers and musicians. The methodological approach included interviews with Alexander Technique teachers working and living in Brazil as well as the author’s personal experiences teaching the Alexander Technique in a university setting, articulated with the literature on this topic. The article hopes to contribute to the reflection on the role of somatic practices in higher education in order to collaborate with strategies that may help the teaching-learning process in an artistic-pedagogical academic environment.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42030866","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 presents Laban/Bartenieff movement studies (LBMS) experiments through pedagogical procedures and creative processes. It comprises artistic and performative perspectives in choreography and dance education from a nineteen years’ research within master and doctorate studies. Laban’s Motif writing shifts its main function to act as a trigger for creative processes. Besides, somatic serenities, as an important body state for the production of presence, are encouraged in somatic–performative practices that include LBMS into dance programme courses in Rio Grande do Sul. The concept of somatic serenities is introduced to develop an inner–outer body connection state as an intimate experience with dance, which produces knowledge. This text considers performative dance practices and practice as research as an LBMS teaching methodology in dance courses in the south of Brazil.
本文通过教学过程和创造过程介绍了拉班/芭特妮芙运动研究(LBMS)实验。它包含了19年来在硕士和博士研究中对编舞和舞蹈教育的艺术和表演观点。拉班的主题写作将其主要功能转变为作为创造性过程的触发器。此外，躯体宁静作为产生存在的重要身体状态，在身体表演实践中被鼓励，将LBMS纳入里约热内卢Grande do Sul的舞蹈课程课程。身体宁静的概念被引入，以发展身体内外的连接状态，作为与舞蹈的亲密体验，从而产生知识。本文认为表演性舞蹈实践和实践作为研究在巴西南部舞蹈课程的LBMS教学方法。
{"title":"Learning/teaching, creating and performing through LBMS","authors":"Cibele Sastre","doi":"10.1386/jdsp_00015_1","DOIUrl":"https://doi.org/10.1386/jdsp_00015_1","url":null,"abstract":"This article presents Laban/Bartenieff movement studies (LBMS) experiments through pedagogical procedures and creative processes. It comprises artistic and performative perspectives in choreography and dance education from a nineteen years’ research within master and doctorate studies. Laban’s Motif writing shifts its main function to act as a trigger for creative processes. Besides, somatic serenities, as an important body state for the production of presence, are encouraged in somatic–performative practices that include LBMS into dance programme courses in Rio Grande do Sul. The concept of somatic serenities is introduced to develop an inner–outer body connection state as an intimate experience with dance, which produces knowledge. This text considers performative dance practices and practice as research as an LBMS teaching methodology in dance courses in the south of Brazil.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/jdsp_00015_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66726590","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":"Introduction to somatics in Brazil","authors":"Ciane Fernandes, Diego Pizarro, M. Scialom","doi":"10.1386/jdsp_00009_2","DOIUrl":"https://doi.org/10.1386/jdsp_00009_2","url":null,"abstract":"","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43456415","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}
Patrícia Caetano, R. Torralba, C. Resende, Maurílio M. Lima
The text aims to present somatic practices as a politics of the sensible that, at the same time, enlarges the microperceptive dimension and creates a collective-field-body, performing connections and mutual affections between insurgent bodies. A tragic event was the trigger of a performative-somatic contagion experience: the murder of Marielle Franco, a Rio de Janeiro city councilwoman, on March 2018. In the face of this event, we seek to understand the pain affirmation as a form of resistance and re-existence, as well as a source of confrontation with a power that slaughters bodies.
{"title":"Performing a collective-field-body","authors":"Patrícia Caetano, R. Torralba, C. Resende, Maurílio M. Lima","doi":"10.1386/jdsp_00017_1","DOIUrl":"https://doi.org/10.1386/jdsp_00017_1","url":null,"abstract":"The text aims to present somatic practices as a politics of the sensible that, at the same time, enlarges the microperceptive dimension and creates a collective-field-body, performing connections and mutual affections between insurgent bodies. A tragic event was the trigger of a performative-somatic contagion experience: the murder of Marielle Franco, a Rio de Janeiro city councilwoman, on March 2018. In the face of this event, we seek to understand the pain affirmation as a form of resistance and re-existence, as well as a source of confrontation with a power that slaughters bodies.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46666938","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}
Hanna Pohjola, Maija K. Ratinen, V. Hänninen, J. Kauhanen, S. Lehto
Abstract This article describes a contemporary dance intervention among psychiatric outpatients with a diagnosis of mild-to-moderate depression. Five females participated in a pilot intervention, which was carried out twice a week over four consecutive weeks. During the intervention, the participants kept diaries about their personal experiences. The diaries were assessed using thematic content analysis. The dancing experience involved a combination of three elements: music, movement and creativity connected to the body. The qualitative findings were tentatively associated with positive mood over the short term. The participants experienced periods of relaxation, self-examination and elevated self-esteem during the session. Diary entries indicated that participating in contemporary dance may reduce mental anxiety and physical tension, and provide at least short-term symptomatic relief. Thus, participation in contemporary dance may be beneficial in the process of recovery from depression.
{"title":"Contemporary dance intervention in mild-tomoderate depression: A pilot study","authors":"Hanna Pohjola, Maija K. Ratinen, V. Hänninen, J. Kauhanen, S. Lehto","doi":"10.1386/jdsp_00002_1","DOIUrl":"https://doi.org/10.1386/jdsp_00002_1","url":null,"abstract":"Abstract This article describes a contemporary dance intervention among psychiatric outpatients with a diagnosis of mild-to-moderate depression. Five females participated in a pilot intervention, which was carried out twice a week over four consecutive weeks. During the intervention,\u0000 the participants kept diaries about their personal experiences. The diaries were assessed using thematic content analysis. The dancing experience involved a combination of three elements: music, movement and creativity connected to the body. The qualitative findings were tentatively associated\u0000 with positive mood over the short term. The participants experienced periods of relaxation, self-examination and elevated self-esteem during the session. Diary entries indicated that participating in contemporary dance may reduce mental anxiety and physical tension, and provide at least short-term\u0000 symptomatic relief. Thus, participation in contemporary dance may be beneficial in the process of recovery from depression.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44905518","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}
Phaedra Petsilas, J. Leigh, N. Brown, Catriona Blackburn
This paper draws from a collaboration between Rambert School of Dance, University of Kent, and University College London Institute of Education and an anthropological filmmaker. Together we took a creative and embodied approach to teaching reflective practice within a conservatoire to second year dance students. In this paper we explore where this somatically inspired pedagogy sits within dance training. We discuss the nature of reflection for dance training, and in particular consider embodied reflective practice. Finally we offer effective methodologies for drawing out and capturing embodied practice.
{"title":"Embodied reflection ‐ exploring creative routes to teaching reflective practice within dance training","authors":"Phaedra Petsilas, J. Leigh, N. Brown, Catriona Blackburn","doi":"10.1386/JDSP_00004_1","DOIUrl":"https://doi.org/10.1386/JDSP_00004_1","url":null,"abstract":"This paper draws from a collaboration between Rambert School of Dance, University of Kent, and University College London Institute of Education and an anthropological filmmaker. Together we took a creative and embodied approach to teaching reflective practice within a conservatoire to second year dance students. In this paper we explore where this somatically inspired pedagogy sits within dance training. We discuss the nature of reflection for dance training, and in particular consider embodied reflective practice. Finally we offer effective methodologies for drawing out and capturing embodied practice.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48339549","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}
Abstract This article addresses the transformative potential of children's physical play and dance improvisation. Using the enactive approach as a theoretical framework, it is argued that play and dance improvisation trigger novel sense-making capabilities by a deep engagement with the environment. Both activities give rise to transformative forces, ways of becoming that create openings and passages through which one re-engages and re-connects with the environment. This article combines theoretical reflection with artistic practice. By intermingling the thinking with the doing, I hope to gain embodied insights in underlying mechanisms of both play and dance improvisation. First, I discuss the concept of transformation. Then I explore how the enactive approach can be helpful in understanding the emergence of new values and meanings in both play and dance improvisation through dynamic coupling. From here I move to my artistic practice. I present an auto-ethnographic research that consists of two events. The first event is a spontaneous play event of my 12-year-old daughter that serves as an entrance point to examine animal becomings as transformative forces. The second event is an improvised dance solo, in which I re-enact the animal becomings of my daughter. The aim is to grasp, in a corporeal sense, the transformative forces that are at work here.
{"title":"Becoming animal: Children's physical play and dance improvisation as transformative activities that generate novel meanings","authors":"Carolien Hermans","doi":"10.1386/jdsp_00003_1","DOIUrl":"https://doi.org/10.1386/jdsp_00003_1","url":null,"abstract":"Abstract This article addresses the transformative potential of children's physical play and dance improvisation. Using the enactive approach as a theoretical framework, it is argued that play and dance improvisation trigger novel sense-making capabilities by a deep engagement\u0000 with the environment. Both activities give rise to transformative forces, ways of becoming that create openings and passages through which one re-engages and re-connects with the environment. This article combines theoretical reflection with artistic practice. By intermingling the thinking\u0000 with the doing, I hope to gain embodied insights in underlying mechanisms of both play and dance improvisation. First, I discuss the concept of transformation. Then I explore how the enactive approach can be helpful in understanding the emergence of new values and meanings in both play and\u0000 dance improvisation through dynamic coupling. From here I move to my artistic practice. I present an auto-ethnographic research that consists of two events. The first event is a spontaneous play event of my 12-year-old daughter that serves as an entrance point to examine animal becomings as\u0000 transformative forces. The second event is an improvised dance solo, in which I re-enact the animal becomings of my daughter. The aim is to grasp, in a corporeal sense, the transformative forces that are at work here.","PeriodicalId":41455,"journal":{"name":"Journal of Dance & Somatic Practices","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41463050","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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