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Intellect Books - MARGARET WILSON , Glenna Batson

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254 pages

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Western contemporary dance and body-mind education have engaged in a pas de deux for more than four decades. The rich interchange of somatics and dance has altered both fields, but scholarship that substantiates these ideas through the findings of twentieth-century scientific advances has been missing. This book fills that gap and brings to light contemporary discoveries of neuroscience and somatic education as they relate to dance. Drawing from the burgeoning field of “embodiment”—itself an idea at the intersection of the sciences, humanities, arts, and technologies—Body and Mind in Motion highlights the relevance of somatic education within dance education, dance science, and body-mind studies.

Introduction

Chapter 1: From Conversation to Discourse

Chapter 2: Locating the Discourse

Chapter 3: Researching Dance Cognition – Task-Based Analysis

Chapter 4: Reframing Embodiment

Chapter 5: Enaction

Chapter 6: Attention and Effort

Chapter 7: Training Attention – The Somatic Learning Environment

Chapter 8: Somatic Approaches to Training Attention: Part I

Chapter 9: Somatic Approaches to Training Attention: Part II

Chapter 10: Vertical Dance: Re-Experiencing the World

Chapter 11: The Road Forward

Appendix I: Primer on Balance

Appendix II: Explorations and Reflections

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Performing Arts

Dance

Informations

Publié par	Intellect Books
Date de parution	01 juin 2014
Nombre de lectures	0
EAN13	9781783202362
Langue	English
Poids de l'ouvrage	8 Mo

Informations légales : prix de location à la page 0,2560€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

GLENNA BATSON WITH MARGARET WILSON

M NOT IIO D N N I M D Nansci u dnero e Aac ce nn de i n Yc o Dn v e Or s Bt a i o n

Body and Mind in Motion

Body and Mind in Motion Dance and Neuroscience in Conversation

Glenna Batson withMargaret Wilson

intellectBristol, UK / Chicago, USA

First published in the UK in 2014 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK

First published in the USA in 2014 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.

A catalogue record for this book is available from the British Library.

Cover image: Courtesy of J Harper Cover designer: Stephanie Sarlos Copyeditor: Paul Nash Production manager: Tim Mitchell Typesetting: Contentra Technologies

Print ISBN: 9781783201792 ePDF ISBN: 9781783202362 ePUB ISBN: 9781783202379

Printed and bound by TJ International, UK

To all my movement teachers whose aesthetic reached me … who helped me think, move, endure.

There is a straight ladder from the atom to the grain of sand, and the only real mystery in physics is the missing rung. Below it, particle physics, above it, classical physics, but in between, metaphysics. All the mystery in life turns out to be this same mystery, the join between things which are distinct and yet continuous, body and mind, freewill and causality, living cells and life itself.’

Tom Stoppard,Hapgood,Act I, Scene 5, 1988

Contents

Acknowledgments

Preace

Introduction

Chapter 1:Conversation to Discourse From

Chapter 2:the Discourse Locating

Chapter 3: Researching Dance Cognition – Task-Based Analysis

Chapter 4: Reraming Embodiment

Chapter 5: Enaction

Chapter 6:and Efort Attention

Chapter 7:Attention – The Somatic Learning Environment Training

Chapter 8: Somatic Approaches to Training Attention: Part I

Chapter 9: Somatic Approaches to Training Attention: Part II

Chapter 10: Vertical Dance: Re-Experiencing the World

Chapter 11:

Appendix I:

The Road Forward

Primer on Balance

Appendix II:Explorations and Reﬂections

Index

xiii

101

125

139

155

173

185

195

203

227

Acknowledgments

hîs book îs my gî o dance arîss, educaors and scoars – ose jus sarîng ou and opefuy veerans as we. I îs my way of payîng omage o menors wo eped me ind a îvîng vocabuary – movîng and spoken. o a ese menors în dance, scîence and somaîc sudîes, I owe an enormous deb. My îfe woud no be e same wîou an acemîca mîx of reasured resources, rangîng from eacers o books, sudens and praxîs. Many în îs paneon are sî workîng and conînuîng o înspîre me o eac and menor oers. In my commîmen o carry forward dance, Somaîcs and scîence, wrîîng a book seems îke a modes way o conrîbue o îs egacy and pay î forward. I carry e deepes apprecîaîon for e generaîve power of dance. Many îmes durîng e wrîîng of îs book, I’d ind mysef symîed. I’d need amot juste, a way of carîfyîng a concep or a roue ou of a caper’s organîzaîona quagmîre. I’d sop workîng and go o e sudîo. here, I’d dance ou e answers. Noîng dîrec, mînd you. he ‘answers’ uneased emseves as my brîe body ensîons gave way o gesura Low. I’d oss my mena confusîon abou în payfu împrovîsaîon. hîs ‘no-pace-space’ of body expressîveness woud open poras of undersandîng a no amoun of mena macînaîons coud possîby ave engîneered. Movemen provîded e deepes îneecua saîsfacîon I coud ave ever îmagîned – as mover, as wîness and uîmaey, as scoar. I bow ow o a number of pas dance eacers. heîr combîned înspîraîon, courage and commîmen o îvîng roug e body broug ogîc o my îfe. hese încude Moy ynn, Bey Jones, Judy van Zîe, Erîck Hawkîns, Nadîne Ravene, Bea ewîsky, Marcîa Sakamoo, Waer Nîcks, Rober Eîs Dunn, Judî esc, Krîsna Rao, Nancy Sark-Smî and Adrîana Mîer. he îs coud acuay go on and on. I aso coud add a os of gues arîss wo se me on ire. I aso owe anks o my many eacers în somaîc educaîon wo conînue o înspîre me o eac oers. Fîrs and foremos, I ank Irene Dowd, wose beîef în my buddîng abîîîes as an educaor, aong wî er unendîng paîence and crysaîne rîgor, aowed me o se body for on e pa of movemen educaîon. From 1977, under Irene’s ueage, I gaîned an exraordînary vîew of ealla we were învesîgaîng. Our work ogeer aowed me o access dynamîc bodîy processes a gave rîse o embodîed coordînaîon în acîon. Wî er guîdance, I oned my vîsua acuîy roug

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