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Description

Presenting a rich mosaic of embodied contemporary narratives in spirituality and movement studies, this book explicitly studies the relationship between spirituality and the field of Somatic Movement Dance Education. It is the first scholarly text to focus on contemporary spirituality within the domain of dance and somatic movement studies.

Dance, Somatics and Spiritualities brings together prominent authors and practitioners in order to elucidate how a wide range of sacred narratives/spiritualities are informing pedagogy, educational and therapeutic practice. As well as providing new insights and promoting creative/artistic awareness, this seminal text de-mystifies the spiritual/sacred and brings clarity and academic visibility to this largely uncharted and often misrepresented subject.

Introduction

Amanda Williamson, Glenna Batson and Sarah Whatley

Part I: Moving Spiritualities – Amanda Williamson

Chapter 1: Embodiment of Spirit: From Embryology to Authentic Movement as Embodied Relational Spiritual Practice – Linda Hartley

Chapter 2: The Alchemy of Authentic Movement: Awakening Spirit in the Body – Tina Stromsted

Chapter 3: Dancing in the Spirit of Sophia – Jill Hayes

Chapter 4: Body Ensouled, Enacted and Entranced: Movement/Dance as Transformative Art – Daria Halprin

Chapter 5: Dancing on the Breath of Limbs: Embodied Inquiry as a Place of Opening – Celeste Snowber

Chapter 6: ‘Can They Dance?’: Towards a Philosophy of Bodily Becoming – Kimerer L. LaMothe

Part II: Reflections on the Intersections of Spiritualities and Pedagogy – Sarah Whatley

Chapter 7: Reflections on the Spiritual Dimensions of Somatic Movement Dance Education – Martha Eddy, Amanda Williamson and Rebecca Weber

Chapter 8: Postmodern Spirituality? A Personal Narrative – Jill Green

Chapter 9: Working Like a Farmer: Towards an Embodied Spirituality – Helen Poynor

Chapter 10: Intimate to Ultimate: The Meta-Kinesthetic Flow of Embodied Engagement – Glenna Batson

Chapter 11: Permission and the Making of Consciousness – Sondra Fraleigh

Chapter 12: Conversations about the Somatic Basis of Spiritual Experiences – Sylvie Fortin, Ninoska Gomez, Yvan Joly, Linda Rabin, Odile Rouquet and Lawrence Smith

Chapter 13: Inner Dance—Spirituality and Somatic Practice in Dance Technique, Choreography and Performance – Kathleen Debenham and Pat Debenham

Chapter 14: This Indivisible Moment: A Meditation on Language, Spirit, Magic and Somatic Practice – Ray Schwartz

Chapter 15: Global Somatics™ Process: A Contemporary Shamanic Approach – Suzanne River, interviewed by Kathleen Melin

Part III: Cultural Immersions and Performance Excursions – Glenna Batson

Chapter 16: Dancing N/om – Hillary Keeney and Bradford Keeney

Chapter 17: Dancing with the Divine: Dance Education and the Embodiment of Spirit, from Bali to America – Susan Bauer

Chapter 18: The Sacrum and the Sacred: Mutual Transformation of Performer and Site through Ecological Movement in a Sacred Site – Sandra Reeve

Chapter 19: Dancing and Flourishing: Mindful Meditation in Dance-Making and Performing – Sarah Whatley and Naomi Lefebvre Sell

Chapter 20: ‘What You Cannot Imagine’: Spirituality in Akram Khan’s Vertical Road – Jayne Stevens

Sujets

Performing Arts

General officer

Dance

General

Informations

Publié par	Intellect Books
Date de parution	01 mai 2014
Nombre de lectures	0
EAN13	9781783202904
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,3200€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

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
Copyright © 2014 Intellect Ltd
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 designer: Holly Rose
Cover image: Top left - Meredith Haggerty and Kayoko Arakawa, photograph by Teri Koenig; top middle - Ju/'hoan Bushman dancers, photograph by Patrick Hill; Top right - Amanda Williamson, photograph by Scott Closson; Middle - Jill Green, photograph by Talani Torres; Bottom left - Julie Rothschild, photograph by Julie Rothschild; Bottom right - Rebecca Weber, photograph by Weston Aenchbacher.
Copy-editing: MPS Technologies Production managers: Jessica Mitchell and Tim Elameer Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-178- ePDF ISBN: 978-1-78320-289- ePUB ISBN: 978-1-78320-290-
Printed and bound by Hobbs, UK
In memory of Jill Hayes (24.9.1959 – 27.2.2014)
moonshine, root and rock, wildflower
Contents
Acknowledgements
Preface
Don Hanlon Johnson
Introduction
Amanda Williamson, Glenna Batson and Sarah Whatley
Part I: Moving Spiritualities
Amanda Williamson
Chapter 1: Embodiment of Spirit: From Embryology to Authentic Movement as Embodied Relational Spiritual Practice 
Linda Hartley
Chapter 2: The Alchemy of Authentic Movement: Awakening Spirit in the Body
Tina Stromsted
Chapter 3: Dancing in the Spirit of Sophia
Jill Hayes
Chapter 4: Body Ensouled, Enacted and Entranced: Movement/Dance as Transformative Art
Daria Halprin
Chapter 5: Dancing on the Breath of Limbs: Embodied Inquiry as a Place of Opening
Celeste Snowber
Chapter 6: ‘Can They Dance?’: Towards a Philosophy of Bodily Becoming
Kimerer L. LaMothe
Part II: Reflections on the Intersections of Spiritualities and Pedagogy
Sarah Whatley
Chapter 7: Reflections on the Spiritual Dimensions of Somatic Movement Dance Education
Martha Eddy, Amanda Williamson and Rebecca Weber
Chapter 8: Postmodern Spirituality? A Personal Narrative
Jill Green
Chapter 9: Working Like a Farmer: Towards an Embodied Spirituality
Helen Poynor
Chapter 10: Intimate to Ultimate: The Meta-Kinesthetic Flow of Embodied Engagement
Glenna Batson
Chapter 11: Permission and the Making of Consciousness
Sondra Fraleigh
Chapter 12: Conversations about the Somatic Basis of Spiritual Experiences
Sylvie Fortin, Ninoska Gomez, Yvan Joly, Linda Rabin, Odile Rouquet and Lawrence Smith
Chapter 13: Inner Dance—Spirituality and Somatic Practice in Dance Technique, Choreography and Performance
Kathleen Debenham and Pat Debenham
Chapter 14: This Indivisible Moment: A Meditation on Language, Spirit, Magic and Somatic Practice
Ray Schwartz
Chapter 15: Global Somatics™ Process: A Contemporary Shamanic Approach
Suzanne River, interviewed by Kathleen Melin
Part III: Cultural Immersions and Performance Excursions
Glenna Batson
Chapter 16: Dancing N/om
Hillary Keeney and Bradford Keeney
Chapter 17: Dancing with the Divine: Dance Education and the Embodiment of Spirit, from Bali to America
Susan Bauer
Chapter 18: The Sacrum and the Sacred: Mutual Transformation of Performer and Site through Ecological Movement in a Sacred Site
Sandra Reeve
Chapter 19: Dancing and Flourishing: Mindful Meditation in Dance-Making and Performing
Sarah Whatley and Naomi Lefebvre Sell
Chapter 20: ‘What You Cannot Imagine’: Spirituality in Akram Khan’s Vertical Road
Jayne Stevens
Notes on Contributors
Acknowledgements
The creation and inception of this international anthology took a long time. We would like to extend our thanks and gratitude to Intellect, and to all the authors and peer reviewers involved in this project—there were many times when we had to wait for each other to revise, or consolidate ideas. This extensive teamwork involved patience and endurance—thank you—to all of you—for your perseverance and creative visions.
Thanks from Amanda Williamson to Scott Closson, Tala Olive Closson and Rafferty Stewart for their love, support and guidance throughout this project. A special thanks to Jill Hayes and Chichester University.
This anthology grew simultaneously with the development of The Journal of Dance, Movement and Spiritualities (Intellect), and the existing Journal of Dance and Somatic Practices (Intellect).
The book was sponsored by Mary Abrams, Director of Moving Body Resources (MBR), New York.
Preface
Don Hanlon Johnson
1. Graffiti
After spending some two years sifting through the many texts that comprise this volume, finding a path through them, wondering, inspired, I ask: what am I left with that moves me to keep my fingers moving on this keyboard? What needs to be written here?
Strangely, what comes are not the more obvious themes of this book, but something easily forgotten, like our breathing, yet terribly relevant, shaping the whole project. It is the physicality of a community of gifted, experienced, bodily aware scholars with much to contribute to a broken world moving fingers across keyboards. Like the physicality in other gestures and activities of life, this too deserves an inquiry into the traces of keyboarding haunting our thinking and words.
Making texts by keyboarding is radically different from putting chisel to stone, quill to parchment, brush to vellum, stick to bar of soap, pen to paper, spray can to concrete. Unlike those more fleshy ways of communicating, the typewriter and the computer create the illusion that one writing is something like a Cartesian ghost sending messages to its host machine through an ether. And yet paradoxically, writing in these chapters is about the body and its movements. Because we spend a good portion of our time exploring the wilds of the body in lively movement and quiet perception, keyboarding can seem pale, ghostly, and hard to coordinate with the heft of what is learned directly.
I think of the Russian poet Irina Radushinskaya who wrote what she called the soap poems in the gulag. Arrested with her husband for her activities in samizdat , separated from him and taken to Siberia in the final days before perestroika , she used old match-sticks to scratch out poems on her allotment of soap, keeping the scrawls until she had memorized them, then washing them away. When she was finally liberated, she wrote them all down.

I will cross the land— in a convoy… commit it all— to memory—they won’t take it away! How we breathe— each breath outside law. What we stay alive by— until tomorrow.
(Radushinskaya 1987: 27)
That image of her on those bone-chilling days of hunger and weariness in the camp, struggling to get down the words to anchor and make sense of her experiences, is a symbol for the difficulties in giving words to what is not commonly expressed and the crucial importance of doing so. She stands as a sober reminder to us, raised in warm classrooms and libraries, sitting at our iMacs, with dictionaries and spellchecks, cursing the inadequacies of language to express our precious experiences.
Anne Carson is a poet and classics scholar. Like the dancer-scholars in this volume, her work demands that she bridge the gap between the dense world of poetry and the abstract realms of the academy.

I have struggled since the beginning to drive my thought out into the landscape of science and fact where other people converse logically and exchange judgments—but I go blind out there. So writing involves some dashing back and forth between that darkening landscape where facticity is strewn and a windowless room cleared of everything I do not know. It is the clearing that takes time. It is the clearing that is a mystery.
(Carson 1999: vii)
She turns to the ancient Greek poet Simonides of Keos and the German poet Paul Celan as special examples of people who have maneuvered across that gap. Simonides was constrained by what he could chisel on a stone slab of a defined shape. Paul Celan had already shaped himself as a poet in the language of those who murdered his family. After that tragic event and the others of the Holocaust, he could not but wrestle with that vocabulary and syntax as he continued to create the tortured language of his poems.
Unlike us easily gliding across the keys in our comfortable rooms, spewing forth words as easily as breaths, they were confronted each moment by the shapes and volumes of what they were writing. Like Chinese calligraphers and Benedictine scribes, they had to pay as much attention to the formation of each word and phrase as a dancer does to the flow of movements. As those ancient writers crossed the gap between direct experience and the page, it would be hard for them not to notice the movements of the body itself in the writing and thinking. Not so with the ease at which our keyboards appear to transmit our thoughts directly onto the screen.
In the chapters that follow, you find a document crafted by people like Radushinskaya and Carson who, with most of their lives embedded in the dense world of intense experience are faced with the need to communicate out of their enormous treasures of insights, not simply moving to the winds or the music but to the demands of a keyboard. The crossover is unimaginably demanding and fraught with challenges that endanger doing justice to the depths of experiential knowledge one has worked so hard to achieve.

Figure 1: Me, dog and ancient sequoia. Photographer: Barbara Holifield.
In this volume, we are dealing with the emergence of the voices of ‘the’ body, or ‘our’ bodies, of blood pulsing, of muscular strength and weakness, of air’s flowing through and around