Disorganising principles: Corporeal fragmentation and the possibilities for repair

Dancers investigate ever-expanding relationships to embodiment through the variety of unique choreographic signatures that are continually erupting in professional practice. They live fragmented lineages that are interrupted and redirected as they traverse between various projects led by different choreographers or the same choreographer pursuing different creative goals. As contemporary dance continues to reconceive ways of moving, the dominant lineages of dance training are less useful as reference points through which dancers can recalibrate bodily activity and thus rebalance. In this chapter, I examine the impulse towards fragmentation in contemporary dance and explore how moments of agency for dancers might arise and be seized within the complexities of this environment. These issues are discussed in relation to my encounter with a bodywork therapy of Japanese origin, Amatsu, which I studied throughout 2012, and through the teaching principles of Gill Clarke as illuminated through the Minding Motion project, which explored Clarke’s pedagogy for Tanzplan, Germany 2010 (Diehl and Lampert, 2011). Moments from performance and bodywork practice are offered as examples throughout the chapter.

Creative adaptations: Integrating Feldenkrais principles in contemporary dance technique to facilitate the transition into tertiary dance education

As conservatoire-style dance teaching has traditionally utilised a hierarchical approach through which the student must conform to the ideal requirements of the conventional technique, current discourse is beginning to question how dance training can develop technical acuity without stifling students' ability to engage creatively. In recent years, there has been growing interest in the field of somatics and its relationship to tertiary dance training due to the understanding that this approach supports creative autonomy by radically repositioning the student's relationship to embodied learning, skill acquisition, enquiry and performance. This research addresses an observable disjuncture between the skills of dancers graduating from tertiary training and Australian dance industry needs, which increasingly demand the co-creative input of the dancer in choreographic practice. Drawing from Action Research, this paper will discuss a project which introduces somatic learning approaches, primarily from Feldenkrais Method and Hanna Somatics, to first-year dance students in their transition into tertiary education. This paper acknowledges previous research undertaken, most specifically the Somdance Manual by the University of Western Sydney, while directing focus to the first-year student transition from private dance studio training into the pre-professional arena.

A conversation about choreographic thinking tools

This article aims to draw the reader into an interdisciplinary conversation between the co-authors about the use of imagery in dance creation placed under very different disciplinary lenses. The conversation has two points of departure. First, for nearly a decade the choreographer Wayne McGregor has engaged in an interdisciplinary collaborative research with cognitive scientists with the aim to develop new understandings of the choreographic process. A large percentage of this research has focused on imagery in creativity and has resulted in the development of the Choreographic Thinking Tools, currently in use by McGregor and his dance company. One third of this article is dedicated to a description of these developments combined with figures that illustrate the scientific theory lying behind them. The second point of departure and second third of this article brings these ideas into conjunction with somatic practices, as reflected in the writing of an expert practitioner invited to introduce somatics to McGregor's dance company in the framework of the Choreographic Thinking Tools. The final section that concludes the article reintroduces scientific theory with the goal to articulate some of the contrasts and overlaps between the different approaches represented in this conversation

Embodying principles - properties - potential in dance

Thi article explores outcomes of practice-led research. Discusses application of somatic movement, dance education and Body-Mind Centering® practice principles for physical preparation of dancers, contact improvisation, choreographic research and dance pedagogy.

Um estudo piloto sobre os aspectos psicológicos associados a artrite reumatoide

A presente dissertação de Mestrado em Psicologia Social e da Personalidade caracterizou-se por um Estudo Piloto concernente aos aspectos psicológicos relacionados a Artrite Reumatóide (AR), realizado através de uma investigação exploratória de campo no Hospital Universitário Clementino Fraga Filho (HUCFF), Ambulatório de Reumatologia, na qual treze (13) pacientes reumatóides foram entrevista dos. O grupo amostral foi constituído de dez (lO) casos do sexo feminino e três (3) do sexo masculino com diagnóstico apenas desse tipo de patologia. O foco de interesse desta pesquisa foram os aspectos psicológicos que precederam e desempenharam algum tipo de influência no começo e progressão da AR, a partir do ponto de vista psicossomático. Os resultados obtidos parecem evidenciar um background psicodinâmico, uma vez que os relatos de história de vida giraram em torno de temas que sugeriram uma influência parental restritiva na primeira infância; hostilidade e agressividade contidas; inibição; auto-estima baixa; sentimentos de inferioridade e tendência a repressão e controle dos sentimentos. A nível manifesto essas pessoas procuram demonstrar externa mente o oposto do que são ou como se sentem internamente (‘necessidade se serem ativos'). Assim, parece existir uma relação psicodinâmica entre os aspectos somáticos e psíquicos influenciando o processo da Artrite Reumatóide. Os efeitos psicológicos advindos da doença, tais como: grande preocupação acerca do processo da enfermidade em si e de suas consequências; ansiedade gerada pelo desconhecimento parcial do real significado da doença; menor comunicação tanto no meio intra como extra familiar, também foram enfatizados. Os resultados deste estudo não são conclusivos e o pesquisa dor admite que o grupo amostral foi muito reduzido e o método empregado diferiu dos comumente aplicados a este tipo de pesquisa. Entre tanto, os mesmos pouco divergiram dos de outras investigações.

Consideraciones alrededor de la Danza-movimiento Terapia y sus aplicaciones en el ámbito social

El artículo presenta aspectos generales sobre la Danza Movimiento Terapia (DMT). Aborda sus orígenes históricos y su evolución en las últimas décadas. La DMT es un modelo de intervención psicoterapéutica, que comparte numerosos elementos con otras terapias creativas, y cuya singularidad se encuentra en la consideración de las manifestaciones no verbales y el movimiento creativo dentro de un proceso terapéutico. Se hace hincapié en su aspecto multidisciplinar y en su creciente aplicación en entornos sociales y educativos como un modo de promover y potenciar la salud. Finalmente, se presenta brevemente la situación actual de la profesión en España enmarcada en el contexto europeo.