Aiming to illustrate the potential for puppetry as a useful resource in dementia care, the authors argue unusually that play with puppets derives not particularly from drama or theatre, but fundamentally from the performative relationship people have with objects. The puppeteers of
the study achieved remarkable emotional connection with care-home residents through an experience of puppetry, which dissolved the unitary autonomy of the puppet, recontextualizing it relationally as the puppeteer-with-puppet-with-spectator. It is this ‘withness’ that ignited the
creative spark of presence of the residents. For a moment of trust and child-like joy kinaesthetic memories stirred in them, appearing to break down emotional barriers between the person and the world around them and indicating comparatively longer-term therapeutic benefits.
This article details the unique pairing of dance and writing, the likes of which are often considered two very different beasts. It examines how approaches to movement improvisation have been used to form and inform innovative methods of entering into the act of writing from the experience
of dance. The argument authenticates the current renewed appreciation for the possibilities of writing to enable further creative critical engagement. Consequently, the meeting of creativity and criticality is one in which the dancer playfully explores and examines the suchness of one’s
dancing. Suchness is therefore understood as the unique sum of qualities experienced by the dancer – the point at which clarity and closeness facilitate connection through the images, feelings and sensations evoked by dance. In summary, the article outlines the relationship between dance
and writing, before exploring the methods used to facilitate a dancer’s assimilation and validation of what happens for them when they dance.
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