Dance And Lived Body

Fraleigh, Sondra

doi:10.2307/j.ctt5hjrjj

Cited by 48 publications

(34 citation statements)

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“…Phenomenological explorations in dance appear in several works connected to an anti-dualistic reaction which conceives of bodily processes as cognitive and of cognitive processes as intrinsically bodily (Sheets-Johnstone 1966;Fraleigh 1987;Klemola 1991;Stewart 1998). However, this insistence on bodily cognition came to neglect the body as being both and at the same time physical and subjective, -a conception we intend to support here.…”

Section: Phenomenology In Dance Researchmentioning

confidence: 81%

Perceiving subjectivity in bodily movement: The case of dancers

Legrand¹,

Ravn

2009

Phenom Cogn Sci

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This paper is about one of the puzzles of bodily self-consciousness: can an experience be both and at the same time an experience of one′s physicality and of one′s subjectivity? We will answer this question positively by determining a form of experience where the body′s physicality is experienced in a non-reifying manner. We will consider a form of experience of oneself as bodily which is different from both "prenoetic embodiment" and "pre-reflective bodily consciousness" and rather corresponds to a form of reflective access to subjectivity at the bodily level. In particular, we argue that subjectivity is bodily expressed, thereby allowing the experience of the body′s subjectivity directly during perceptual experiences of the body. We use an interweaving of phenomenological explorations and ethnographical methods which allows validating this proposal by considering the experience of body experts (dancers).

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Section: Phenomenology In Dance Researchmentioning

confidence: 81%

Perceiving subjectivity in bodily movement: The case of dancers

Legrand¹,

Ravn

2009

Phenom Cogn Sci

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“…The body can euappear to me as something that I am aware of as positive without this being an explicit focus for my attention and without its disrupting my way of being or acting; I can also be reflectively aware of my body as positive. Finally, there are also situations of intense bodily pleasure, where the 20 For an interesting analysis of the phenomenology of dance, see Fraleigh (1987).…”

Section: Resultsmentioning

confidence: 99%

A phenomenological analysis of bodily self-awareness in the experience of pain and pleasure: on dys-appearance and eu-appearance

Zeiler

2010

Med Health Care and Philos

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The aim of this article is to explore nuances within the field of bodily self-awareness. My starting-point is phenomenological. I focus on how the subject experiences her or his body, i.e. how the body stands forth to the subject. I build on the phenomenologist Drew Leders distinction between bodily dis-appearance and dys-appearance. In bodily dis-appearance, I am only prereflectively aware of my body. My body is not a thematic object of my experience. Bodily dys-appearance takes place when the body appears to me as "ill" or "bad." This is often the case when I experience pain or illness. Here, I will examine three versions of bodily dys-appearance. Whereas many phenomenological studies have explored cases of bodily dys-appearance, few studies have focused on the opposite of bodily dys-appearance, i.e. on bodily modes of being where the body appears to the subject as something good, easy or well. This is done in this article. When the body stands forth as good, easy or well to the subject, I suggest that the body eu-appears to this person. The analysis of eu-appearance shows that the subject can attend to her or his body as something positive and that this attention need not result in discomfort or alienation. Eu-appearance can take place in physical exercise, in sexual pleasure and in some cases of wanted pregnancies. I also discuss, briefly, the case of masochism.The original publication is available at www.springerlink.com:Kristin Zeiler, A phenomenological analysis of bodily self-awareness in the experience of pain and pleasure: on dys-appearance and eu-appearance, 2010, MEDICINE HEALTH CARE AND PHILOSOPHY, (13), 4, 333-342.http://dx.doi.org/10.1007/s11019-010-9237-4Copyright: Springer Science Business Mediahttp://www.springerlink.com

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“…Writing from her 'lived' experience in Dance and the lived body, Sondra Horton Fraleigh (1987) draws on phenomenology and existentialism. She perceives the different content of modern dance and ballet as emanating from individual freedom and contrasts the modern dancer's 'courage to be oneself' with 'the security of rule that grounds classical dance forms':…”

Section: Outside Perspectives On the Formmentioning

confidence: 99%

My dance and the ideal body: looking at ballet practice from the inside out

Jackson

2005

Research in Dance Education

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This paper argues for a change of thinking about the 'ideal body' in relation to ballet as a dance form and how it is studied. It distinguishes between spectator and practitioner perspectives on ballet, and draws on the practice of established dance artists and that of the author to write about the firstperson experience-from the inside out. Using a balletic concept, en dehors/en dedans, as a metaphor, the discussion moves from looking at the outside product of the ballet inwards to look at the inside processes or practice. The impact of the spectator perspective on the characterization of practice is considered, raising questions about the construction of binaries such as free/rule bound and the perception of the body and form as fixed. A case is made for ballet study as a somatic practice, and how engaging the first-person experience and perspective on the body allows the individual dancer to develop as both artist and technician.I sat on an audition panel in July 2004 with a colleague whose career in the Royal Ballet had overlapped with mine. We were selecting dancers who showed potential for pre-vocational training in ballet and, prior to the auditions, we shared our concerns about the state of the art, the emphasis on bodily potential for training and athletic over artistic achievement, and a cultural context where the 'ideal body' as image is a powerful influence. We both reflected on how-in our experience of training and then dancing professionally-the inner and individual spark of 'wanting' to dance that we identified as a vital component of the potential we were assessing had been under-explored. Acquiring the skills for dancing takes years of study that, arguably, never ends; the dancer who 'lives' on stage resolves her 'wanting' as expressive motion that is both personal and connected to the tradition. How, then, is the specific potential of that 'wanting' to dance engaged in educating the ballet artist of today?In this paper, I argue for a change of thinking about the 'ideal body' in relation to ballet as a dance form and how it is studied. I draw on my own experience and begin by building a rationale for writing from the first-person perspective about practice. In

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Dance And Lived Body

Cited by 48 publications

References 0 publications

Perceiving subjectivity in bodily movement: The case of dancers

Perceiving subjectivity in bodily movement: The case of dancers

A phenomenological analysis of bodily self-awareness in the experience of pain and pleasure: on dys-appearance and eu-appearance

My dance and the ideal body: looking at ballet practice from the inside out

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