Movement’s contagion: the kinesthetic impact of performance

Foster, Susan Leigh; Davis, Tracy C.

doi:10.1017/ccol9780521874014.004

Cited by 38 publications

(29 citation statements)

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“…"Empathy" is another problematic term; it has many different meanings and has slippery relationships with the term "sympathy" and also with the concept of "emotional contagion." Emotional contagion refers to "catching" and being overpowered by emotions from others, such as crying in response to someone else who is crying (on this topic see, for example, Foster 2008, Gallese 2008, and Stein 1970. Before the English word "empathy" was coined by Edward Titchener to translate the German Einfuhlungm 1909 (Titchener 1909), the closest English word was "sympathy."…”

Section: Empathy Kinesthesia and The Idealized Dance Audiencementioning

confidence: 99%

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Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance

Reason¹,

Reynolds²

2010

Dance Res. J.

128

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Dance is frequently described as being “about” movement. “Dance,” writes Ann Daly, “although it has a visual component, is fundamentally a kinesthetic art” (Daly 1992, 243). Audience experiences of dance can therefore be conceptualized in terms of responses to movement, most prominently in terms of what has been described as “kinesthetic empathy.” What does it mean, however, to watch, respond to, or appreciate movement? And how does the historical and theoretical concept of kinesthetic empathy relate to contemporary audiences' articulations of the experience of watching dance?This article sets out to answer these questions by exploring different kinds of kinesthetic and empathetic responses and pleasures (and indeed displeasures) articulated by spectators of live dance across different styles and contexts. Pleasure is of particular importance to audience studies because it relates to motivations. Why do people seek out dance performances to watch? What are they looking for in the experience? In this context, we are interested in kinesthetic empathy as a mode of engaging with dance that can give pleasure to spectators and can be a strong motivating factor in why people choose to watch dance.

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Section: Empathy Kinesthesia and The Idealized Dance Audiencementioning

confidence: 99%

“…See Calvo-Merino et al (2005 and. Susan Foster has welcomed this emphasis on the role of specific expertise and training, which she sees as "in keeping with" Alain Berthoz's emphasis on culturally specific perception of movement (Foster 2008).…”

Section: Notesmentioning

confidence: 99%

Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance

Reason¹,

Reynolds²

2010

Dance Res. J.

128

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show abstract

“…or "Dr." with family name, or "Sie," commonly used in German seminar rooms, gave way to a non-hierarchical 'du' and first name for the time of the exercise. This address turned out to be just more fitting to the kind of deliberate collaboration that emerged in the lab, not least fueled by "kinesthetic empathy" (Foster 2008). Such a collaborative atmosphere might as well emerge when students are confronted with new methods in the seminar room.…”

Section: Performance As Researchmentioning

confidence: 96%

Chapter 7: Enacting Speculation

Ernst¹,

Hutta

2020

Edition Kulturwissenschaft

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“…Thus, dance enables us to study the transformation from perception of biological motion in a complex natural setting, without requiring processes primarily related to the various levels of action understanding (Hickok, 2008). The more basic sensations can be -and have been -described as kinesthetic empathy (Foster, 2008;Lipps, 1903 and1906;MacFarlane, Kulka, & Pollick, 2004;Martin, 1939;Smyth, 1984). Following these concepts, the spectator should experience a kinesthetic sensation as if they themselves are executing the movements, possibly antecedent to action understanding.…”

Section: Visual and Visuomotor Experience In Action Observationmentioning

confidence: 99%

Experience and the Perception of Biological Motion

Pollick¹,

Jola²,

Petrini³

et al. 2012

People Watching

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Many discussions of biological motion perception involve a description of observers’ attunements for recognizing gender, emotion, action, and identity from point-light displays. This chapter describes an often-neglected determinant of biological motion perception: the role of expertise. First, the authors describe how variability among observers is essential for developing a comprehensive theory of biological motion perception. Then, they describe how the distributed network of brain areas devoted to biological motion perception provides an opportunity for this brain network to be applied to new tasks and environments.

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Movement’s contagion: the kinesthetic impact of performance

Cited by 38 publications

References 0 publications

Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance

Kinesthesia, Empathy, and Related Pleasures: An Inquiry into Audience Experiences of Watching Dance

Chapter 7: Enacting Speculation

Experience and the Perception of Biological Motion

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