The somatic practice of intentional rest in dance education preliminary steps towards a method of study

Abstract

Every performing art has its caesura -a resting pause -a potent stillness in the rhythmic flow of action. For western contemporary dance, stillness is a powerful aesthetic tool. Far less understood are the physiological -and behaviouralbenefits of rest. While rest intervals routinely are prescribed in sports science to promote physiological recovery and improve performance, such protocols are unknown in dance. Somatic approaches ('somatics') purposely embed intervals of stillness and rest for active listening and reflection. This kind of intentional reduction in action alters typical space-time-effort values of a dance technique class, shifting attention to an array of kinaesthetic qualities, thoughts and feelings. While dance customarily relegates somatics to a wellness role, the larger behavioural implications of intentional rest within dance pedagogy merit further investigation. Although the purposes are not fully clarified, 'intentional rest' potentially allows a deeper level of embodied knowledge to surface and be directed towards self-regulation and change. This article addresses the somatic function of intentional rest within the context of dance training. The author provides an overview of the scientific evidence substantiating rest. Further, the author opens an inquiry into the behavioural values of intentional rest as gleaned from written reflections of Master's degree dance students in a seminar on somatics. These narratives appear to advance not only with those benefits advocated by sports science, but also psychophysical embodiment and personal autonomy, values essential to becoming a dance artist.

A Qualitative Investigation of What “Body Awareness” Means to Dancers at A Public Midwestern University

“…The article by Batson (2009) explores the values of "intentional rest" within the context of dance education and training. Specifically, Batson reviews the existing literature on the intersections of somatic technique and modern dance, then uses that information to analyze the writings of Master's degree dance students who have taken her six-week seminar on somatics.…”

“…Specifically, Batson reviews the existing literature on the intersections of somatic technique and modern dance, then uses that information to analyze the writings of Master's degree dance students who have taken her six-week seminar on somatics. Key to Batson's (2009) writing is the idea that rest, while part of every somatic practice and ingrained into most all human activities, has not been adopted by the dance world. By pushing their bodies to the limit through repetitive practice, dancers who train at a high level make themselves susceptible to overuse injuries.…”

“…Rest also allows for time for mental rehearsal and imagery, a proven method for improving performance in athletes without subjecting the body to further fatigue. Finally, Batson (2009) argued that since somatic practices aim to increase sensory awareness in the body, they also increase senses of embodiment and personal autonomy -which, she stated, are important qualities in dance artists.…”

Finding Your Balance

“…The findings of this study provide support for the application of a sports-based model of overtraining risks and outcomes within a dance-specific context and highlight the need for greater understanding of recovery-stress balance in dance training environments. Recovery has not been widely studied in dance research and despite the identified need for a better understanding of rest and recovery in dance (Batson 2009), this area of research is still in its infancy. Thus, the possibilities for future research abound.…”

Όψεις Της Επαγγελματικής Χορευτικής Εκπαίδευσης Στην Ελλάδα

“…361 Glenna Batson (2009), "The somatic practice of intentional rest in dance education -preliminary steps towards a method of study", Journal of Dance and Somatic Practices Vol. 1 Nο.…”