Yes? No! Maybe…

Claid, Emilyn

doi:10.4324/9780203969502

Cited by 34 publications

(2 citation statements)

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“…Alexander, Feldenkrais, Body-Mind Centring) and dance training (Fortin et al 2002, Jackson 2005. Application of somatics to contemporary dance training has been said to facilitate re-patterning and dynamic bodily awareness specific to one's own way of moving, using distinct exercises, verbal cues, and tactile feedback in contrast to instigating change via feedback from an externalised image (Fortin et al 2002, Claid 2006. Internalised metaphoric imagery is sometimes used in lieu of an external image.…”

Section: Dys-function Of Dancer-mirror Feedback Loopmentioning

confidence: 99%

Reflections on reflections: mirror use in a university dance training environment

Ehrenberg¹

2010

Theatre, Dance and Performance Training

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This article explores aspects of the dancer-mirror relationship from the dancer's perspective and examines the various ways the mirror may impact on dancers' experiences in particular training environments. The essay foregrounds a small group of female university dance degree students' own words about training with and without mirrors in contemporary dance technique classes and considers their descriptions alongside the existing literature. Ethnographic-style interviews with six dancers were conducted and key themes which emerged upon analysis inform the essay. Although contemporary dance is the focus, content is applicable to other Western theatre dance styles and training environments.

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