Symposium 13: Body, experience and subjectivity -- the aesthetic dimension in movement: Towards a deeper understanding of the language of the body and the psychology of movements based on the international dance therapy form

2003 ◽  
Author(s):  
Helle Winther
Author(s):  
Yogita Mandlik (Gadikar)

Dance is the aesthetic language of organs and expressions. The dance expresses Karan, Angahar, Bhava, Vibhav, Anubhav and Rasas. Therefore, dance opens up a door to balanced delivery and development of organs and emotions, which gives satisfaction to the heart and mental conditions. The composition of Kathak dance makes the body a powerful powerful coordinated body and mental level and helps in providing spiritual peace at the spiritual level. Dance is a medium through which emotional energy is carried from one place to another. Dance therapy Kandabam Jimanchal is based on this. It can be called an experiment of speed that not only keeps us physically healthy, but also makes us mentally strong. Dance contains such elements by which the treatment of various diseases is possible. नृत्य अंगो व भावों की सौन्दर्यमयी भाषा हैं। नृत्य में करण, अंगहार, भाव, विभाव, अनुभाव और रसों की अभिव्यक्ति की जाती हैं। अतएव नृत्य द्वारा अंगो व भावों के संतुलित प्रसव और विकास का एक द्वार जैसा खुल जाता है, जो ह्दय और मानसिक स्थितियों को तृप्ति प्रदान करता है। कथक नृत्य की रचना देह को शारीरिक व मानसिक स्तर का समन्वित शक्तिशाली पुंज बना देती हैं और आध्यात्मिक स्तर पर आत्मिक शांति प्रदान करने में सहायक सिद्ध होती है। नृत्य एक ऐसा माध्यम है जिसके जरिए भावनात्मक ऊर्जा को एक जगह से दूसरी जगह ले जाया जाता हैं। नृत्य चिकित्सा क्ंदबम ज्ीमतंचल इसी पर आधारित है। इसे गति का एक ऐसा प्रयोग कह सकते है जो न सिर्फ हमंे शारीरिक रूप से स्वस्थ रहता है, बल्कि हमे मानसिक रूप से भी मजबुत बनाता है। नृत्य मंे ऐसे तत्व निहित होते है जिनके द्वारा विभिन्न रोगों की चिकित्सा संभव है।


Author(s):  
Barbara Gail Montero

Although great art frequently revers the body, bodily experience itself is traditionally excluded from the aesthetic realm. This tradition, however, is in tension with the experience of expert dancers who find intense aesthetic pleasure in the experience of their own bodily movements. How to resolve this tension is the goal of this chapter. More specifically, in contrast to the traditional view that denigrates the bodily even while elevating the body, I aim to make sense of dancers’ embodied aesthetic experience of their own movements, as well as observers’ embodied aesthetic experience of seeing bodies move.


Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.


2006 ◽  
Vol 5 (4) ◽  
pp. 74-82
Author(s):  
Ye. I. Kirilenko

In the modern science, the body is an object of interest not only to the natural science and medicine, but also the humanities. Of special interest, in particular, for the medical discourse, is the ethnic body experience. The paper reveals features of the body experience in the east-slavonic culture from the analysis of the mythological tradition. This experience is characterized by the pronounced interest and ambivalent attitude to the body’s life, natural body standards; and emotional intensity. The experience of the social body is of highest priority in the culture.


2021 ◽  
Author(s):  
◽  
Catherine Falconer-Gray

<p>In 1844, George French Angas, the English traveller, artist, natural historian and ethnographer spent four months travelling in New Zealand. He sought out and met many of the most influential Maori leaders of the time, sketching and recording his observations as he went. His stated intention was to provide a ‘more correct idea’ of New Zealand and the New Zealanders. In Australia and then Britain he held exhibitions of his work and in 1847 he published two works based on this time in New Zealand: a large volume of full-colour lithographs, The New Zealanders Illustrated and a travel narrative based on his journal, Savage Life and Scenes in Australia and New Zealand. These exhibitions and publications comprised the nineteenth century’s largest collection of works about Maori and Maori culture. This thesis is a study of the ‘more correct idea’ that Angas sought to provide: his creation of colonial knowledge about Maori. Angas is most commonly described in New Zealand as being an unremarkable artist but as providing a window onto New Zealand in the 1840s. This thesis opens the window wider by looking at Angas’s works as a record of a cultural encounter and the formation of a colonial identity. The works were shaped by numerous ideological and intellectual currents from Britain and the empire, including humanitarianism and the aesthetic of the picturesque. Ideas about gender and the body form a central part of the colonial knowledge created in Angas’s work. Particularly notable is what this thesis terms ‘sartorial colonisation’ – a process of colonisation through discourse and expectations around clothes. Angas also travelled and worked in a dynamic middle ground in New Zealand and Maori played a vital role in the creation of his works. Angas represented Maori in a sympathetic light in many ways. Ultimately however, he believed in the superiority of the British culture, to the detriment of creating colonial knowledge that placed Maori as equal partners in the recently signed Treaty of Waitangi. This thesis also examines the ways in which Angas’s body of work has been engaged with by the New Zealand public through to the present. As a study of the products of a British traveller who spent time in other parts of the empire as well as in New Zealand, this thesis contributes to histories of New Zealand, and British imperial and transcolonial history.</p>


Author(s):  
Alex C. Purves

This conclusion briefly restates the argument of the book and considers the broader implications of studying Homeric formularity and agency through embodied action. It places in juxtaposition the kinetic reflexes of the hero and the aesthetic reflexes of the poet, in an attempt to open up new ways of reading literature through and within the body. The result is a book that thinks in new terms about epic repetition and the actions of Homeric characters within the constraints of oral poetry. I end the conclusion by suggesting that gesture’s quiet capacity to act on its own accord and to exhibit its own form of autonomy leads to novel possibilities for our consideration of Homeric character and agency.


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