Psychoemotional motivation of motor act development (pilot study)

BACKGROUND: In clinical practice, video motion analysis is widely used. It is known that such a higher mental function as creative thinking manifests itself in the motor activity of the body, as a result of which the movement becomes expressive. Since the quality of the images presented affects the organization of movement, it is presumably possible to characterize this psychosomatic connection through an assessment of the expressiveness of movement. AIMS: fixation in graphic and digital format of expressive movement, as well as the identification of spatio-temporal criteria for the quantitative assessment of expressiveness. MATERIAL AND METHODS: The experiment involved 3 healthy volunteers with different levels of acting training. The structure of expressive movement was presented in a graphic and digital format, which made it possible to calculate spatio-temporal indicators and give an objective quantitative assessment of the quality of expressiveness of movements of the participants in the experiment. RESULTS: It has been established that expressive movements arise with the integration of the following components: motor abilities and motor experience, movement image, plastically expressive structure of movement construction. In addition, expressive movements affect deep psychological functions: imagination, creative thinking, emotional control, etc. CONCLUSION: The inclusion in the course of medical rehabilitation of patients with various pathologies of the direction of ergotherapy, based on the analysis and assessment of the expressiveness of movement, will contribute to the complex restoration of the connection between consciousness and movement, correction of psychosomatic deviations, the expansion of movement patterns, improvement of body feeling and movement control.

Ser e estar criança em um grupo terapêutico a partir do movimento vital expressivo (MVE): um relato de experiência/Being a child in a therapeutic group as of the vital expressive movement (vem): an experience report

Contextualização: Atualmente, há uma demanda significativa de encaminhamentos médicos aos serviços terapêuticos quanto às hipóteses diagnósticas de crianças com Transtorno do Déficit de Atenção com Hiperatividade (TDAH). Contudo, identificam-se outros vislumbres de compreensão e cuidado à infância. Processo de intervenção: Assim, este artigo busca descrever e analisar a prática da terapia ocupacional em um grupo de Movimento Vital Expressivo, com crianças, em um dispositivo de cuidado no interior de São Paulo. Síntese das considerações: A partir da descrição dos encontros realizados, à luz do Sistema Rio Aberto e do arcabouço teórico da Terapia Ocupacional, considera-se que práticas de cuidado que respeitam as formas de ser e fazer das crianças corroboram na construção de possibilidades de produção de vida.Palavras-chave: Terpia Ocupacional. Saúde Mental. Criança aAbstract Contextualization: Currently, there is a significant demand for medical referrals to therapeutic services regarding the diagnostic hypotheses of children with Attention Deficit Hyperactivity Disorder (ADHD). However, other glimpses of understanding and care for children are identified. Intervention/Follow-up process: Thus, this article seeks to describe and analyze the practice of occupational therapy in a group of Vital Expressive Movement with children in a care device in the interior of São Paulo. Synthesis of Consideration: Based on the description of the meetings held in the light of the Río Abierto System and the theoretical framework of occupational therapy, it is considered that experiences like this corroborate the construction of practices that respect the ways of being and doing of children..Keywords: Occupational Therapy. Mental Health. Child ResumenContextualización: Actualmente, existe una importante demanda de derivaciones médicas a servicios terapéuticos en relación con las hipótesis diagnósticas de los niños con trastorno por déficit de atención e hiperactividad (TDAH). Sin embargo, se identifican otros destellos de comprensión y cuidado de los niños. Intervención / Proceso de seguimiento: Así, este artículo busca describir y analizar la práctica de la terapia ocupacional en un grupo de Movimiento Expresivo Vital con niños en un dispositivo de cuidado en el interior de São Paulo. Síntese de consideraciones: A partir de la descripción de los encuentros realizados a la luz del Sistema Río Abierto y el marco teórico de la terapia ocupacional, se considera que experiencias como esta corroboran la construcción de prácticas que respetan las formas de ser y hacer de los niños.Palabras clave: Terapia Ocupacional. Salud Mental. Niño

EXPRESSIVE MOVEMENT & CREATIVE DANCE PRACTICE IN TIMES OF QUARANTINE: THE #VIDLOP MOVEMENT

A situação causada pela nova doença do coronavírus afetou a educação em todo o mundo, sendo urgente a aplicação de programas que promovam a atividade física em casa e o uso responsável de dispositivos conectados à internet. O presente trabalho apresenta uma proposta didática de Expressão Corporal (EC) para a sua prática desde casa, adaptável a diferentes níveis educacionais, e útil também como uma valiosa experiência educacional on-line ou presencial mesmo quando a crise do coronavírus acabe. Esta proposta baseia-se na Análise Laban de Movimento, no Teatro do Oprimido e no Lipdub. Procura desenvolver a linguagem corporal artística própria, a inteligência emocional, comportamentos saudáveis de atividade física e a consciência social dos alunos; e promover a criação de um novo movimento social (#VIDLOP), usando a arte e a mídia popular como canais democráticos e de poder para construir um mundo melhor. Em conclusão, esta pode ser uma proposta promissora para o desenvolvimento da EC e da consciência humana em cenários desafiadores e em diferentes ambientes educacionais.

Listeners’ Perceptions of Choral Performances With Static and Expressive Movement

We examined how movement impacted listeners’ perceptions of choral performances. Participants ( N = 115; n = 60 nonmusic majors, n = 55 music majors) viewed excerpts of Moses Hogan’s “Didn’t My Lord Deliver Daniel” under four conditions: good tone/expressive movement (GT/EM), good tone/static movement (GT/SM), poor tone/expressive movement (PT/EM), and poor tone/static movement (PT/SM). They rated tone quality and overall expressivity for each excerpt. We found a significant multivariate main effect for the examples. For both tone quality and expressivity, participants rated the examples in the following order from highest to lowest: GT/EM, GT/SM, PT/SM, and PT/EM. There was a significant interaction between the examples and participants’ major. Music majors rated the GT/EM example higher than the nonmusic majors but rated the other three examples lower than the nonmajors. Expressive movement seemed to enhance ratings of expressivity when performed with good tone but detracted when the tone was poor. In written responses, majors distinguished between expressive movement and tone consistently, while nonmajors could not consistently separate what they were seeing from what they were hearing.

Developing movement experiences with refugees to the United States who have undergone trauma

Purpose The purpose of this study is to investigate what resources recent refugees to the USA tap into and how collaborative expressive movements were experienced with regard to coping and resourcing, and to derive a theoretical model that would inform the use of dance/movement therapy and other holistic treatment modalities with refugees. Design/methodology/approach A total of 13 refugees overall participated in parts of this study. Ten of these refugees completed movement sessions and semi-structured in-person interviews. Constructivist grounded theory methods and descriptive statistics were used to analyze the data. Findings The findings suggest that refugees draw on a number of resources. The collaborative movement experiences seemed to have both a settling and mobilizing effect with the most important phenomenon of connection to the self or to another person. A grounded theory model, developed based on the findings, shows a dynamic interaction between the encountered categories. Research limitations/implications The findings are preliminary and not transferrable because of limited size and potential researcher bias. Practical implications The findings contribute to an understanding of the resettlement and acculturation phase of refugees with potential implications and suggestions for current clinical practices and health services. Originality/value This study was original in its focus on understanding the role and the potential of body and expressive movement among refugees who have experienced trauma. Adherence to transformative paradigm principles invited participants to become co-researchers.

CREATIVE INCLUSIVE PRACTICES OF SUBJECTIVITY FORMATION: AN APPROACH TO CONCEPTUAL SUBSTANTIATION

The article is based on the experience of searching for «roundabout ways» of development for persons with mental disabilities to be able to enter the culture (L.S. Vygotsky). We substantiate the possibility of developing creative inclusive practices that contribute to the formation of the subjectivity of persons with mental disorders where subjectivity is considered as the ability for conscious purposeful intentional activity in conjunction with the supporting processes of mastering cultural ways of human activity (bodily-affective self-regulation, experiencing oneself and others, symbolic practices of mastering the body and emotions, etc.). Inclusion is seen as the development of a common language and cultural forms of interaction in an inclusive group, and not as a simple declaration of equal rights to social inclusion. The approach to the conceptual substantiation of the applied creative inclusive practices is based on rethinking of the biosemiotic concept of Umwelt (J. von Uexküll) in the light of the concept of human as a being that creates the symbolic world of culture as a sphere of his life and lays the foundations of his cultural subjectivity, developing his abilities for expressive movement (E. Cassirer). As a result, Umwelt appears as not just the surrounding world, whose biological significance is predetermined by the specific activity of a living being, but as a symbolic world of cultural meanings set by the symbolic activity of a person (based on the development of his/her expressive movement) within a group of people united for creative communication, with an integrated theater studio serving as a model of this symbolic world. The development of creative inclusive practices is based on N.A. Bernstein’s theory of construction of movements as the basis for ‘substitute ontogenesis’ and the formation of their own subjectivity and cultural symbolism in persons with mental disorders already at the pre-expressive (J. Grotowsky, E. Barba) stage of training.

COMMUNICATION, CULTURE, DIFFERENTIATED SCHOOL EDUCATION AND ETHNOEDUCATION: INITIAL CONSIDERATIONS

This thematic dossier, part of the Observatório Journal, is one of the fruits of an expressive movement of researchers, teachers and students who assume with courage, ethics and deep respect, the approximation between scientific knowledge and the demands of indigenous peoples (indigenous, in this case Brazilian communities) and traditional communities (among them quilombola, generizeiras, riverside and caiçaras communities, people from terreiros, leaks, people from the bottom of pastures, communities from immigration processes, extractivists and pantaneiras), within the specificities of communication, culture and ethno-education.

Free dance as a cultural-historical practice of improvisation

Background. Plastic, expressive aspects of human behaviour remain underresearched by psychologists. The focus on practices of improvisation is determined by the fact that they show most vividly how expressive movement comes into being. Objective. The aim of the study is to provide psychological analysis of improvised dance action, to identify the conditions of its generation. The hypothesis put forward concerns the formation of overall personal attitude that makes one ready to perform expressive movement in the context of musical-motional improvisation. It seems probable that the principles of movement organisation within free dance practices concern the formation of attitude that lets one perceive spontaneous, involuntary impulses to movement, changes of tonus and breath. Design. The study is a piece of theoretic-psychological analysis of improvisation dance practice. In terms of methodological and theoretical basis the study relies on cultural-historical psychology and theory of action, as well as on N.A. Bernstein’s conception of movement building. There theories allow to reconstruct the conditions of expressive movement generation in the context of musical-motional improvisation. Results. The analysis performed has shown that the principles of movement organisation, the technical aspects of the practices studied are aimed at increasing the degree of freedom of movement. It allows to enhance the receptivity to spontaneous reactions and impulses and to widen the orientation within the context of musical-motional improvisation. It makes one move in a more meaningful way and to integrate the personality into improvisation. Conclusions. Alongside with the practices of structured dances and reproductive approaches to mastering expressive movement, there are cultural-historical practices of improvisation dances. The analysis of such practices allows to single out psychological conditions and and peculiarities of movement organisation that make one generate spontaneous actions, find and try new objectives, plastic forms. Generation of spontaneous movement and musical-plastic improvisation are possible due to tuning up the whole human personality. Openness as personal attitude has its meaningful as well as motional component.

Bewegungsszenarien der Ballettreform und des Literaturballetts (1760/ 1960)

This article explores the transmedial process of translation of words into movements and vice versa by analysing parallels and differences between movement scenarios and literary ballets created from the 1760s and the 1960s onwards. It introduces different forms of movement scenarios that precede or accompany the creation of literary ballets or contribute to their preservation – literary texts and libretti, notations, reviews and other written descriptions of the movements of a ballet. These movement scenarios and the choreographic »texts« of ballets allow us to study the ways works of literature have been transposed into movements since the eighteenth century. The article briefly compares two ballets created in Stuttgart in 1763 and 1978 respectively, Jean-Georges Noverre’s ‚Médée et Jason‘ and John Neumeier’s ‚Lady of the Camellias‘. Thus, it demonstrates that the task which eighteenth- century ballet masters set themselves for the first time – the transposition of complex literary sources into a wordless genre – was fully accomplished two hundred years later when a number of choreographers created expressive movement vocabularies that allowed them to represent and interpret the action of literary texts.