1 - 6 of 6 Chapters
[This chapter sets the stage and situates the research in a series of historical, theoretical, and methodological perspectives within dance and dance studies, including related to the author’s own experiences in the field. The chapter provides an overview of the main subject area of the...
[This chapter primarily provides a chronological account of the evolving discourse regarding dancers’ embodied experience(s) and places the work within a spectrum of existing dance studies scholarship informing the research. It first addresses the polarisation of the kinaesthetic and the visual...
[This chapter delves into the first of three theme chapters, coming out of original fieldwork, principally ethnographic and phenomenologically-informed interviews with a small group of contemporary dancers and the particular type of kinaesthetic sensitivity, knowledge, and curiosity, what the...
[This chapter aims to contribute to understanding contemporary dance experience complexity by exploring how the kinaesthetic mode of attention relates to a set of cultural practices and values that seem particular to contemporary dance. Grounded in the premise that dance styles are social...
[The last of the three theme chapters focuses in on the ways contemporary dancers indicate and express intertwining and disruption between dancing kinaesthetic experiences and video self-image(s) recorded and viewed in the interviews, leading to a conceptual foregrounding of the imagination....
[The concluding chapter re-addresses the situatedness of the research and book overall and offers an opening-conclusion explicitly acknowledging some of the limitations of the research and yet also supports ending on an opening as an affirmative position: that no research is finished and fixed,...
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