Body-listening framework: five components of somatic exploration for the dance technique class¶

Theory · All theories
Evidence · 3 claims (3 for) · 2 studies (1 design, 1 theoretical), q1 · 0 of 2 report an effect size · 3 claims rest on one study

Description¶

The article proposes a pedagogical framework for infusing a somatic, body-listening approach into the dance technique class. Body listening means attending closely to the processes, functions, needs, and intuitions of the body within dance. The author identifies "five categories or components of somatic exploration, or body listening": "(1) spatial-perceptual, (2) kinesthetic, (3) breath, (4) eco-somatic, and (5) creative." Together these categories help a teacher envision a somatic-based curriculum and plan lessons, and the approach "focuses more on discovery and less on imitation, pairing first-person experience with informed knowledge of the body."

Design Implications¶

Context¶

Requirements¶

• The framework is intended for infusion into a (most likely modern) dance technique class of any level, with the teacher adapting categories to their own expertise and perspective.
• Tactile feedback practices (e.g., a touch along a limb, contact on two body parts) to train perception of the correct feel of a movement.

Constraints¶

• The article presents it as "a guide rather than a codification," and notes the framework is distinct from codified somatic modalities such as Alexander Technique, Body-Mind Centering, and the Feldenkrais method, which require many hours of specialized study.
• The article notes this may be especially important when students are accustomed to using external sources as their only guide for rating progress.

Target Learners¶

• dance students from beginner to professional level
• dance technique students, especially those reliant on mirror and teacher feedback

Target Learning Objectives¶

• develop a sensitized, first-person awareness of bodily sensation during dance technique learning
• trust one's own choices, evaluations, and perceptions in learning movement

Claims¶

• Traditional dance class structure offers insufficient opportunity for students to develop a sensitized relationship with their body [+W]
• Somatically Informed Teachers Six Movement Awareness Strategies [+M]
• Returning to direct somatic experience can re-vision thinking and change perception (attributed to Reason) [+W]

Related Theories¶

Examples¶

• Use existing class combinations as springboards for creative self-listening studies
• Apply Sewell's five skills of ecological perception as eco-somatic listening activities
• Moving toward the touch: partnered touch-guided improvisation for spatial-perceptual listening
• Thread conscious breathing strategies through warm-up, center work, and class conclusion

Key Sources¶

• Enghauser, R. (2007). Developing Listening Bodies in the Dance Technique Class. JOPERD, 78(6). https://eric.ed.gov/?id=EJ795590. doi:10.1080/07303084.2007.10598039