Conference Presentations by Monica Gillette
Dance for Empathy is a participatory lecture demonstration. It uses practical experience, as well... more Dance for Empathy is a participatory lecture demonstration. It uses practical experience, as well as philosophies of embodied cognition, dance and phenomenology, in order to exemplify, analyze, and argue for the physical and the mental acts of understanding through dance.
In recent years, varied domains, such as neuroscience, philosophy, psychotherapy, and so forth, have started to research the wisdom within dancing. Dancing has become the paradigm for comprehending the interrelation between movement, thought, and subjectivity. This lecture demonstration both reflects and embodies the rationality behind this trend.
The lecture-demonstration starts with a physical practice, which was developed in Störung-Hafra’a; a German-Israeli project on movement and movement disorder with dancers, scientists, and people with Parkinson’s. The practice is directed to people without Parkinson’s, in order to comprehend, physically as well as mentally, the experience of it.
Dance for Empathy is neither directed for dancers nor aims to teach dance. Nevertheless, it uses a dance practice as a field of knowledge. Following a choreographic approach, the dance practice used is a movement score where the movement disorder within Parkinson’s is analyzed into four stages of disruptions, becoming the guidance into new experience and knowledge.
Dance for Empathy is movement research, and therefore it uses two important characteristics within dancing: it is physical and reflective at the same time. First, the experience of movement allows the participants to experience the disorder in a first person perspective. Second, the score demands the participants to intend and therefore to contemplate their doing. These features, we will argue, assist to develop empathy and embodied understanding and indicate aesthetic and phenomenological modes of research.
The lecture-demonstration will contemplate the practice from both its experience and philosophical elaborations of it. It will outline the aesthetic features of dancing, will analyze the perceptual endeavor within, and will argue for the productivity of dance as an embodied practice of understanding.
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Conference Presentations by Monica Gillette
In recent years, varied domains, such as neuroscience, philosophy, psychotherapy, and so forth, have started to research the wisdom within dancing. Dancing has become the paradigm for comprehending the interrelation between movement, thought, and subjectivity. This lecture demonstration both reflects and embodies the rationality behind this trend.
The lecture-demonstration starts with a physical practice, which was developed in Störung-Hafra’a; a German-Israeli project on movement and movement disorder with dancers, scientists, and people with Parkinson’s. The practice is directed to people without Parkinson’s, in order to comprehend, physically as well as mentally, the experience of it.
Dance for Empathy is neither directed for dancers nor aims to teach dance. Nevertheless, it uses a dance practice as a field of knowledge. Following a choreographic approach, the dance practice used is a movement score where the movement disorder within Parkinson’s is analyzed into four stages of disruptions, becoming the guidance into new experience and knowledge.
Dance for Empathy is movement research, and therefore it uses two important characteristics within dancing: it is physical and reflective at the same time. First, the experience of movement allows the participants to experience the disorder in a first person perspective. Second, the score demands the participants to intend and therefore to contemplate their doing. These features, we will argue, assist to develop empathy and embodied understanding and indicate aesthetic and phenomenological modes of research.
The lecture-demonstration will contemplate the practice from both its experience and philosophical elaborations of it. It will outline the aesthetic features of dancing, will analyze the perceptual endeavor within, and will argue for the productivity of dance as an embodied practice of understanding.
In recent years, varied domains, such as neuroscience, philosophy, psychotherapy, and so forth, have started to research the wisdom within dancing. Dancing has become the paradigm for comprehending the interrelation between movement, thought, and subjectivity. This lecture demonstration both reflects and embodies the rationality behind this trend.
The lecture-demonstration starts with a physical practice, which was developed in Störung-Hafra’a; a German-Israeli project on movement and movement disorder with dancers, scientists, and people with Parkinson’s. The practice is directed to people without Parkinson’s, in order to comprehend, physically as well as mentally, the experience of it.
Dance for Empathy is neither directed for dancers nor aims to teach dance. Nevertheless, it uses a dance practice as a field of knowledge. Following a choreographic approach, the dance practice used is a movement score where the movement disorder within Parkinson’s is analyzed into four stages of disruptions, becoming the guidance into new experience and knowledge.
Dance for Empathy is movement research, and therefore it uses two important characteristics within dancing: it is physical and reflective at the same time. First, the experience of movement allows the participants to experience the disorder in a first person perspective. Second, the score demands the participants to intend and therefore to contemplate their doing. These features, we will argue, assist to develop empathy and embodied understanding and indicate aesthetic and phenomenological modes of research.
The lecture-demonstration will contemplate the practice from both its experience and philosophical elaborations of it. It will outline the aesthetic features of dancing, will analyze the perceptual endeavor within, and will argue for the productivity of dance as an embodied practice of understanding.