Ways of Knowing in Dance and Art - Teatterikorkeakoulu

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Heel of the Anklebone and Heel of the Vertebra Connection Unable to see inside ourselves, we try to understand the functions of the body based on anatomical images. Anatomical pictures work as images while we examine how we move. When approached through imagery, studying a simple everyday movement, such as walking, can bring interesting outlooks on the more internal movements and processes of the body. For example, Barbara Clark presents the following walking exercise: “lengthening the heel of the ankle bone and connecting it simultaneously with the lengthening of the heel of the vertebra: see how the heel lengthens the vertebra and little by little the whole spine. Working with diff erent spots of the spine” (Clark 1975, lesson 2 and 10). During this exercise, one walks backwards focusing on shifting weight from the toes to the heel. Especially the thought of lengthening the heel of the anklebone towards the ground is concretely identifi able. The same idea can be applied to the heel of the vertebra in the spine and to the experience of the lengthening of the whole spine. 28 Focusing on weight shifting from one leg to the other leg. First I feel a little clumsy. My thighs hurt because of horrible muscle soreness; it is getting slightly better as I get warm. Diff erent weight shifts, side to side or into space following lines from the tailbone. Concentrated atmosphere, simple focus. After lying on the fl oor free movement. Good ideas. Nice freedom. Forgetting the tricky focus on detail. Trusting that I can do weight shifts; they serve me at any moment. (Nordeck 2007) We study the connection from the pelvis to the legs and simple weight change: how the pelvic curve moves, changes weight from one side to another. In my imagination, my pelvis drawing a curve downwards, there is depth and a plié. When again the pelvic curve is more horizontal, the curve is going up and is boosted from the ground. (Hanhineva 2007) We study balance by changing weight from one leg to another, walking backwards, eyes closed and again playing with images while improvising. It was also a powerful realization to discover the centre of balance, which was supported by walking backwards and the idea of the pelvic bridge connecting one leg to another. Also the idea of lengthening the heel as one steps on the fl oor and the softening and life of the soles of the feet helped me to fi nd balance. So did the idea of the direction of the backside of the body moving down and the front side moving in an upward direction. (Niva 2007)
The connection between the tailbone and the vertebrae feel powerful. In exploring them, tiny movements release the whole body and make the head and torso heavier allowing them to participate more in the motion, especially when improvising. (Hanhineva 2007) The most fragile thing is the person her- or himself, no matter what discourse the body is discussed from: as a living body or a material thing, as lived or experienced, tested or vulnerable. The person – you, me, he or she – from the cradle to the grave. What happens on the way should also rest in our own hands. This should happen in dance, as well, so that not everything is directed from the above or outside. A mutual point of departure: a shared way of working (means) and a common goal (dance piece) that gives possibilities for variation, which are realized, disclosed and apparent at the moment. Certainly, the choice of means has its signifi cance. Dance Macabre – Source of Inspiration My role in Totentanz . . . I am the empress. I play with death or is it death that plays with me? He swings up in the air, death pulls and goes through me. I rush around the room fi ghting for my life, then change roles and it is I who manipulates, brakes away and mocks the situation. (Sundberg 2007) My inspiration for choreographing Totentanz came from the painting Dance Macabre painted by Luebeck master painter, Bernt Notke (1430/40–1509) in 1463. The painting depicts a fi gure of death, a skeleton, dancing wildly with the pope, emperor, empress, cardinal as well as the king disregarding age, status or sex. The illustrated motif and, especially, the text that is on the bottom of the painting create a particular mode of being, an existential atmosphere for the dancers’ expression. This is exemplifi ed in the manner in which death addresses the empress or the cardinal: The Empress: I know Death means me. I have never known such terror before. I thought he was out of his mind, for I am young and I am the Empress, after all. I thought I wielded power, I never even guessed he was coming, or that anybody at all could touch me. O, let me live a little longer, I implore you! Death to the Empress and the Cardinal: Highborn Empress, it seems to me, my existence had slipped your mind. Please come here. The time is ripe. You hoped for an easy pardon no, no. Although you were so important, you would have to face the play like all the others. 29
Page 1 and 2: Ways of Knowing in Dance and Art Ed
Page 3: Contents Introduction 5 Riitta Pasa
Page 6 and 7: Isabel Marques (Caleidos Art and Te
Page 8 and 9: odily experiences in the workshop a
Page 11 and 12: Totentanz - A Strange Dance in Life
Page 13 and 14: should not instrumentalise the danc
Page 15 and 16: itself correctly and how its natura
Page 17 and 18: The Heuristic Method Through explor
Page 19 and 20: Totentanz - A Strange Dance in Life
Page 21 and 22: Developing kinesthetic sensitivity
Page 23 and 24: In this way it is easier to absorb
Page 25 and 26: The pelvic-bowl, back of the head,
Page 27: Totentanz - A Strange Dance in Life
Page 31 and 32: Based on the painting, the atmosphe
Page 33 and 34: and character. The movements came n
Page 35 and 36: spine, variety in dynamic quality w
Page 37 and 38: Student Observations on the Signifi
Page 39 and 40: In conclusion, I want to ask, if th
Page 41 and 42: Repercussions on a Dance-Making Pro
Page 43 and 44: was on 3.5.1996). Expecting that ou
Page 45 and 46: the golden section in my dance. In
Page 47 and 48: evident to recognise content in the
Page 49 and 50: solutions. “To fi nd something ne
Page 51 and 52: her own relationship to the music a
Page 53 and 54: now the music was creating atmosphe
Page 55 and 56: Endnotes: 1 Open-ended tasks are cr
Page 57 and 58: of my research. I am not therefore
Page 59 and 60: a history of bodily responses to su
Page 61 and 62: Cohen, too, who is looking at perce
Page 63 and 64: still another sense which is namele
Page 65 and 66: place and time. Damasio distinguish
Page 67 and 68: state, as I use the term, is compou
Page 69 and 70: and creative imagination in movemen
Page 71 and 72: the dialogue with one’s body are
Page 73 and 74: entwined: aff ects, emotions, sensa
Page 75 and 76: A dialogue with one’s own body is
Page 77 and 78: Green, Jill 2002. Foucault and the
Page 79 and 80:
Mind the Body Unearthing the Affi l
Page 81 and 82:
According to Rauhala the contents o
Page 83 and 84:
employed by a growing number of sch
Page 85 and 86:
sensations, that they are part of o
Page 87 and 88:
This cycle represents in itself som
Page 89 and 90:
and bodily orientation to and engag
Page 91 and 92:
Sensing The next topic, Emotions ta
Page 93 and 94:
lot about breath. Being attentive t
Page 95 and 96:
warmth. Simplicity . . . It also fe
Page 97 and 98:
practice or study of philosophy. Th
Page 99 and 100:
Maitland, Jeff rey 1995. Spacious B
Page 101 and 102:
made; many things keep their unique
Page 103 and 104:
I recognise this continuous play wi
Page 105 and 106:
I am being refl ected onto the plas
Page 107 and 108:
me; it hugs me and holds me; it kee
Page 109 and 110:
completely and to acknowledge the l
Page 111 and 112:
A Mono-Trilogy on a Spatial and Per
Page 113 and 114:
which this paper addresses our proc
Page 115 and 116:
They formed a refl ective mirror ag
Page 117 and 118:
are yet not grasped in a linguistic
Page 119 and 120:
Stories are more straightforward ac
Page 121 and 122:
frequency elements from each other,
Page 123 and 124:
course, as seasoned improvisers kno
Page 125 and 126:
diff erent elements to happen simul
Page 127 and 128:
fl oor I was dancing on with white
Page 129 and 130:
Endnotes: Toni has climbed to the t
Page 131 and 132:
Cooper Albright Ann 2003. Dwelling
Page 133 and 134:
Becoming an Active Agent in Dance a
Page 135 and 136:
for this study. Here are some of my
Page 137 and 138:
In the teacher-student relationship
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Why do I see, then, that dance has
Page 141 and 142:
Dancing Dialogues By focusing on th
Page 143 and 144:
Klemola, Timo 2004. Taidon fi losof
Page 145 and 146:
the notion that dance lessons shoul
Page 147 and 148:
nothing exceptionally “new”, bu
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of the multiple choices we have to
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● Connecting to the Body Traditio
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Notwithstanding, we should consider
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(2002) establishes between a critic
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Bruhns, Helo’sa and Gutierrez, Gu
Page 159 and 160:
The Ways of Knowing and the School
Page 161 and 162:
their concrete usefulness was quest
Page 163 and 164:
Arts in the Field of Sciences When
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for “realising one’s existence
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1991, 7-9) While the philosophical
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‘science subjects’ and consider
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subjects are subjects of the head w
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anthropology. What interests me in
Page 175 and 176:
documents from the planning phase o
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Finnish National Board of Education
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Authors Eeva Anttila (MA in Dance,
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Leena Rouhiainen (Doctor of Arts in
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