Abstract
We have a complex inner speech, which works when we act. When we are saturated and totally involved, then our ‘ancient literacy’ takes over. Dance and Kinaesthetics enable us to access our fundamental (physical) memory, give us the ability to conceive kaleidoscopically and simultaneously, in addition to perceiving in chronological order. Movement in time is now, intrinsically of the present, totally focused and interactive rather than historical contemplation.
Dance (and Kinaesthetics) can empower individuals and communities … a force that can unite, uplift, teach, build, inspire and heal … the hidden language of the soul.
Martha Graham
Our voices belong first to our bodies, only secondly to our native language. We ‘voice’ our feelings before we have words to frame them in. As we acquire language, is it possible we lose our innate ability to ‘voice’ our deepest feelings? Before we learn to speak, time is seamless, no verbs and nouns but recognisable sensations — wordlessness means everything, is continuous1.
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Notes
Steinman, Louise (1995) The artist as storyteller in contemporary performance (Berkeley: North Atlantic Books) p. 107.
Moreno, Z., Blomkvist, L.D. and Rützel, T. (2000) Psychodrama, surplus reality and the art of healing (New York: Brunner—Routledge Taylor & Francis Group).
Lawson, Amy (2 October 2005) The Health Report p. 28, Sun-Herald (Sydney: Australia).
Pennebaker, J.W. (1997) Opening up: The healing power of expressing emotions (New York: Guilford Press).
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© 2007 Rob Allen and Nina Krebs
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Allen, R., Krebs, N. (2007). Dance and Kinaesthetics. In: Dramatic Psychological Storytelling. Palgrave Macmillan, London. https://doi.org/10.1057/9780230800557_10
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DOI: https://doi.org/10.1057/9780230800557_10
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-35303-3
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