Creative motivation is considered in the context of personality structure and flourishing as an indicator of positive development. The aim of the present study is to explore the relationships in the field of creativity and creative motivation as factors for achieving psychological well-being and flourishing, as well as their presence within various psychological profiles. Hypotheses have been raised in order to measure the presence of creativity indicators within certain psychological types in relation to the level of creative motivation and flourishing. (...) The survey instruments used are: Myers Briggs Type Indicator, Torrance Creative motivation scale and Diener Flourishing Scale. The results presented are based on a pilot study conducted in Plovdiv. The sample includes people in early adulthood, authentic folklore dance performers. (shrink)

In Back to the Dance Itself, Sondra Fraleigh edits essays that illuminate how scholars apply a range of phenomenologies to explore questions of dance and the world; performing life and language; body and place; and self-knowing in performance. Some authors delve into theoretical perspectives, while others relate personal experiences and reflections that reveal fascinating insights arising from practice. Collectively, authors give particular consideration to the interactive lifeworld of making and doing that motivates performance. Their texts and photographs study (...) body and the environing world through points of convergence, as correlates in elemental and constant interchange modeled vividly in dance. Selected essays on eco-phenomenology and feminism extend this view to the importance of connections with, and caring for, all life. Contributors: Karen Barbour, Christine Bellerose, Robert Bingham, Kara Bond, Hillel Braude, Sondra Fraleigh, Kimerer LaMothe, Joanna McNamara, Vida Midgelow, Ami Shulman, and Amanda Williamson. (shrink)

Using a concept she calls authenticity maneuvering to explain how clubs, clubbers, and DJs navigate authenticity, branding, and commercialism, Danielle Hidalgo argues that the strategic use of a rave ethos bolsters acceptance in dance music spaces while also making commercial practices less visible or problematic.

I argue that core aspects of musical rhythm, especially "groove" and syncopation, can only be fully understood in the context of their origins in the participatory social experience of dance. Musical meter is first considered in the context of bodily movement. I then offer an interpretation of the pervasive but somewhat puzzling phenomenon of syncopation in terms of acoustic emphasis on certain offbeat components of the accompanying dance style. The reasons for the historical tendency of many musical (...) styles to divorce themselves from their dance-based roots are also briefly considered. To the extent that musical rhythms only make sense in the context of bodily movement, researchers interested in ecologically valid approaches to music cognition should make a more concerted effort to extend their analyses to dance, particularly if we hope to understand the cognitive constraints underlying rhythmic aspects of music like meter and groove. (shrink)

“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the (...) effects on the individual when the activity of “dancing” is enjoyedas a dancerwithindifferent dance domains(e.g.,professional/”high-art”type of dance,eroticdance,religiousdance,clubdancing,Dance Movement Therapy(DMT), and what is commonly known ashobby, recreationalorsocialdance), and (b) the effects on the individual within these different domains, as a dancer of thedifferent dance styles(solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body. (shrink)

The Narrow Evolutionary Psychology Movement represents itself as a major reorientation of the social/behavioral sciences, a group of sciences previously dominated by something called the ‘Standard Social Science Model’. Narrow Evolutionary Psychology alleges that the SSSM treated the mind, and particularly those aspects of the mind that exhibit cultural variation, as devoid of any marks of its evolutionary history. Adherents of Narrow Evolutionary Psychology often suggest that the SSSM owed more to ideology than to evidence. It was the (...) child of the 1960s, representing a politically motivated insistence on the possibility of changing social arrangements such as gender roles: " ‘Not so long ago jealousy was considered a pointless, archaic institution in need of reform. But like other denials of human nature from the 1960s, this bromide has not aged well.’ ) " This view of history does not ring true to those, like the authors, who have worked in traditions of evolutionary theorizing about the mind that have a continuous history through the 1960s and beyond: traditions such as evolutionary epistemology and psychoevolutionary research into emotion (Griffiths. (shrink)

The Afro-Latin dance known as ‘salsa’ is a fusion of multiple dances from West Africa, Muslim Spain, enslaved communities in the Caribbean, and the United States. In part due to its global origins, salsa was pivotal in the development of the Figuration philosophy of dance, and for ‘dancing with,’ the theoretical method for social justice derived therefrom. In the present article, I apply the completed theory Figuration exclusively to salsa for the first time, after situating the latter (...) in the dance studies literature. My first section explores Juliet McMains’ recent history, Spinning Mambo into Salsa, with an emphasis on the dynamics of class, race and sex therein. My second section explores a resonant Afro-Latin dance history, Marta E. Savigliano’s Tango and the Political Economy of Passion, where she deploys salsa’s sister-dance (tango) as a ‘counter-choreography’ to the choreography of postmodern neocolonialism. And my third section applies Figuration’s four central aspects of dance (or ‘Moves’) to salsa qua member of its ‘societal’ family of dance. In conclusion, through partnering with salsa, Figuration emerges as a member of its own ‘discursive’ family of dance, while salsa emerges as a gestural discourse capable of helping reconstruct a more socially-just world from the postmodern ruins of today. (shrink)

Background: There is a growing need to offer appropriate services to persons with mild cognitive impairment and dementia who are faced with depression and anxiety distresses beyond traditional pharmacological treatment. Dance-based interventions as multi-dimensional interventions address persons' physical, emotional, social, and spiritual aspects of well-being. However, no meta-analysis of randomized controlled treatment trials has examined the effectiveness of dance-based interventions on depression and anxiety among persons with MCI and dementia, and the results of RCTs are inconsistent. The (...) study aimed to examine the effectiveness of dance-based interventions on depression and anxiety among persons with MCI and dementia.Methods: A systematic review with meta-analysis was conducted. The inclusion criteria were: population: people of all ages with MCI and dementia; intervention: dance-based interventions; control group: no treatment, usual care, or waiting list group; outcome: depression and anxiety; study design: published or unpublished RCTs. Seven electronic databases were searched from 1970 to March 2021. Grey literature and reference lists from relevant articles were also searched and reviewed. The Cochrane “Risk of Bias” tool was used to assess study quality. RevMan 5.4 was used for meta-analysis and heterogeneity was investigated by subgroup and sensitivity analysis. GRADE was applied to assess the evidence quality of depression and anxiety outcomes.Results: Five randomized controlled trials were identified. Sample sizes ranged from 21 to 204. The risk of bias was low, except for being rated as high or unclear for most included studies in two domains: allocation concealment, blinding participants and personnel. Meta-analysis of depression outcome showed no heterogeneity, indicating that the variation in study outcomes did not influence the interpretation of results. There were significant differences in decreasing depression in favor of dance-based interventions compared with controls [SMD = −0.42, 95% CI, p < 0.0001] with a small effect size ; Compared with the post-intervention data, the follow-up data indicated diminishing effects. Dance-based interventions were more effective in reducing depression for persons with dementia than with those having MCI, and were more effective with the delivery frequency of 1 h twice a week than 35 min 2–3 times a week. Also, one included RCT study showed no significant benefit on anxiety rating scores, which demonstrated small effect sizes at 6 weeks and 12 weeks. GRADE analysis indicated the evidence quality of depression was moderate, and the evidence quality of anxiety was low.Conclusions: Dance-based interventions are beneficial to alleviate depression among persons with MCI and dementia. More trials of high quality, large sample sizes are needed to gain more profound insight into dance-based interventions, such as their effects of alleviating anxiety, and the best approaches to perform dance-based interventions. (shrink)

This essay is part of a larger project in which I construct a new, historically-informed, social justice-centered philosophy of dance, centered on four central phenomenological constructs, or “Moves.” This essay in particular is about the fourth Move, “resilience.” More specifically, I explore how Judith Butler engages with the etymological aspects of this word, suggesting that resilience involves a productive form of madness and a healthy form of compulsion, respectively. I then conclude by showing how “resilience” can be used (...) in the analysis of various Wittgensteinian “families” of dance, which in turn could facilitate positive educational changes in philosophy, dance and society, with particular efficacy on the axis of gender. In brief, by teaching a conception of strength as vulnerability (instead of machismo’s view of strength as apathetic “toughness”), a pedagogy of dancing resilience provides additional support for feminists (including Anzaldúa, Haraway, Butler and Concepción) who advocate a cautious openness toward seemingly-unlikely resources and allies (including analytic methodologies, Machiavellian politics, and the discourses of the natural sciences). (shrink)

The upshot of this article is that dance functions in Irigaray’s work in the following three ways: as (1) a symbol of a more positive comportment for heterosexual relationships; (2) an indication that the ambivalence in Irigaray’s work is self-consciously strategic; and (3) an example that teases apart the concepts of negative and positive mimesis, specifically by fleshing out the latter. More concisely, dance constitutes a figure of positive ambivalence (whether between heterosexual lovers, participants in a philosophical dialogue, (...) or aspects of a concept) as self-mimetic, curved silvering in the pursuit of social justice. (shrink)

This paper delves into the philosophical and ethical foundations of dance education, guided by the principles of dialogical philosophy. It explores the intersection of moral, aesthetic, and professional education in dance through the lenses of existential meaning and modes of existence. By examining fundamental questions such as "What constitutes a person?", "What is the nature of relationships among individuals?", and "How should individuals exist within society?", the study articulates a philosophical framework for dance education that emphasizes spiritual (...) and ethical development alongside technical training. The core philosophical principles identified for guiding dance education include the "love of life," which advocates for respecting human nature and fostering the sound development of one's personality; "educational love," which supports the holistic development of individuals, enhancing their personal and social capabilities; and "love of equality," which promotes egalitarian and harmonious relationships among individuals. These principles are rooted in both ethical imperatives and spiritual ideals, reflecting a deep engagement with dialogical philosophy that emphasizes the relational and communal aspects of human existence. The logical framework for choosing aspects of moral, aesthetic, and professional education in dance is thus structured around three main tenets: respecting human nature to nurture a healthy personality, fostering respect to enhance interpersonal harmony, and building upon a foundation of equality to advance communal well-being. These choices are not only pedagogical but also deeply philosophical, engaging with questions of how dance as an art form can contribute to the moral and spiritual growth of individuals and communities. This exploration situates dance education within a broader philosophical discourse, suggesting that dance, much like religious practices, involves a profound exploration of the human condition. It argues that dance education should transcend technical skill to incorporate a richer, more ethically and spiritually informed curriculum that prepares students not only as dancers but also as morally and spiritually aware individuals. (shrink)

The Narrow Evolutionary Psychology Movement represents itself as a major reorientation of the social/behavioral sciences, a group of sciences previously dominated by something called the ‘Standard Social Science Model’ (SSSM; Cosmides, Tooby, and Barkow, 1992). Narrow Evolutionary Psychology alleges that the SSSM treated the mind, and particularly those aspects of the mind that exhibit cultural variation, as devoid of any marks of its evolutionary history. Adherents of Narrow Evolutionary Psychology often suggest that the SSSM owed more to ideology (...) than to evidence. It was the child of the 1960s, representing a politically motivated insistence on the possibility of changing social arrangements such as gender roles: ‘Not so long ago jealousy was considered a pointless, archaic institution in need of reform. But like other denials of human nature from the 1960s, this bromide has not aged well.’ (Stephen Pinker, endorsement for Buss, 2000)) This view of history does not ring true to those, like the authors, who have worked in traditions of evolutionary theorizing about the mind that have a continuous history through the 1960s and beyond: traditions such as evolutionary epistemology (Stotz, 1996; Callebaut and Stotz, 1998) and psychoevolutionary research into emotion (Griffiths. (shrink)

Telling stories about our experiences in dance brings to light unconscious knowledge and memories of the past and helps us understand our own decisions and practices. Reflexivity and story telling is central in the process of remembering and embodies some of the key aspects of autoethnography as a research tool. We are directed to examine and reflect on our experiences, analyzing goals and intentions, making connections between happenings and recounting each single experience. Dance has the potential for positive (...) impact on both physical and mental health among professional dancers as well as among dance students and has the power to connect them to culture and community in unique and important ways. Research has provided evidence that arts engagement provides positive forms of social inclusion, opportunities to share arts, culture, language, and values and points to the value of the arts in the prevention and amelioration of health problems. Together with those benefits of a dance experience there is clear evidence of what can be learned in, through and about dance. In this time of the Covid-19 pandemic it seemed more relevant and poignant to examine our own experiences in dance as well as those experiences of others that have influenced our lives. (shrink)

Today, in a post-pandemic space, all types of art, comprehending, due to their figurative specificity, certain spheres of objective reality, already as a result of this, circumstances have their own, only inherent laws. Using the inexhaustible possibilities of the plasticity of the human body, choreography has refined and developed expressive dance movements for many centuries. As a result of this complex process, a system of choreographic movements arose, that is, a special artistic and expressive speech of plastics, constitutes the (...) creative material of dance imagery. Choreographic art includes various types of arts: music, choreography itself, drama, painting. Each of them, changing in accordance with the requirements of this type of art, becomes a necessary component of choreographic figurative thinking. Each type of art is achieved thanks to its own figurative specificity, patterns and certain pictorial and expressive means. Choreographic activity dictates its own laws of reflection of reality, is based not on the correspondence of life and artistic material, but on the degree of devotion to the metaphorical reflection of life. A comprehensive study of social constituting dance art in today's post-pandemic space is a complex and versatile task, it mainly involves the study of all its components. Moreover, each of them should be considered not in isolation, but in the general system of their internal connections - in the aspect of their rhythmic and metric, that is, motor organization. (shrink)

Body movement is a primary nonverbal communication channel in humans. Coordinated social behaviors, such as dancing together, encourage multifarious rhythmic and interpersonally coupled movements from which observers can extract socially and contextually relevant information. The investigation of relations between visual social perception and kinematic motor coupling is important for social cognition. Perceived coupling of dyads spontaneously dancing to pop music has been shown to be highly driven by the degree of frontal orientation between dancers. The perceptual salience (...) of other aspects, including postural congruence, movement frequencies, time‐delayed relations, and horizontal mirroring remains, however, uncertain. In a motion capture study, 90 participant dyads moved freely to 16 musical excerpts from eight musical genres, while their movements were recorded using optical motion capture. A total from 128 recordings from 8 dyads maximally facing each other were selected to generate silent 8‐s animations. Three kinematic features describing simultaneous and sequential full body coupling were extracted from the dyads. In an online experiment, the animations were presented to 432 observers, who were asked to rate perceived similarity and interaction between dancers. We found dyadic kinematic coupling estimates to be higher than those obtained from surrogate estimates, providing evidence for a social dimension of entrainment in dance. Further, we observed links between perceived similarity and coupling of both slower simultaneous horizontal gestures and posture bounding volumes. Perceived interaction, on the other hand, was more related to coupling of faster simultaneous gestures and to sequential coupling. Also, dyads who were perceived as more coupled tended to mirror their pair's movements. (shrink)

In this article I explore the place of movement, particularly dance, in understanding and communication of the lived experience. I look at the gap between corporeal sensation and the communication of that knowledge into wider social contexts. Drawing on narratives gathered from four case studies in British schools, I look at dance as a mode of language that can offer a methodological approach to understanding the lived experience. I take the pragmatist starting point of embodiment to argue (...) that the immediacy of empirical experience is limited by the use of verbal languages alone to organize meaning-making. I suggest that ideas are three-dimensional, having aspects that are revealed by the attributes of different languages but are not limited to the language through which they are communicated. Therefore a network of languages, including movement languages, can create a web of understanding that addresses the deficits of each single language within that web. I suggest that a focus on just one mode of language to communicate ideas could result in a loss of engagement with the full potential of an idea. I suggest that different languages have a rhizomatic relationship each having equal potential to add to the quality and ‘thickness’ of communication of the multi-layered experience of embodiment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Finding a Pedagogical Framework for Dialogue about Nudity and Dance ArtSuzanne Jaeger (bio)"Nudity is like calling something 'Free Beer.' I always threaten to make people do stuff naked, and I'm all for it, but to me, it's usually more trouble than it's worth. If something is swinging around, that's all anybody looks at."—Mark Morris, choreographerIntroductionIn his article on nudity in theatre dance, philosopher Francis Sparshott observes that (...) because we live in a culture in which, for the most part, we remain clothed when in public, we wonder why the dancers in a particular performance of theatre dance are undressed.1 It can be at least a little shocking and often distracting. There are, of course, times when people are naked in public, for example, when seeing a physician, on a nude beach, when using a public change room, or when engaged in a sexual encounter. For the most part, however, we wear clothes in most social contexts. Even if we allow that performances are extraordinary public situations dissimilar from everyday social interactions, because nudity is not the usual condition even for theater dance, we may well wonder why a choreographer has chosen to have the dancers undressed. In other words, the question is fair enough.Certainly, creating some sense of shock or surprise in the audience is often what artists are seeking. Furthermore, they may also be playing on their own, the audience's, or their dancers' exhibitionism. These are all possible aspects of the experience of seeing theater dancers naked on stage. Exhibitionism is itself an interesting aesthetic value, about which much could be said. Exhibitionism is also, at times, tedious, such as when it comes as a [End Page 32] demand for attention that outweighs the interest that can be generated by what the exhibitionist is actually doing. We often expect artists to show us something that goes beyond them—something that focuses our attention and interests away from the artist and onto the work of art.In the following discussion I assume that choreographers sometimes choose to present their dancers undressed because they believe it contributes to the meanings of the dance as a work of art. It is this idea that nudity can be artistically meaningful that I wish to explore. If nudity is not used solely for commercial appeal, shock value, or exhibitionism but rather to contribute to meanings evoked by the dance as an artwork, what more can be said about how the audience has access to these meanings?I begin by defining "art dance" in relation to other kinds of dance practices and then consider a distinction between nudity and nakedness raised first by Kenneth Clark and John Berger in their analyses of meaning in oil paintings and other visual representations of the human form.2 I then introduce two ideas commonly discussed in some canonical literature in the philosophy of art: first, the claim that works of art express feelings; and second, the concept of form as it is used when talking about works of art. Although the discourses of philosophical aesthetics have since moved in new directions, and the notions of expression and aesthetic form are no longer central to the problems of the day, I return to these seminal ideas because they add to our understanding of how nudity can contribute meaning to a work of art dance.I also assume in the discussion that the success of using nudity in a dance work can only be judged on a case-by-case basis. The analyses of feeling and form are meant to provide a pedagogical framework for dialogue with students about the role of nudity in the aesthetics of art dance. The examples serve as illustrations of how one might interpret meanings in particular dance works that use nudity. The educational objective of my interpretations is to promote by example the capacity of art dance observers for experiencing, understanding, and becoming meaningfully involved with works of art dance that use nudity.Part One: Definition of Art DanceWhat I have to say about nudity is said with art or theater dance in mind rather than other forms of dance. This... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics, Education, and the Art of DancePeter J. Arnold (bio)This essay has two related purposes. The first is to explicate what dance as an art form should minimally comprise if it is to be taught as a distinctive aspect of education in the school curriculum. The second and main purpose is to argue that dance, if taught in accordance with what is outlined, is not only an (...) efficacious means in the development, understanding and promotion of somaesthetics, a new term in aesthetic theory, but an example of itsvery embodiment. Put differently it will be upheld that the practice of danceis not only an excellent vehicle in the promotion of somaesthetics but a paradigm case of what it is.But what is somaesthetics? Briefly put, in common with the thinking of some noted philosophers in the past, it can be said that somaesthetics is as much concerned with the idea of being a person and living well as with the development of rational thought and the development of the intellect. It emphasizes, in particular, that the soma in the form of its physical skills, senses and pleasures plays no less a part in the living of a full life than conceptual understanding and the imaginative use of language.1 Richard Shusterman, upholding these sentiments, refers to somaesthetics asthe critical and meliorating study of the experience and use of one's body as a locus of sensory aesthetic appreciation and creative self-fashioning. It is....devoted to the knowledge, discourses, practices, and bodily disciplines that structure such somatic care or can improve it.2Although such values and concerns are known to many educationists, they are rarely acted upon or taught in a deliberate or systematic way. Even within the realms of dance and sport more could be done than is done somaesthetically to educate in the interests of what it is to be a whole person. [End Page 48]Before embarking on the task of exemplifying dance as a form of somaesthetics, it will be helpful first to say a little about education and the idea of dance as a valued human practice; and second, to say something about the aesthetic in relation to art.Education and the Art of Dance as a Valued Human PracticeWhat is clear about the idea of dance as an art form is that it is more than the human body making rhythmical and patterned movements in space. It can be more accurately described as a coherent and complex range of actions in which intentions are physically expressed in terms of a meaningful performance that is artistic in nature and not merely aesthetic in appeal.It is my view that these elements of what constitutes dance best come together and are most readily grasped when it is seen as a valued form of human practice. Following Alistair MacIntyre, I take the term "practice" to meanany coherent and complex form of socially established co-operative human activity through which goods internal to that activity are realized in the course of trying to achieve those standards of excellence which are appropriate to, and partially definitive of, that form of activity, with the result that human powers to achieve excellence and human conceptions of the ends and goods involved are systematically extended.3The idea of the arts as forms of practice is helpful in at least two important ways. First, it draws attention to the fact that an art, like medicine, the law, or sport, is a distinctive form of life with its own standards, values, and procedures. Second, it recognizes, in keeping with the idea of education, thatthe internal goods of an activity, like the art of dance, will enlighten and enlarge the powers of the participant. MacIntyre undoubtedly recognizes the connection between the idea of a practice and the concept of education when he observes the proper end of education isto help to discover activities whose ends are not outside themselves — The critical ability which ought to be the fruit of education serves nothing directly except itself, no one except those who exercise it — above all the task of education is to teach the value of activity for its own... (shrink)

The intelligibility of a performance of improvised dance does not reside in the rehearsed execution of a pre-existing script, nor does it result from a sustained verbal interaction between the dancers. Many aspects of the speechless performance obviously play an important role in the achieved intelligibility of the dance: a dancer is seen moving on and from a ground, on a stage, in a space delimited by walls, illuminated by spotlights, sounded by music, in front of an audience. (...) And of course with other dancers, whose joint gestures and moves give shape to a choreography by providing pace, rhythm and sequences, thereby constituting a narrative or fragments thereof. This paper addresses the manufacture of this witnessable order, by presenting some results of an ethnographic inquiry. The investigation will be focused on how, in an improvised duet, each dancer interacts with the other, and more specifically how she or he positions her- or himself in relation to the other, from distance to proximity and touch. This work of distance management is the dance, whose choreographic accountability is produced and structured by dancers staying at a distance, getting closer and touching each other. The analysis shows that distance management is oriented to as relevant by the dancers and that it has consequences on their improvised duet. It is also what makes their performance analyzable by distant observers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 54-63 [Access article in PDF] Movement Class as an Integrative Experience:Academic, Cognitive, and Social Effects Svetlana Nikitina I believe the benefits of this type of course reach beyond the obvious possibilities of professional and academic achievement. The degree of personal discovery, creativity, self-development and insight are immeasurable. I am particularly referring to my experience here at Harvard. Claire Mallardi, from course (...) syllabus Performing arts courses at research institutions such as Harvard University are often seen as extracurricular with only tangential or imperceptible effect on students' academic interests. Yet, when I interviewed biology, math, or neuroscience concentrators who took Claire Mallardi's Movement for Actors and Directors course at Harvard in the spring of 2000, most of them told me that it was one of the most meaningful experiences in their academic development, and, according to one psychology concentrator, "the best psychology course" she ever took. In spite of boundaries separating the arts courses from hard and soft sciences, in students' experience the connections run deep. What were those connections that students made from their dance class experience to their academic and social development? And, what in the teaching and nature of the course supported this highly integrative experience that allowed students to reach beyond mastering an artistic medium and become better learners in general? These were the two major questions that guided this study.Why am I interested in the integrative quality of arts education? I am highlighting the academic importance of performing arts programs to suggest to university administrators and instructors in other disciplines the "immeasurable" personal and academic value of such courses whose place is often seen as marginal. Perhaps also, pedagogy used for integration in this course into the academic fabric of the institution could provide models for other courses and curricula that are trying to be integrative or interdisciplinary in a more self-conscious way. And, there are more and more such [End Page 54] courses on every college campus these days. Moriel Blaisdell in Preparing Faculty for the New Conceptions of Scholarship for example, cites "integrative studies" programs among most important trends in higher education today with their goal "to synthesize, to look for new relationships between the parts and the whole, to relate the past and future to the present, and to ferret out patterns of meaning that cannot be seen through traditional disciplinary lenses." 1One of the most daring experiments in universities now, and the one to which the integrative dance course could speak directly, is interdisciplinary teaching in neuroscience, for example. Neuroscience proceeds from the belief in the inherent unity of mind and body and attempts to discover the nature of the relationship between them. In a different way and with a different goal than arts courses, neurosciences also try to cross the boundary of subjective and objective experience, mind and body, physical technique and personal interpretation, which are at the heart of teaching and learning in the performing arts. While not being prescriptive, I would like to suggest that perhaps close attention to the pedagogy and integrative experiences of students in the performing arts courses could provide some insights for pioneering bridge-making in other academic areas as well.I would like to propose that what lies at the core of integrative capacity of a performing arts course, like the one Claire Mallardi teaches at Harvard, is the inherent tendency of the arts to transcend the boundary of body with the mind, and to seek unity of self as both the subject and the object. In a dance, in the words of Margaret H'Doubler, the body is seen "as the outer aspect of personality, for it is the agent through which we receive impressions from the external world and by which we communicate our meaning." 2 This basic translation between body and mind, mental and physical, artistic and academic that went on in Mallardi's class, resulted in integrative and transformational experiences for her students. "I never until this class — comments one student — equated emotions with movement or... (shrink)

Proponents of enactivism should be interested in exploring what notion of action best captures the type of action-perception link that the view proposes, such that it covers all the aspects in which our doings constitute and are constituted by our perceiving. This article proposes and defends the thesis that the notion of sensorimotor dependencies is insufficient to account for the reality of human perception, and that the central enactive notion should be that of perceptual practices. Sensorimotor enactivism is insufficient because (...) it has no traction on socially dependent perceptions, which are essential to the role and significance of perception in our lives. Since the social dimension is a central desideratum in a theory of human perception, enactivism needs a notion that accounts for such an aspect. This article sketches the main features of the Wittgenstein-inspired notion of perceptual practices as the central notion to understand perception. Perception, I claim, is properly understood as woven into a type of social practices that includes food, dance, dress, music, etc. More specifically, perceptual practices are the enactment of culturally structured, normatively rich techniques of commerce of meaningful multi- and inter-modal perceptible material. I argue that perceptual practices explain three central features of socially dependent perception: attentional focus, aspects’ saliency, and modal-specific harmony-like relations. (shrink)

Diz o ditado que "quem não gosta de samba, bom sujeito não é: ou é ruim da cabeça ou doente do pé". Os filósofos tradicionalmente são doentes do pé e muitos deles certamente são ruins da cabeça. Isso parece tornar o tema desse livro pouco viável. Entretanto, tentamos mesmo assim. Afinal gente ruim da cabeça também é inconsequente. Na verdade, esse livro é a continuação do desejo compartilhado por seus diversos autores de aproximar a filosofia da cultura brasileira. E nada (...) melhor para tornar esse diálogo palpável do que o motivo fornecido pelo samba. Afinal, ele é uma de nossas manifestações nacionais mais típicas, difundidas e que tem sobrevivido a várias transformações ao longo do tempo. Através desse livro, esperamos ter nos tornado menos doentes do pé e menos ruins da cabeça -- apesar de quase todos gostarem de samba. (shrink)

Groove—defined as the pleasurable urge to move to a rhythm—depends on a fine-tuned interplay between predictability arising from repetitive rhythmic patterns, and surprise arising from rhythmic deviations, for example in the form of syncopation. The perfect balance between predictability and surprise is commonly found in rhythmic patterns with a moderate level of rhythmic complexity and represents the sweet spot of the groove experience. In contrast, rhythms with low or high complexity are usually associated with a weaker experience of groove because (...) they are too boring to be engaging or too complex to be interpreted, respectively. Consequently, the relationship between rhythmic complexity and groove experience can be described by an inverted U-shaped function. We interpret this inverted U shape in light of the theory of predictive processing and provide perspectives on how rhythmic complexity and groove can help us to understand the underlying neural mechanisms linking temporal predictions, movement, and reward. A better understanding of these mechanisms can guide future approaches to improve treatments for patients with motor impairments, such as Parkinson’s disease, and to investigate prosocial aspects of interpersonal interactions that feature music, such as dancing. Finally, we present some open questions and ideas for future research. (shrink)

This volume examines Gilles Deleuze's philosophy as it relates to the study of the physically active body. It explores theoretical and practical examples of how the physically active body can be examined as a material, social, political, and cultural entity using a Deleuzian perspective. Examining topics such as, the formation of thought within a capitalist system; sport, exercise, and dance as cultural arrangements; researching the physically active body from a Deleuzian perspective; and Deleuze on Foucault, this book shows (...) ways of investigating the moving body as an agent for initiating social change. This is fascinating reading for students and researchers working in the fields of the Sociology of Sport, Sport and Politics, and Sport and Social Theory. (shrink)

Our private perception of listening to an individualized playlist during a jog is very different from the interaction we might experience at a live concert. We do realize that music is not necessarily a performing art, such as dancing or theater, while our demands regarding musical performances are conflicting: We expect perfect sound quality and the thrill of the immediate. We want the artist to overwhelm us with her virtuosity and we want her to struggle, just like a human. We (...) want to engage with the musical expression and rely on visual and physical cues. Considering that the ears of today's listeners are used to technologically mediated music, in this paper I explore the unique qualities of musical live performances and examine if our conception allows for new mechatronic inventions, in particular robotic musicians, to participate in this art form. Some of Godlovitch's main thoughts expounded in his work on "musical performance" [11] serve as a reference and starting point for this investigation. His concept of `personalism', which deprives computer-/program-based musical performances from expressive potential and creative accomplishment is an issue that I want to challenge by pointing out new approaches arising from a reective discourse on technology, embodiment and expression. The enquiry conducted illustrates, how in reasoning about machine performers and algorithmic realization of music, we also examine the perceptual, physical and social aspects of human musicianship, reconceptualizing our understanding of a musical live performance. (shrink)

Pedagogy of Life takes its readers through the echoing stories of the half-century, historical Cultural Revolution of China to the literate lifeworld today. Rosa Hong Chen offers a gripping array of personal and kindred stories woven into the power of words and empathy of art through the volutes of writing and dancing for life, expressing genera of warm melancholy, weighty sensations, compulsive sobs, and refrained elation. It is for the existential history of individual lives and communal sharing that life creates (...) a pedagogical condition of possible experiences. Life itself forms a historical and social path of human growth and maturation. In a philosophical and educational autoethnographical inquiry, the author examines the nature of literacy for those marginalized and oppressed; Chen explores how one's name and the ways in which that name is used affect a person's self-knowing and knowing of the world. This book exemplifies the idea that individuals' autobiographical stories are importantly connected to wider cultural, political, and social meaning and understanding. Pedagogy of Life echoes readers' musings, affects, relations, imagination, choice, learning, teaching, and much more, because we, each and all, have our own names, ways of uttering, writing, and dancing, and, ultimately, our own ways of living, knowing, and becoming. (shrink)

Social Aspects of Ageing - Selected Challenges, Analyses, and Solutions, focuses on the key challenges underlined by the United Nations during the Decade of Healthy Ageing (2021-2030). The authors introduce studies in areas crucial for older people, their families, and communities, such as combatting ageism, age-friendly environments, and care provision. The volume also examines issues linked to the global, national, regional, and local implementation of age-specific and intergenerational solutions, initiatives, and programs towards achieving the United Nations Sustainable Development Goals (...) (SDGs). The collection contains chapters representing research and practical recommendations from various disciplines, such as critical studies, geographical gerontology, legal studies, public health, and sociology. This volume is an asset to academic and professional communities interested in theories of ageing as well as public services and ageing policies. In addition, the book aims to help students, practitioners, and people working in government, business, and nonprofit organizations. (shrink)

Reflections on Science, technology and nature - the pain of animals - genetics and society - our fragile democracy - dancing on racism's grave; The lesson of Japan - the prostitution of Academia - how educators have failed - the ecosystem as capital - the rape of the Amazon; The future; borrowing from the children - showdown in Brazil - Aboriginal people and the land; Acid rain - rain forests - deforestation - population.

"The main spine of this book stems from a comprehensive series of interviews with subjects recalling their experiences of 1930s cinemagoing. Your feel the breath of life in these spectators, a rarity in film studies, thanks to the painstaking work contracting the interview subjects and recording and tabulating their testimony."- JUMPCUT In the 1930s, Britain had the highest annual per capita cinema attendance in the world, far surpassing ballroom dancing as the nation's favorite pastime. It was, as historian A.J.P. Taylor (...) said, the "essential social habit of the age." And yet, although we know something about the demographics of British cinemagoers, we know almost nothing of their experience of film, how film affected them, how it fit into their daily lives, what role cinema played in the larger culture of the time, and in what ways cinemagoing shaped the generation that came of age in the 1930s. In Dreaming of Fred and Ginger , Annette Kuhn draws upon contemporary publications, extensive interviews with cinemagoers themselves, and readings of selected film, to produce a provocative and perspective-altering ethno-historical study. Taking cinemagoers' accounts of their own experiences as both "the engine and product of investigation," Kuhn enters imaginatively into the world of 1930s cinema culture and analyzes its place in popular memory. Among the topics she examines are the physical space of the cinemas; the role film played in growing up; the experience of being a member of a cinema audience; film-inspired fantasies of American life; the importance of cinema to adolescence in offering role models, ideals of romance, as well as practical opportunities for courtship; and the sheer pleasure of watching such film stars as Fred Astaire, Ginger Rogers, Nelson Eddy, Ronald Colman, and many others. Engagingly written and painstakingly researched, with contributions to film history, cultural studies, and social history, Dreaming of Fred and Ginger offers an illuminating account of a key moment in British cultural memory. (shrink)

En la actualidad Cuba desarrolla un Programa de Atención Integral al Paciente con Úlcera de Pie Diabético mediante el uso del Heberprot-P, esencial para disminuir la amputación y la discapacidad. El trabajo tiene el objetivo de realizar un diagnóstico sobre la aplicación del Heberprot-P en el Servicio de Angiología del Hospital Provincial Universitario Manuel Ascunce Domenech de Camagüey. Se realizaron encuestas a pacientes para identificar necesidades sentidas relacionadas con el tratamiento y para las actitudes manifiestas, y se hicieron entrevistas al (...) personal médico y de enfermería. El diagnóstico permitió corroborar la necesaria investigación con enfoque social del servicio de salud escogido a nivel territorial. Destaca elevar el trabajo de captación de pacientes desde el nivel primario de salud para garantizar un mayor alcance del programa, así como la trascendencia del apoyo familiar y la relación profesional de la salud- paciente a fin de lograr la calidad requerida. At present Cuba is developing a program concerning the care of patient with ulcer of the diabetes foot by means of Heberprot-P essential to reduce the amputation and disability. The aim of this paper is to carry out a diagnosis about social aspects of the application of the Heberprot-P in the Angiology service at Manuel Ascunce Domenech Hospital in Camaguey. Some surveys were carry out to identify certain needs related with the treatment and the attitude shown and on the other hand some interview were made to the medical and nursing staff. The diagnosis allowed to verify the need of the research with social approach. The paper highlight how to incorporate patients from the primary health level, in order this program has a higher scope and the importance of the family support and the professional relationship to accomplish the quality required. (shrink)

Tough Fronts takes the difficult issues in urban education head on by putting street-savvy students at the forefront of the discussion on how to best make successful changes for inner city schools. Individual chapters discuss scholarly depictions of black America, the social complexity of the teacher-student relationship, individual success stories of 'at-risk' programs, popular images of urban students, and implications for education policy. With close attention to the voices of individual students, this engaging book gives vitality and legitimacy to (...) arguments for school changes that have been lacking in previous discussions. (shrink)

As a continuation of this author’s previous cosmological neuroscience papers on the hypothesized Soul of Multiverse and its possible laws, the present work examined the social aspects of four of these laws. The following key aspects were recognized: (1) Knowing about the cosmic Law of Coexistence in Diversity can let our mind respect not only the endless diversity of human beings but also the cohesive force of space-time in which all are connected. This may help realizing the superiority of (...) cooperation for shared goals over competition for gaining by harming others. (2) Knowing about the cosmic Law of Truth in Complexity can ready our mind to confront the problems of societies with the understanding that these problems are much more complex than generally thought. This may help initiating the needed intellectual renaissance of the 21st century. (3) Knowing about the cosmic Law of Divine - Evil Asymmetry can make our mind appreciate the slight yet sufficient supremacy of divine over evil. This may help restoring faith in the eventual creation of a just society, where social justice is defined as an administrative mechanism providing the right conditions for every human being to accomplish his or her Conscience-led Mission throughout life, while allowing each of these accomplishments to be reciprocated with the gratitude it induced in the involved social systems, small or large, to let equal opportunities in life coexist with due diversity in welcomed, not abused, social recognitions. And (4) knowing about the cosmic Law of Lives to Transcend can empower our mind to build on these advances. This may help moving evolution towards the human species worthy of its origin and destination. (shrink)

From its inception in 1987 social epistemology has been divided into analytic and critical approaches, represented by Alvin I. Goldman and Steve Fuller, respectively. In this paper, the agendas and some basic ideas of ASE and CSE are compared and assessed by bringing into the discussion also other participants of the debates on the social aspects of scientific knowledge—among them Raimo Tuomela, Philip Kitcher and Helen Longino. The six topics to be analyzed include individual and collective epistemic agents; (...) the notion of scientific community; realism and constructivism; truth-seeking communities; epistemic and social values; science, experts, and democracy. (shrink)

My comments on Jacqueline Taylor's rich and interesting study1 will focus on a theme which I found particularly thought provoking: the discussion of Hume's treatment of pride. I think the topic of pride is central to the book's structure—closely integrated with the recurring consideration of what is distinctive in Hume's approach to the social significance of the passions.I am going to come at this theme indirectly—through consideration of the differences between Hume and Spinoza on the nature and significance of (...) pride. Taylor shows that Hume has made it possible for pride to be considered as a positive trait, perhaps even as a virtue. Spinoza's attitude to pride in the Ethics is, in contrast, quite negative. The... (shrink)

Symptom Checker Applications (SCA) are mobile applications often designed for the end-user to assist with symptom assessment and self-triage. SCA are meant to provide the user with easily accessible information about their own health conditions. However, SCA raise questions regarding ethical, legal, and social aspects (ELSA), for example, regarding fair access to this new technology. The aim of this scoping review is to identify the ELSA of SCA in the scientific literature. A scoping review was conducted to identify the (...) ELSA of SCA. Ten databases (e.g., Web of Science and PubMed) were used. Studies on SCA that address ELSA, written in English or German, were included in the review. The ELSA of SCA were extracted and synthesized using qualitative content analysis. A total of 25,061 references were identified, of which 39 were included in the analysis. The identified aspects were allotted to three main categories: (1) Technology; (2) Individual Level; and (3) Healthcare system. The results show that there are controversial debates in the literature on the ethical and social challenges of SCA usage. Furthermore, the debates are characterised by a lack of a specific legal perspective and empirical data. The review provides an overview on the spectrum of ELSA regarding SCA. It offers guidance to stakeholders in the healthcare system, for example, patients, healthcare professionals, and insurance providers and could be used in future empirical research to investigate the perspectives of those affected, such as users. (shrink)

Particular social aspects of the nature of science, such as economics of, and entrepreneurship in science, are understudied in science education research. It is not surprising then that the practical applications, such as lesson resources and teaching materials, are scarce. The key aims of this article are to synthesize perspectives from the literature on economics of science, entrepreneurship, NOS, and science education in order to have a better understanding of how science works in society and illustrate how such a (...) synthesis can be incorporated in the practice of science education. The main objectives of this article are to argue for the role and inclusion of EOS and entrepreneurship in NOS and re-define entrepreneurship in the NOS context; explore the issues emerging in the “financial systems” of the Family Resemblance Approach to NOS and propose the inclusion of contemporary aspects of science, such as EOS and entrepreneurship, into NOS; conceptualize NOS, EOS, and entrepreneurship in a conceptual framework to explain how science works in the society; and transform the theoretical knowledge of how science operates in society into practical applications for science teaching and learning. The conceptual framework that we propose illustrates the links between State, Academia, Market and Industry. We suggest practical lesson activities to clarify how the theoretical discussions on the SAMI cycle framework can be useful and relevant for classroom practice. In this article, science refers to physics, chemistry, and biology. However, we also recommend an application of this framework to other sciences to reveal their social-institutional side. (shrink)

The relevance of the study of the problem of Christian axiology is due to the growing interest in religion and the associated change in world outlook and values ​​in contemporary Ukrainian society. The study of religious values ​​is caused by the urgent problem of finding universal moral values ​​of social development and clarifying the content, structure and nature of their functioning. The scientific study of religious values ​​is also relevant because this problem is closely linked to the value aspects (...) of political life. Christian values ​​are one of the most important factors influencing the formation and development of Ukrainian culture. (shrink)

Using agent‐based modelling, Harrington, Kleber, Reubold, Schiel & Stevens (2018) develop a unified model of sound change based on cognitive processing of human speech and theories of how social factors constrain the spread of change throughout a community. They conclude that many types of change result from how biases in the phonetic distribution of phonological categories are transmitted via accommodation processes between individuals in interaction.

The main goals of this work are: Ethical and social aspects of policy, contemporary liberal democratic structures, morality in political decision-making, human rights and their individual conceptions, political-philosophical ideas, function of a social-scientific education, selected aspects of security policy, environmental policy, eco-social market economy and religion and law.

Viṣṇu is a central deity in the Hindu pantheon, especially in his manifestation as the seductive cattle-herding youth, Kṛṣṇa. The purāṇas are sacred texts, which, as the Sanskrit name implies, are collections of narratives from 'long ago'. The Viṣṇu Purāṇa is thus an ancient account of the universe and guide to life, which places Viṣṇu-Kṛṣṇa at the centre of creation, theology and reality itself. This text, composed about 1,500 years ago, provides a comprehensive and accessible introduction to the most important (...) themes and narratives that constitute the Hindu imagination: the creation and destruction of the universe, the origin of gods and mortals, the peopling of the world, and the structure and conduct of ideal brahminical society. The Viṣṇu Purāṇa describes the trials of exemplary devotees, the existential struggles between gods and demons, and the exploits of legendary cultural heroes. It also contains many ecstatic songs of praise for the deity. The ever-popular accounts of Kṛṣṇa's love games with the cattle-herding girls of Vṛṇdāvana, which have proliferated in literature, dance, song and visual arts over the millennia, are found here in authoritative form. This faithful yet fluent blank-verse rendering of this great Hindu classic is the first new English translation in over 100 years. It will be welcomed by the scholarly community, while remaining readily accessible to a general readership.--From the publisher's website. (shrink)

Music is fundamental to human existence, a cultural universal among all humans for all times. It is embedded in our evolution, encoded in our DNA, which is to say, essential to our survival. Academics in a variety of disciplines have considered this idea to devise explanations that Richard Manning, a lifelong journalist, finds hollow, arcane, incomplete, ivory-towered, and just plain wrong. He approaches the question from a wholly different angle, using his own guitar and banjo as instruments of discovery. In (...) the process, he finds himself dancing in celebration of music rough and rowdy. American roots music is not a product of an elite leisure class, as some academics contend, but of explosive creativity among slaves, hillbillies, fieldhands, drunks, slackers, and hucksters. Yet these people-poor, working people-built the foundations of jazz, gospel, blues, bluegrass, rock 'n' roll, and country music, an unparalleled burst of invention. This is the counterfactual to the academics' story. This is what tells us music is essential, but by pulling this thread, Manning takes us down a long, strange path, following music to deeper understandings of racism, slavery, inequality, meditation, addiction, the science of our brains, and ultimately to an enticing glimpse of pure religion. Use this book to follow where his guitar leads. Ultimately it sings the American body, electric. (shrink)