Hostname: page-component-78c5997874-xbtfd Total loading time: 0 Render date: 2024-11-04T19:12:36.367Z Has data issue: false hasContentIssue false
  • English
  • Français

Kinesthetic Communication in Dance

Published online by Cambridge University Press:  22 July 2014

Mary M. Smyth
Get access Rights & Permissions [Opens in a new window]

Extract

“Dance is movement that has been organized so that it is rewarding to behold,” writes Anderson (1974, p. 9), and many of those who talk or write about dance have attempted to explain the way in which dance rewards the beholder by considering the processes by which dance communicates. Anderson goes on to say: “…dance communicates because it prompts responses within us. Dance is not simply a visual art, it is kinesthetic as well; it appeals to our inherent sense of motion” (p. 9). This distinction between visual and kinesthetic communication is one which many dancers find appealing. The kinesthetic communication is not analyzed further, but rather, it becomes an easy way of stating the special status of dance as an art form. That is, there is a special sense for which only dance can provide aesthetic satisfaction.

Type
Research Article
Information
Dance Research Journal , Volume 16 , Issue 2 , Fall 1984 , pp. 19 - 22
Copyright
Copyright © Congress on Research in Dance 1984

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

REFERENCES CITED

Anderson, J.Dance. New York: Newsweek Books, 1974.Google Scholar
Argyle, M.Bodily Communication. London: Methuen, 1975.Google Scholar
Gibson, J. J.The Senses Considered as Perceptual Systems. Boston: Houghton Mifflin, 1966.Google Scholar
Kellogg, W. N.Sonar system of the blind. Science 1962, 137, 399–404.CrossRefGoogle ScholarPubMed
Lee, D. N. The functions of vision. In: Pick, H. L., and Saltzman, E., (eds.) Modes of Perceiving and Processing Information. Hillsdale: Erlbaum, 1978.Google Scholar
Liberman, A. M., Cooper, F. S., Shankweiler, D. P. and Studdert-Kennedy, M.Perception of the speech code. Psychological Review, 1967, 74, 431–461.CrossRefGoogle ScholarPubMed
Louis, M.Inside Dance. New York: St. Martin's Press, 1980.Google Scholar
Miyawaki, K., Strange, W., Verbrugge, R., Liberman, A. M., Jenkins, J. J. and Fujimura, O.An effect of linguistic experience: The discrimination of /r/ and /l/ by native speakers of Japanese and English. Perception and Psychophysics, 1975, 18, 331–340.CrossRefGoogle Scholar
Royce, A. P.The Anthropology of Dance. Bloomington: Indiana University Press, 1977.Google Scholar
Schmidt, R. A.A schema theory of discrete motor skill learning. Psychological Review, 1975, 82, 225–260.CrossRefGoogle Scholar
Sherrington, C. S.The Integrative Action of the Nervous System. New Haven: Yale University Press, 1906.Google Scholar