Abstract
In “Rhythm: Synchronization of Body and Mind”, Katan analyzes the rhythmic feeling in dancing as an evaluation of the synchronization between intentionality and current sensory stimuli. The chapter follows the physical procedures of entering a movement flow, according to Gaga instructions. Following the case study of multitasking movements, the chapter inquires into the capacity of dancers to lead and feel parallel flows of movement simultaneously. The chapter concludes with an exploration into the rhythmic groovy feeling of dancers, analyzing it as an inner-embodied capacity to follow the momentum of movement and controlling it simultaneously.
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Notes
- 1.
On perceptual reorganization in dance, see: Alva Noë (2015).
- 2.
Merleau-Ponty (1945; 2007).
- 3.
Langer (1953), p. 203: “In a body so disposed, no movement is automatic; if any action goes forward spontaneously, it is induced by the rhythm set up in the imagination, and prefigured in the first, intentional acts, and not by practical habit. In a person with a penchant for the dance, this body-feeling is intense and complete, involving every voluntary muscle, to the fingertips, the throat, the eyelids. It is the sense of virtuosity, akin to the sense of articulation that marks the talented performer of music. The dancer’s body is ready for rhythm.”
- 4.
Dewey (1934; 1980), chapter 8.
- 5.
Ibid, p. 169.
- 6.
Ibid, p. 155.
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Katan, E. (2016). Rhythm: Synchronization of Body and Mind. In: Embodied Philosophy in Dance. Performance Philosophy. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-60186-5_18
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DOI: https://doi.org/10.1057/978-1-137-60186-5_18
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