握住我的手:神圣圈舞的躯体分析

IF 0.2 0 DANCE
M. Buckwalter
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引用次数: 0

摘要

在最近一项关于神圣圆圈舞的民族志研究中,我注意到著名的圆圈舞网站专注于其冥想和社区建设方面,而练习的显著特征——绕圈、抓手、居中和神圣——大多仍未得到解决。1976年为苏格兰芬霍恩的精神社区开发的神圣圆圈舞通常从民间根源的角度来考虑。体细胞分析能为神圣圆圈舞提供什么?Sylvie Fortin和Andrée Grau在《舞蹈与身体实践杂志》(6:1)上发表的关于跨文化舞蹈和身体实践的社论中描述了一种身体分析的原型,该原型使用了具体方法,并挑战了以语源为中心的认知方式。我认为,身体分析挖掘了一系列嵌入实践中的价值观,这对民族志学家理解一个群体为什么选择特定的舞蹈形式至关重要。在神圣圆圈舞蹈的案例中,出现了一种当代话语,涉及亲密关系、文化和身份、生态和神圣,表明实践满足了这些需求。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Hold my hand: A somatic analysis of Sacred Circle Dancing
In a recent ethnographic study of Sacred Circle Dancing, I noticed that prominent circle dancing websites focused on its meditative and community-building aspects, whilst distinguishing features of practice – circling, handholding, centring and the sacred – remain mostly unaddressed. Developed in 1976 for Findhorn’s spiritual community in Scotland, Sacred Circle Dancing is usually considered from a folk roots perspective. What might somatic analysis offer Sacred Circle Dancing? In their editorial note to the Journal of Dance & Somatic Practices (6:1) on dance and somatic practices across cultures, Sylvie Fortin and Andrée Grau describe a prototype for somatic analysis that uses embodied methodology and challenges logocentric ways of knowing. I argue that somatic analysis excavates a spectrum of values embedded in practice, vital for the ethnographer in understanding why a group chooses a particular dance form. In the case of Sacred Circle Dancing, a contemporary discourse emerges engaging intimacy, culture and identity, ecology and the sacred, suggesting that the practice addresses these needs.
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
12
期刊介绍: The Journal of Dance and Somatic Practices is an international refereed journal published twice a year. It has been in publication since 2009 for scholars and practitioners whose research interests focus on the relationship between dance and somatic practices, and the influence that this body of practice exerts on the wider performing arts. In recent years, somatic practices have become more central to many artists'' work and have become more established within educational and training programmes. Despite this, as a body of work it has remained largely at the margins of scholarly debate, finding its presence predominantly through the embodied knowledge of practitioners and their performative contributions. This journal provides a space to debate the work, to consider the impact and influence of the work on performance and discuss the implications for research and teaching. The journal serves a broad international community and invites contributions from a wide range of discipline areas. Particular features include writings that consciously traverse the boundaries between text and performance, taking the form of ‘visual essays'', interviews with leading practitioners, book reviews, themed issues and conference/symposium reports.
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