".It is how the audience sees that is as important to my work as what. This is also a timely investigation as recent studies in neuroscience suggest that ‘when watching dance the observer is in a sense virtually dancing along’ (Hagendoorn 2004).Ĭhoreographer Adesola Akinleye, talking about her work and the relation of the body, space and built environment: Since dance is indeed a kinesthetic art which can be experienced in the entire body, it is crucial to reassess the role of kinesthetic empathy in the reception of dance. ![]() It can also open up experiences of ways of moving which resist cultural norms. Similarly, kinesthetic empathy can engender awareness of both similarity and difference. However, Foster argues that the student of dance, who learns by a process of imitation, experiences difference as well as similarity, as no two movers are the same. Recently, Martin’s theory of kinesthetic empathy has been criticised on the grounds that it ‘denies difference’ (Foster 1998) and ‘universalises the personal and essentialises the irrational’ (Franko 2002). Sensory experience could have the effect of ‘reviving memories of previous experiences over the same neuromuscular paths’, and also of ‘making movements or preparations for movement’ (Martin 1939). Martin argued that what he variously called the spectator’s ‘inner mimicry’, ‘kinesthetic sympathy’ or ‘metakinesis’ was a motor experience which left traces – ‘paths’ – closely associated with emotions in the neuromuscular system. In the US, Lipps’ ideas were taken up and developed by the influential dance critic John Martin (1893–1985), who championed the dance of Mary Wigman and Martha Graham. movement rhythms) rather than to a storyline or a subject. Kinesthetic empathy and related concepts took on particular relevance in the context of modernism, which emphasized the idea that receivers should respond directly to the medium of a work of art (eg. This shared dynamism of subject and object implied the notion of virtual, or imaginary movement. Lipps (1851-1914) argued that when observing a body in motion, such as an acrobat, spectators could experience an ‘inner mimesis’, where they felt as if they were enacting the actions they were observing. ![]() Spectators can ‘internally simulate’ movement sensations of ‘speed, effort, and changing body configuration’ (Hagendoorn 2004).Īn important source for the concept of kinesthetic empathy is Theodor Lipps’ theory of ‘Einfühlung’. ‘Dance, although it has a visual component, is fundamentally a kinesthetic art whose apperception is grounded not just in the eye but in the entire body' In popular use the distinction is made less often.Spectators of dance experience kinesthetic empathy when, even while sitting still, they feel they are participating in the movements they observe, and experience related feelings and ideas. The etymological meaning of the word as used in physiology refers specifically to the motion of the body, and a distinction between kinesthesia and the sense of the position of the body is sometimes made in technical texts.The more common pronunciation with short I is by analogy with other words from this root such as kinetic and kinesiology where short I is expected. The traditional rules of pronunciation of Greco-Latin vocabulary prefer the I in the first syllable to be long.Proprioception or static position sense the perception of the position and posture of the body also, more broadly, including the motion of the body as well. ![]() ( performing arts ) A spectator's perception of the motion of a performer, or, the effect of the motion of a scene on the spectator.( physiology ) The perception of the movement of one's own body, its limbs and muscles etc.For quotations using this term, see Citations:kinesthesia.Kinesthesia ( countable and uncountable, plural kinesthesias) Nevertheless the words are still occasionally confused e.g. ![]() But more often this Greek root is spelled and pronounced with a k, and in the case of kinesthesia this avoids inconvenient homophony with synaesthesia, the sensation of one type of perception as another (e.g. If this word were borrowed on fully traditional principles it would be cinesthesia (or cinaesthesia) compare cinema from the same root.
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