CHOREOGRAPHING EMPATHY | . NiHdVHSOSHOH)Choreographing Empathy “Tiss am urgently needed hook — asthe question of choreographing lchaviorenternto realms outset the aesthetic domainsof theatrical dance, Susan Foster writes a thoroughly compelling argument” [Andre Lepeck, Nee York Univers, USA “May well prove co he one of Susan Fosters most important works Ramay Bure, De Montford Universi UR What do we fel when we watch dancing? Do we “dance along” inwardly? Do we sense what the dancers body i flag? Do we imagine wh it might Fel ike vo perform those same moves? we doy thom do these responses inflvence how we experience dancing and how we deriv sigieance rem it “Choreogephing Empathy challengestheidea of diet psychophysical ‘connection berwcen the boy ofa dancer an tha of thei observer. ths groundiveaking investigation, Sosan Foster aggucs thar the “Connection is in fat highly mined and inflaencd by everchanging Seciocltral mores. Foster examines the eelaonships among three Cen‘ral component in the experince of watching. dance ~ the Choreography the kinesthetic sensations it puts forward, and the fEmpathene connection that proposes t viewers Tracing the changing ‘Sinton choreography, knesthesa, and empathy ro the 1700500 the present day, she shows how the observation sda discussion of ‘Sane have changed over tne. Understanding ths developments key tounderstading comporelity and is nvolvernent nthe boy poli ‘Susan Leigh Foster, choreographer and scholay, is Distinguished Professor i the Department of World Ars and Culeures at UCLA, USA. She the author of Reading Dancing: Bodies and Subjects in ‘ontemporary American Davce Choreography and Narvative: Balle’ ‘Staging of Story and Desires and Dances tat Desrbe Thomsever: Te Improvised Choreography o Richard llandeditocotChoreogrpbing History; Corporate, ad Worlding DanceChoreographing Empathy Kinesthesia in Performance Susan Leigh Foster Rites,esr to ap ome Seeeaie ee nth omen Sore! rae epee ert a Fea ee are Fer ere le, ‘yt rg Ca ri See tment terion CE et Table of Contents List of tltrations Acknowledgments Introducing Choreogrphing Empathy What is choreogrply? 2 Wht i inet 6 What is empathy? 10 Correspondances 11 1 Choreography Inventories and tasonomiee 18 Trnveling and disseminating 26 Author, nara, and technique 35 Revealing and testifying 43 Making and collaborating 60 2 Kinethesia Chorographies and anatomies 76 Tiembling amd orienting 86 From hardin to pctring 99 Encompassing and expressing 103, Sybeszing and siaanng 115Taken amare by surprising magnenisms 129 Surveying the scene, nervously 139 Aleit and domesticity 147 denying and emoting 184 Mirroring and resonating 162 choreographing Empathy Growing and remembering 179 Locating ond serving 187 Engendering and evulating 196 Deswnlaadong and aecessriing 207 Choreographing empathy 215 Notes Bibliography Index 126 v4 Ds List of Illustrations aa Excerpt rom “Bale for Nine Dancer," collected in Raoul Auger Feil’ Recueil de Donee “Thoinot Arbeaus dacumentaton for La Vo from bis Orchisograpiie Book 1, plate Il rom Kells Tomlinson’ The art of Alaningexplined by reading and ire. ‘xm imaginary vst by Louis XIV eo the Royal Academy of Seience Drawings From Carlo Blase’ Aw lomontay retse ‘upon the theory and practice ofthe art of dancing Margaret Doublr teaching» master clas at Mls Colee in the 1970s Martha Hill dancing a Bennington College 1935 Iris Mabey performing an example of Host “Ted Shawn in mocation tothe Thunderbird (1981) {eile Fis and Jams Alexander inthe erty Seton of Katherine Dunianr's ites de Passage (1943) Meri dancing an Arabi café dance, Chethat al Mahara {La Mer dancing she Philip dancesme Tnkling 1a Meris conception of “balanced choreography” {ia Meri conception of “broken choreography” {An exserpe from Merce Cunningham’ ute By Chance (1953) AXIS Dance company members Judy Smith and Jacques Poulir-Denis A map of Vigna fom John Oglby’s America a 46 a“28 29 210 au a3 34 as 36 a7 38 a9 4a 2 43 a4 a5 sto Msteations tho plate XI from Kell Toainson's heart of dancing explaimed by reading and ures. Bol plate XVI from Keo Taian Theat of dancing explained by reading and les. Pranes Char ofthe Mediteratean and Western Europe Armap of Port Royal {A gon posture anda od poste fom ‘Nicos Andry Orthopedie The cones raining of young tee form Nicolas Andy's Orthopeia ‘An listaton rom Lg’ Stem. Swedish Goymmastes Prt Plate 2 Exercises 10, 11 812 fom Dudley Allen Sargent system of exercises [A Sebi based pantomime depicting Grief “Te Desperate Heart (1943) choreographed and performed by Valerie Betis Jane Fonda promoring he video exercise routines “Two tightope dancers performing a one ofthe ait theaters “The frontpiece from Richard Beaithwaite’s Nature's Embassie “The frontispiece fom Joba Weavers plication ofthe scenario for his Orpheus &Eardice The Walt,” an ilasravon from Wiliam Gone’ El Dance of Death. Pat $2 Fanny Elser performing La Cachwehs “Music Hall dancer Oseana Rene reclining ‘oma slack wire luserations by tring Pond “Meitoe Ma from 40 Acres anda Microchip, ‘choreographed and performed hyd Sabela Grimes ‘Nuet fom Dancing Earths Of adie of Elemonts shoreographed by Rulan Tangen ‘Tanya Lukin Linklater in Woman aed Water (2006) A moment in Cell (2006) by Headlong Dance ‘Theatr Pichet Klanchun i Fa @ Demo (2008) “The "Wary Arms” section fom Yippee (2006) 2 sl mage fom KATHY" video Mision (2002) ” si 3 ” % 104 6 us 120 1a 16 us 131 12 153 160 m1 2 180 191 208 209 an Acknowledgments ‘Overs inte night aqui, Lena Hammergren tactfully urged me opt oven the Hag of choreography [had been crying sl to fst on choreography as an intertexual problem rather than 4 universal Solution. For hat suggestion and alle many deighfl conversations ‘ve have iad I thank her. Ever excite t think abou the connections eeween performance and writing Joe Roach asked me fT might fd 2 posible statute fr this book in one ofthe dances {had made Sev immensely grateful to im for that sggestion a= well as forthe lose readings and many thoughtful esponses he offered ro the work in progsess. George Haggerty, Sharon Salinger, an Carell Smith: Rosenberg ll foraied my knowledge of cghtenthcencry history in crucial was, and T thank them for thar generous assistance. Kenneth Olvig fraciously entered into lengthy email correspondence with me, @ omplete stranger and provided helpful comments and suggestions Donald Moyers understanding of yoga has given me much greater insight sto the protean nature of pysicaley and ts elatonship #9 Tanguags and hit eaching a constant inpiraton Hayden White nd Margaret Brose gave me invalvale insight into the proj’ theory and suture. A day does sot goby without ay thinking of them. Tam indebsed to my eolleagacs in the Worlding Dance projet Jacqueline Shea Murphy, Lena Hammergren, Anthes Kraut, Piya Sintvasan, Ananya Chattevca, Yuan Wong, and Mara Savigiano, foethei conversation and insights. Thank ao tothe member ofthe Ineenatonal Federation for Theater Research Working Group in ‘Choreogzaphy and Corporelity ad toDavid Roman, Sanas Manning, Tommy DeFrant, and Randy Martin fr their omens and sappor Tanya. Lukin. Linklater Lea Anderson, Andeew Simone, Pichet Knchun, and KATHY all povided documentation of thee work and onerous coeesponded with me abode1S Acknonldgments | estend special thanks to dhe staff of UCLA exellent libraries, who have fs intensely resourefel and always ready 10 lp. ‘recived outstanding esearch and editorial assistance fom Harmony esi, and also from Cxistina Rosa, Angeline Shaka, and Ana Paula Hoingy and [thank Dean Christopher Waterman for fang thet work algo thank the wondestul graduate tadens at UCLA, both in The MEA and PRD programs, who have cheered the projet on, and “apd in erica! dscwoons of es development And han my Innrvlous collegues sn Dance at UCLA who have shared with me their immense alent, buamor, and devotion to dancing. Finally, {thank my dearest Sue-Hlen, dance parmer fr all these yeas who hav always known how to red my kihesthesa Portions ofthis book were fs published in the following esys and Thank the Press for permission o reproduce the hee: “Watching Womae aed Water Theater Survey S101 (2010: 121-25 "Throwing Like a Git” Gender ia Teassnational Worl in Contemporary Chorengraphy: A Critical Reader, el. Jo Bucerworth an Lisbeth Wikchut, Landon: Routledge, 2009, 52-64 += Chorenrapies nd Choreographers” in Worlding Danceed Susan igh Foster, London: Palgrave Macillan, 2009, 98-118, “Movements Contagion: The Kinesthetc Impact of Performance: in ‘Cambridge Companion to Performance Stadis, ed racy C- Davis, Cambri, Englands Cambridge University Press, 2008, 46-59 “The Earth Twoce Shaken Wonderfully” Assph, Sins on Theatre, ‘Special sue no, 21 (2007) 181270, ‘Kinesthetc Empahies and the Polis of Compassion in Critica “Theory and Performance ed Janelle Reinl and Joseph Roach, 2d cay Aa Arbor Univers of Michigan Press, 2007. Choreographing Empathy Topas Aw International Review of Philosophy 24,00. 1 (2005) 81-1, Introducing Choreographing Empathy What do we fel when we watch dancing? De we “ace slang” even seat moving ove? Dawe sense what the dancers lng? Do we agin ous gorforming those same mots? Lauiching Seroyal tse? Rolin wth nearing seal aroa be Hort Tolancing on our toes? Unduating the spine? Hosting? Diving? sting? Or pausing msl? Do we say to the yt of the tmotion wesc? De we sein frwardy peri oF est Icons espns oie mestons? Nigh we even Kel tno steching or straining? Ou kin rshing pst sro ing ‘Cro the ound? A shortnos of beste The dap om pespaion? Do we elfen winesng the preaioumene of the dancers ext Sts Delight in ite expasivenesr? Ansty from it contorted? And tthe exten hat we fe any of these tings im what as do thes opoue form pe of rode noes how we expense Ancing aa ow we drive signe rm ‘Choreograpbing Empty responds to these questions by examining various came that have been made concerning te sere of immediate Inu uomiiged contact berween dancer an viewer ary tenth fntury dance cori Jobe Manin argued for ial rappor between dane’ ond viewer and an eqully bods conection tween novus Sn emotion Dace e explained, conveys meaning Bente iy ‘Sen though siting hissy el the movements consequent the emotion ofthe dane: Now nthe Bgining of he teeny fre ‘Shesry"teurophysinlgits are ikewseceming an inne “ermeivy Beween dancer and viewer based ‘onthe dicovery of tmivor neurone ~ sap conection he once tat Be both thon ase an actom den one desta ation. Abo bt ‘inn agi for a fundamental phys conection Been dancer Sel wewer they ier markedly ir underlying prampdons about the mune of subjechood and te ay thet preopton sales2 Chorevgrapbing empatyskinestesia in performance lass: Martin believed in an autonomous inne self hat, impressed Tom by ite winesing of the dance, responded with its unique interpretation ofthe dance’ expresion. Newrosseniss in contrast propose that slhood i continually reforming a part ofthe ongoing Process of pereivng the dance “Thi stud foregrounds the ifernces in claims such a Martin ad those of contemporary neuroscience ia order to challenge the Eesumptions of ¢ metural or aponane yo berwoen the ‘Sing body an the viewer’ bry Tescks co demonstrate tha what nol experienced a unmedated in act, carflly constructed. The ‘dancers performance draws upon ad engages with peevaling sens ‘ofthe body and of subjectivity ina given historical mornent ies, the viewers appor is shaped by common and prevailing senses of he body and of subjctiviy 2 give social moment as well a bythe tnigue circumstances of watching 2 particalar dance, And these fxperences of body and elf have changed raialy over sme. In oder to Tsonch an ingiry ino how dance summons i vewers into an "empathic rlaonshp with have undertaken» gence analysts fof he related tem “choreography "kineshesn” and" erpathy.” rg that any notion of choreography conan, emidied within Ia Kinsthesya designated way of experiencing physicality and movernent that, intr, summons other bocies ino apie way of Feling towards it To “choreograph empathy” thus entails the construction fn culvation of a spe pyscalty whose kinethede experience ides our perception of and Connection to what anothers elng What is choreography? “The term “choreography” currently enjoys widespread us as referent fora structuring of movement not mcessriy the movement of human ings Choreography can septate both the kinds of ions performed nd thee sequence ve progresin. Not exclsivel authored bya single indiidoa, choreography varies considerably in terms of how spectic tnd dele ies plan of setiviey Sometimes designating minute ‘specs of moverent of aleratvely sketching ou the broad contours ‘of ton within which variation might onus eoreography consti 4 plan or score according to which movement unfolds. Buldigs ‘horcograph space and people’ movement through thems camer ‘horeograph cinematic actions bads perform inate choreographis tna combat is choreographed. Muleprotein complexes choregeaph DNA rep, sas teprsenatives incall centers engage in improvisational choreography amis undergoing theeapypartpate Introducing choreographing empathy 3 in choreography; web services chorsograph iterfacs; and even cxience i ehoreopraphed" Dances also evince o° articulate a choreography, and some artists who make dances al dhemselves choreographers, Dance scholars have slso implemented the term ina range of debates concerning dances ‘meaning in relation #0 society and polis. They have theorized the phemerality of perfomance in relation wo the documentation and ‘elation tothe covseraction of agency. The ak there might agen be Incaedwhendancesareauthores? And dependingupon thespescty ofthe choreography, to what extent do dancers exere agency i thet individ peformancescit! They havealo considered ratoeship ‘of chorenyraphy to sc of ownership in dance and how choreography ‘has parciiated in arguments conceming access 1 copyright Smetiis choreography is construed as being in opposition to improvised or spontaneous elements in the dance performance, At othe times, ii interpreted as a score o et of prinipes tat guide Spontaneous invention In her sud of contac improvitation, Sharing the Dance, Cynthia Novack observed thatthe modern dance tradition fut of which contact improvisation emerged eypclly posed. an ‘eppoition berween choreography and improvisation, envisioning improvisation as a reatve method that could be implemented supportof choregraphy asthe making ofa dance. Conactimproxisors, incomtast eschewed choreography a6 the formal and crafted shaping ‘of mavemen for presentation ¢ viewers prefersng instead to facts inensively on the moving poi of contact betwen two Dodis and the ‘oncomitan and unpredictable unflding of movement produced by ‘tha foc. Sensitive to their part of an informal spontancavs and ‘open-ended exploration of movement possilies, Novack idenied the central and_underlying, precepts governing the generation of ‘oventnt i Coact knpeoisetion~ soning wit the dn sing 360 degre space, gong with the momentum, ee. ~a8 forming a syle of| Imoving™ She posted char the practice ofthese precepts generated meaning hat permeate the invidaal and sociales of the dances Thus, “Going with the How” was a vale tobe embraced in ance and in everyday if ‘Novack argued penasively for dance asa it capable of rein, snot jst reflecting, Key curl vcs and concems ncling otions of gender, lass and race. Along similar fins, Randy Mati, Mark Franko, an Thomas DeFrante have challenged the notion that choreography operates nly nam aewheie register separated from Socal or politcal realms of experience. Marin has identiedmgtaphing empathy: kineshesa in performance raphy capacity to summon together bodes whose exuberant fspenditare of ello debs wadional economic theories and oles, inset ew vison of what political mobilzaion might be. He has sho examined the deologial eff of specific choreographic Structutes Aligning dance with labor, Franko imbues choreography ‘rth the ality to organize “he phyial porns and limitations of ‘he human bys movement: andy conscquenth to epeset the soil Sod’ politcal consequences of a given soon Defrante late Choreography ats netan of plysial and representational events tat includes the arrangement of meion, formulations of gender and sexuality, beauty an class mobili, and also an "unusual nodule of veryday American plies °° All thee scholars envision dance ‘overen and i onpanizatio as containing and preying api Rather than defining choreography in tems of es capacity 10 formulate guideline fo ation, André Lepeck exploes is fanction 35, what he calls, an apparates of eapeure”” Similar tothe arguments made by Pegay’ Phelan concerning the ephemeraity of performance, Lepeck locates the dance in an always vanishing present ad charges choreography withthe role of pining the dance down, Ie thereby ‘performs redctvly ro designate and san in for only a residue of he Sctual dancing At the same time, c opens up the potential to celebrate the dances waliy a am effect of te lvenes or presence, As Diana Taylor points out, however, this approach forecknescomderation of ‘he waystharperformanceendavesineucualand indvidualionginaris| td ees. ren especs ois form persia bn ne By being livenes various values and what she cllsscenarios"thatrener vse power relations, any performance ctetes a tace whose ideological fp can be examined and evaluated” Ina series of publications engaging withthe rem, have proposed shat*choreography"canproducrielyheconceaaedasatheorzaton fof identity corporeal, individual, and soca Working t comes the ‘reception of dante asthe presentation of «kind of spectacle without 2 history or methodology for engaging with the physical Vinay svisioned choreography a the hypabetcal sting orth of what the bodys and what ea he based on the decisions mae in rehearsal and in performance abour is idem Each moment of warhiag 2 dance can be read as che product of choices, ered, vented, o selected Shout what Kinds of lie apd subjects are being consracted and what Kinds of arguments aout these bodies and subjects ae being pa oth “These desions, made collectively or individual, spontaneous rin advance of dancing const kind of eeord of action that durable land makes posible hoth the repetition of dance and analysis of i Introducing choreographing empathy 5 Approaching choecogeapy a5 this kad of theorizing about what a thody cam br ond do mates evident the ways in which dance arcuate wth social aesthetic and politcal values Expanding choreography 0 include what Novick ined as monement sje | argued, like he, that the implementation of ehoies both produces and recs these vals. Subsequently argued for the further expansion f choreography co the operations of gender n eonstroctng masculine an feminine oles and the guidelines according t© which protestors have conducted ronvolet die action.” Proposing a dialectical tension between choreography and performance, It emphasized the ways. tha ‘horeography presente sractoring of deep and eralring cult ‘alas tht replicate sila ses of values daboratd in other ule Dractoes whereas performance emphases the idiosyncratic Inverpreation of those ales. Noa permanent, stturl engagement ‘vith representation, but father a slowly changing consellason of representational conventions, choreography, more than any Performance, is what reonates with other sytem of representation {har togeeee constitute che clearal moment within which ll bodies circle Both choreography and performance change oer ime; both Sele from and move into action ceeain seman systems, and 38 "ich they derive tei aning from a specific istoral and ulura moment. And both offer potential for ageney to be constructed via ‘rory body's specie engagement with the partmtere governing he realization ofeach dance Pointing tothe cams for universality inherent ia my arguments, “Marea Signo and Jens Girt have both questioned the ity sf choreography ae rubric within which to contemplate noc ony all binds of dances but also the lager choreographies of social acton of which they are spare. Saino efoto the wo ses of archives Within which documentation on dance his been collected = the arts vechives that emphasue aesthetic Tears and the ethnographic archives that poe dances socal Function. ® Se ee “choreography” {sa term implemented as a means of suturing together thee to Alomainsofkaowledge production ln the proces of unifying the sca andthe asters, however the use of choreography dhecatens to ease th histories of wolene to dances and dancers that are embodied in tach archive’ distinctive formation. GieraortHkewie questions the potential Toss of specifiy that such a definition of choreography nts noting that it could become am unmarked strategy within Transnational academic and artistic exchange that would work© Choevgraphing empaty:kinesthesi in performance complicit with other forces in globalizason 10 erase dieenc." Anca Keaue compounds these reservations about the atilty ofthe term by excavating choreopaphy’s olen excluding cerain kinds of ance practices, often improvised ge occuring in popular eather than ‘lite venues, rom the various canons of dance history. Ts response to thee reflections onthe erm “choreography” and ako to the emerging demands of the new global tage, dis book conducts 1 pencalogia ingly ino the eerm “choreography” Observing the Sccommodstons, sometimes uneasy, that the Worl’ dancers ae ‘making tothe global tage, givens demands for dsintve blends of tradition suffused with expesimentaion, and generalized spectacle embedded wit local det determined to easavate historic of he ‘erm and its usage that undovbeely bear down on vr contemporary ‘moment, ‘Noting my own students" hesttions to. idenly ‘choreography a separate from a performance and from a history of practicing a iven form of dance, | have endeavored to deventer horeograpy from functioning as an explanatory eabec, and instead, to highligh he dilemmas thatthe term embodies, “Thus Chaper I surveys various iterations othe em begining wih its nologzation in the eighteenth century asthe practice af eecdng ddan om pape though the wee of a taxonomic system of symbol examine the assumptions underlying the notrios, and discuss the Eonsequences of breaking movement down into prisciples of action hae locate dance within a blank geometrized space where he lorpath ofthe dancer can be tacked and recorded. Asstng the impact of| these early dance notations on the development of dance techni, ‘hance authorship, andthe autonomy of dance as an afar, Uso how the notation helped to partion dance-making from leaning to dance and teaching. dances. 1 then analze the reamergence of ‘choreography atthe bgiaing ofthe wench century asthe indo ft of erating daner, focusing on pedagogies of dance cmpition tnd charting the-devclopment of choreography Irom the act of ‘expressing deeply fl emotions atthe hepnning ofthe centr to the “Current practice of facieting a olaborstie encounter among dancers, directors, and arcs in alle mediums. Throughout, I consider how choreography, whether as atation oe as competion, functions 0 pritilege cea kinds of dancing while rejsting or repressing others What is kinesthesia? Especially when compared with he widespread aplication ofthe erm “choreography” remarkably litle use of the tern “kiesthesi"™ has Insroducing choreographing empathy 7 been made in scholarly or publi domains. Often deride or dismissed within the academy, kinesthesia an he information i mig provide Fave ypialy been received with skepticism at best, Pervasive mist fof the hody and the clasifation of ts iformation ax ether sex, “inknowahle,or indecipherable hve eld in pauty of avis thar promote awareness of dhe bodys postion and motion, or the degre of tension i, is casks, The term hes bom sporndtaly fefeenced and investigated in medicine and neurobiology and more Consistent in’ Kinesiology textbooks and dance pedagogy, but ‘otherwise fae appears in discourse. Kinesthesia was coined in T880, in response to a growing body of research eablshing the existence of nerve sensoes inthe muscles and Joins that provide awareness of the body's positions and movements "The meaning ofthe term hasbeen expanded, abandoned, and revised several times ner the course of the twentieth Century. Ath Benning ‘ofthe twentieth century Kineathesis was largely replaced oeutolgial investigations by she concep of proprception naminga more focused system of pinalevel neural are that continually ajuse forthe bodys hanging felationship to geaviy. At mid-century it was revived by ereeptal prchologiae James J. Gibson who envisioned inesthess {5a perceptual system that symesized information about joint postoning, muscular exeton, and orenaton within space and with spect gravity. Gon Farther posed that Linestnee astted tx ‘integrating sensory information from all ther systems, More recently ‘thas been taken pin the work of neurcbilogis exploring how the brain senses body movement. TE physiological inquires into kinesthesin have been somewhat sporadic, dance pedagogy and ecsm have consistently calivated Undertaningoftheexnence nd importance of kinesthetic awareness Jon Martin bad i entire theory of how dance commutes upon the assertion that viewers actively partake in the same kinesthetic experience a the dancers they are watching onstage! ‘When we sce a human body moving, we ce movement whichis potentially produced by any human hody, aad therefore by our ‘owns through kinesthetic sympathy we actly repre it ‘carouly ia ou present muscular experience and aaken such associational connotations as might hae been outs ifthe orga ‘movement had been of cur on making,” ‘Working 0 validate and champion the new modern dance he futher argued that kinethesc experience was intrinsically connected 10- Chorevgrapbingempatn:kinesthesia in performance motional experience, Noting the new cultivation of movements hyn and ent pursued by early mower dances such as Iadora Duncan Mary Wiginan and Masta Graham, Sivan Manning and Dee Reynolds have examined these arin’ claboration of kinesthesia 2 2 seneal omponent of moderaism." Tocusing more onthe ability ofthe dance esarcher to percive her ‘own kinathesc experience along with that of ers, Diedre Ske States for kine snalyabnae avalos imundersanding Ulta dinimetvenee oto) in dance ba also sal aspects of dail lf” Foe Sklar kinesthetic analysis entails attending to the qualitative dimensions of movement, te kind of flow tension, and timing of any iver action a well as the ways in which any person's movement fineracte and inereates wih objects, events and other people Deepening Bourdieu’ concept ofthe habits hy aking che example of feligous worship and examining in derail the kinds of movernent pattern practvel at specie events, Ska ike Rowrdie mes these patterns with symbolic meaning Taken together, these paters Constiare a way of knowing in a given culralconext, a form of ‘mhodid knowledge in eich “are stored interewined coeporel, ‘rntioal, nd conceptual memories” ‘Similar, Randy Marin posts the existence of» sxialkinsthet a sot of movement atebutes or tits that make evidene dhe "deeper ines heoween movement and euleure”"” Where Sklar considers in ‘eta how movemen eperoires engage with religious and gendered Simbolc systems, Martin enphasies the poles implicit i 2 given Liesthesi He posits a connection berween a decolonized worldview find a preference fordoentered movement, and points to the ange of| Contemporary practss Including capoies, somact improvisation nd hip-hop hat celebrate an off-balance and. sk-orinted investigation of the body'scapacts for movement. Tha bodies might oelop such divene movement practice that nonetheless share Common preferences for movingllaraes acral feature of diversity in today’s globalined word [Ske Sklar and Martin, Lena Hammergren focuses onthe connection between kinesthetic experience and cultural values. Unlike them, she tilzes the kinesthetic ea framework for onganizing aspects of physical Experience that would help he hiorian reconseac peeformance and ‘alu systems fom an elie time" Remodsing Walter Benjamin’ ncept of the fineur wth st emphasis on visual information, Hraminerazen intrduces the Rincose a a fre whose kinesthetic ‘ngazement with her surroundings ngrms of ou sol and physical Section, amplifies dhe historian’ access to the past. Hammergeen sends Introducing choreographing empathy 9 ber Anes on 4 hypoth! sll around the 1930 Sekiin Spat eet new ani hers fom mip Serum and tents tha all poe ca tte Koch ‘pete of eee with ts vden of mode poms by the apo sched ance ong 3p toxin he lof octet ct owes re be ce specs of sl dung sl gymnant eco te Meas ‘Spurned ys Se ira ome SU dy don oh epee of neta pn women and oa haw tet xpos sight hve changed oer he Aikooph he om tinea sive only te cad sneer, Chap alge wh ht of shregephy procured at Choper i, fst examines ead ghey Fras of oy Signing nore tosh pn ers of Phyl tat a how plight hve xpened the ny {eFmowcen. Indo, tons he inenton of te ‘hte abo seting oe emi epee nr Kshe Sosiene Cnensing tn aren Sout ets ef a plc nave any of eu nang carapace Cour acon isa, aed hyaluronan ‘Stain wane of yay na pen tr owe ed fom hoo ners nora experts of Hess Dani. ve dnl smd ths oer paces bth sw on sSifloncngo Line expen: snl throne led a ‘wher ave Yer dan sls orgroumde he rato cats expr ting an import sours tow te ‘ody a ovens meenftened fa pes hal moses The caper act wosorasiono he Cle once shcby ats kody buon physi plying x tea panes acpi cn oman come Swen movements trough pce, denoncs a Shoegphy roy ons of wany pro tha came tis eet ane bli cofigred Sous sn vera shoe loca pa ink row gi T ten show how he bly ‘sumed an incre rola: and oa onan ones sue of theme cary nd best mci coop ny invented inthe te nce cena neo playa sng mponant lc ineracuatio yt cy tenia ety te ‘oly wt loge expend «chain of ply an! Kor Sereda esd moneda fe at sma tse and ns Incanto vty Ar onc te dy ‘Smlormd ean in elk for spon oso