IDEAS FOR FRAMEWORK?
One person counts and dot to dots connect with many shaping pictures
and artwork for the critic / the novice Wordless
language then lifts away from the page, resonates motivated through sound, the
pace pitch music projects encompassing thoughts, emotions and actions expressly
embodied for individual interpretation - supporting our childsplay immersed within memories
of bright blue skies, beaches, snow or things unspoken gone by. BANNON
(2010) intellectual, physical and sensorial
response to experiences of the world.
There is silence, stillness and then the feelings rekindle,
continue, we sense the mood changing within us and have our private or shared reasons
for this is personal. KURT LEWIN (1951)
Model of Change. Unfreeze, Change, Freeze. (DEWEY
social implications of the the Arts).
Timing shared moments felt from carrier to receiver. (DEWEY
active creator and passive recipient?). Passing on to show, share with empathy. We reach we fall we strive we fail, but we go
on hiding and seeking the space to breath to move, the space to feel to nurture
to grow – without words safety a place of refuge with friends an idea shared,
felt, changed, (SOMATIC APPROACH) the picture recreated and given as a gift to
generations. Spoken language not needed,
a universal language of its own, thought and felt with all the senses, then
action, the articulated movement, the dance, the passion, the love, the self (ONTOLOGICAL). The picture is complete,
the critic looks on. Each differently
perfect stride and wave united in one realised respect. (embracing MULTI CULTURAL, SOCIO-CULTURAL differences).
One dot can’t move it’s frozen in fear to be guided and
warmed encouraged protected in an empty room or in a crowd. (LEWIN - GROUP DYNAMICS). I can’t speak with words but can dance and
show you, then perhaps you will listen, watch and understand? (IS ART THERAPY FOR AN INDIVIDUAL)? I can paint with paint, draw with pencil and
dance with my mind, body and heart - feeling free to interpret my art. We are
not robots – we are people. (QUESTION
studying dance techniques with perfection in mind only for AESTHETICISM? Development of the ‘self’ is more important).
SIMS & ERWIN
(2012) If students are learning only movements without the history behind them
or the intent and purpose of the movements, it that really quality dance
education? (p.132).
RUDOLPH LABAN
Its’ essential to
take peoples characteristics and the development process of their whole
personalities into account.
Aestheticism - dancing for aestheticism? This is interesting question, because we are not robots, and we certainly feel when we dance. What is it about aestheticism that draws dancers to dance? I certainly do understand that there is a feeling within me that compels me to move, but is there some feeling within us that appreciates the 'look' the aestheticism. This is a really interesting question, and all of this interesting questions for framework?
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