Publications

Abstract

Somatic practices frequently use imagery, typically via verbal instructions, to scaffold sensorimotor organization and experience, a phenomenon we term “introjection”. We argue that introjection is an imagery practice in which sensorimotor and conceptual aspects are co-orchestrated, suggesting the necessity of crosstalk between somatics, phenomenology, psychology, embodied-enactive cognition, and linguistic research on embodied simulation. We presently focus on the scarcely addressed details of the process necessary to enact instructions of a literal or metaphoric nature through the body. Based on vignettes from dance, Feldenkrais, and Taichi practice, we describe introjection as a complex form of processual sense-making, in which context-interpretive, mental, attentional and physical sub-processes recursively braid. Our analysis focuses on how mental and body-related processes progressively align, inform and augment each other. This dialectic requires emphasis on the active body, which implies that uni-directional models (concept ⇒ body) are inadequate and should be replaced by interactionist alternatives (concept ⇔ body). Furthermore, we emphasize that both the source image itself and the body are specifically conceptualized for the context through constructive operations, and both evolve through their interplay. At this level introjection employs representational operations that are embedded in enactive dynamics of a fully situated person.

Abstract

Embodied song practices involve the transformation of songs from the acoustic modality into an embodied-visual form, to increase meaningful access for d/Deaf audiences. This goes beyond the translation of lyrics, by combining poetic sign language with other bodily movements to embody the para-linguistic expressive and musical features that enhance the message of a song. To date, the limited research into this phenomenon has focussed on linguistic features and interactions with rhythm. The relationship between bodily actions and music has not been probed beyond an assumed implication of conformance. However, as the primary objective is to communicate equivalent meanings, the ways that the acoustic and embodied-visual signals relate to each other should reveal something about underlying conceptual agreement. This paper draws together a range of pertinent theories from within a grounded cognition framework including semiotics, analogy mapping and cross-modal correspondences. These theories are applied to embodiment strategies used by prominent d/Deaf and hearing Dutch practitioners, to unpack the relationship between acoustic songs, their embodied representations, and their broader conceptual and affective meanings. This leads to the proposition that meaning primarily arises through shared patterns of internal relations across a range of amodal and cross-modal features with an emphasis on dynamic qualities. These analogous patterns can inform metaphorical interpretations and trigger shared emotional responses. This exploratory survey offers insights into the nature of cross-modal and embodied meaning-making, as a jumping-off point for further research.

Abstract

This article provides clarification regarding ‘the what’ and ‘the why’ of mental imagery use in dance. It proposes that mental images are invoked across sensory modalities and often combine internal and external perspectives. The content of images ranges from ‘direct’ body oriented simulations along a continuum employing analogous mapping through ‘semi-direct’ literal similarities to abstract metaphors. The reasons for employing imagery are diverse and often overlapping, affecting physical, affective (psychological) and cognitive domains. This paper argues that when dance uses imagery, it is mapping aspects of the world to the body via analogy. Such mapping informs and changes our understanding of both our bodies and the world. In this way, mental imagery use in dance is fundamentally a process of embodied cognition