Abstract

This article concerns embodied knowledge closely connected to dance experience. I position my research project primarily on three autobiographic dance narratives concerning my involvement with the dance genre known as contact improvisation (CI). In making the argument that practicing CI creates experience and knowledge that become embedded in the body, I attempt to give the dancing body an “audible voice”, and apply theoretical concepts that are helpful in interpreting and elaborating my narratives. Key words: Dance-based research, autoethnography, body archive, intercorporeality, contact improvisation

Highlights

  • This article concerns embodied knowledge closely connected to dance experience

  • I developed the following research question: What kind of embodied knowledge and meaning(s ) can emerge through an analysis of autobiographical contact improvisation narratives, and how may such analyses contribute to the research field of embodied learning in dance?

  • Summary and conclusion I have used narratives written with reference to autoethnography as a method in answering my research question, ”What kind of embodied knowledge and meaning(s) can emerge through an analysis of autobiographical contact improvisation narratives, and how may such analyses contribute to the research field of embodied learning in dance?” I have identified themes concerning mutuality, kinaesthetic sensing and meaning making, and embodied memory

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Summary

Introduction

This article concerns embodied knowledge closely connected to dance experience. I position my research project primarily on three autobiographic dance narratives concerning my involvement with the dance genre known as contact improvisation (CI). Contact improvisation and dance narratives – body memory and embodied knowledge. We were all actively involved in participatory sense-making; embodied knowledge was realized through body memory as habitual action based on earlier experiences, as well as through volitional acts

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