Unfurling the wings of flight: clarifying ‘the what’ and ‘the why’ of mental imagery use in dance

Vicky J Fisher

doi:10.1080/14647893.2017.1369508

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.

Highlights

Dancers, teachers and choreographers have long made use of mental imagery to inform, inspire and influence movement performance and production
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
This paper argues that when dance uses imagery, it is mapping aspects of the world to the body via analogy

Summary

Introduction

Teachers and choreographers have long made use of mental imagery to inform, inspire and influence movement performance and production. Antonio Damasio in his highly influential book Descartes’ Error, refers to these mental representations as ‘recalled images’ ([1994] 2006, 96) and goes on to argue that neural networks in the brain which are involved in perception of experiences are activated, at least in part, in imagining experiences across sensory modalities.. Antonio Damasio in his highly influential book Descartes’ Error, refers to these mental representations as ‘recalled images’ ([1994] 2006, 96) and goes on to argue that neural networks in the brain which are involved in perception of experiences are activated, at least in part, in imagining experiences across sensory modalities.1 This theory is supported by a growing body of research in the fields of cognitive neuroscience and psychology (see for example Barsalou 1999, 2008; Brunel et al 2016, 108–124). This can provide the foundations for further research into the underlying mechanisms (the how) and significances (the so what?/what next?)

Literature review

Conclusion

Notes on contributor