Creative Movement Research Articles

Use of Dance/Movement Therapy Strategies in Children with Autism Spectrum Disorders as Facilitators of Creative Movement and Nonverbal Communication

<p>W artykule przedstawiono wyniki badań przeprowadzonych wśród dzieci z zaburzeniami ze spektrum autyzmu (ASD) w wieku 4–7 lat, w których zastosowano metody terapii tańcem/ruchem w celu promowania kreatywnego ruchu i komunikacji niewerbalnej. Badanie oparto na pracach różnych autorów, w tym odwołujących się do dynamiki rozwoju w dzieciństwie i terapii tańcem/ruchem w artykulacji metodami pedagogicznymi wprowadzonymi u uczniów z ASD. Obserwując i rejestrując sesje, można było zidentyfikować jakościową ewolucję niewerbalnej komunikacji i kreatywnego ruchu u uczestników. Na podstawie przeprowadzonych badań stwierdzono, że należy przeprowadzić dalsze badania z wykorzystaniem terapii tańcem/ruchem w celu zidentyfikowania i potwierdzenia ekspansji i spójności ewolucji ruchu twórczego.</p>

Converting Human Movements into a Conceptual Painting based on Music Using a Motion Capture System: Action Research

Introduction: Motion capturing is a concept which has been taken into consideration in recent decades and it has been used for various purposes like improving the performance of patients with motor problems and increasing motivation and creativity of users. It can also be used in film industry both in two- and three-dimensional animations. Research has shown that this system may be used to enhance creativity and intellect. The aim of this study is to use the Vicon motion capturing device to convert creative human movements into a conceptual painting with the help of music. Materials and Methods: For cultural adaption of the system, the first chapter of “HAFTVAD” music album called “The Introduction” composed by Masoud Nekoyi and the story of Rostam and Sohrab from Shahnameh, written by the Persian poet Ferdowsi, were chosen as the musical groundwork and the scenario for this survey. A human model was trained to perform movements in accordance with the musical and fictional workarounds of the study; the model was also allowed to use self-created styles in movements in the final performance. The segmental movements of the model body were identified in the Vicon Vero system by wearing clothes equipped with reflective markers. This information was transmitted into the Unity engine, and without modeling the body's segments, different colors and brushes were defined to illustrate the path of the movements of the hands, feet, head, and heart. Results: By defining various brushes in different colors, human movements were converted into a conceptual painting in accordance with the music. Conclusion: This study discussed a creative process, entitled Motion Paint, which was implemented in Iran for the first time. This method can be used to make the process of exercise therapy more attractive, especially in chronic motor problems.

The Use of Creative Movement Method in Teaching Foreign Languages to Very Young Language Learners

The creative movement method is a holistic teaching method that enables children to develop language skills through art not just by looking and seeing, hearing and listening, speaking and talking, but also by conducting various motions and movements – experiencing while playing. Children can learn holistically only when their minds and bodies are an indivisible whole. When all their senses are engaged, children remember and recall information more effectively. The present paper describes the use of the creative movement method in teaching phonological awareness skills in a foreign language (English) to 13 Slovenian preschool children with a mean age of 5.8 years. The aim of the study was to determine children’s success rates in producing words and alliteration after being given the first sound of word (vowels /æ/, /e/, /ɪ/, /ɒ/, /ʌ/) in English, both with and without movement support. Children participated in two 45-minute long teaching sessions (the second took place after two weeks). There was no additional training between each session and the test. The results of the test after two weeks from the last session show that creative movement support proved essential for children in recalling words and producing alliteration in English. The study also includes some guidelines for the method’s use in teaching foreign languages to very young language learners.

Class, Culture, and Coming of Age in Alice Browning’s Chicago Girl

Among the many contributors to Chicago’s Black Renaissance, a creative movement which reached its height during the 1930s and ’40s, was Alice Browning, an African American educator, publisher, and writer. Best known as the coeditor of Negro Story, a short-lived but influential Black literary magazine, Browning was also a frustrated novelist who worked on an unpublished manuscript titled Chicago Girl for much of her adult life. A flawed but fascinating examination of race, sex, and class in the modern American city, Chicago Girl helps to deepen our understanding of Chicago’s Black Renaissance and the often unrealized ambitions of aspiring Black writers.

Solidność i rozluźnienie ramy w Bauhausie

The paper presents the problem of the frame, a clearly prevalent pattern in the selected activities of Bauhaus representatives. Despite only a dozen years of its existence, the school of modern architecture and design had a significant impact on the 20th-century world of art, and its social context, aesthetic and functions. In spite of its utilitarianist approach, it has developed a variety of standpoints that resulted in debates over the limits of art and have evolved into a wide range of creative movements that became a permanent feature of the art world. The essence of artistic activity evolved in this formation in two seemingly contradictory directions – towards a radical consolidation of the visual form, which is devoid of any decorations, and its gradual opening to the space surrounding the artistic and design activity. The first direction led to strengthening the integrity of the work and its materiality, while the second led to interference with the environment and the disappearance of the outline of the form. The diverse involvements and relations between these attitudes created different understandings of the frame encompassing the works.

Диагностика образно-пластического творчества дошкольников

The paper presents a technique for assessing features of creative movement in children aged 3—6 years; the technique was used to test the hypothesis about the specifics of these features in each of the preschool ages. The paper outlines the creative task and the entire procedure of the technique; describes the parameters of creative movement (the use of various expressive movements, their originality, transformation into the character etc.) and the system of their assessments. The study involved 205 children aged 3—6 and the paper discusses the obtained data: compares the developmental dynamics of creative movement basing on its parameters and the correlation between them; provides intermediate conclusions concerning the predominance of the cognitive aspect of creativity (“use of means” of the language of movements) over the actual creative aspect (“transformation into the character”, “originality”).

Mastering 3D Modeling in Blender: From Novice to Pro

The open-source 3D modeling and animation software Blender has become a powerhouse for artists, designers, and hobbyists. Blender's capabilities and creative industry effects are summarized in this abstract. Due to its comprehensive features and unwavering community support, Blender has grown from a simple tool to an industry standard. This flexible instrument suits beginners and experts. Blender has an excellent user interface, several modeling and sculpting capabilities, a robust material and texture system, and powerful rendering engines like Cycles and Eevee. Open-source development keeps Blender available to anyone, making it a pioneer in democratizing 3D modeling and animation technologies. Blender is a creative movement that lets anyone with an idea realize their vision. Blender is our entry to 3D modeling and animation, novice or experienced. This study discusses the essential techniques of 3D modeling, shading, materials, rendering, textures in blender, rigging and animation, and physical simulation. The review presents a guide step-by-step, ensuring that develop a solid foundation in each aspect of Blender's powerful toolset.

Rhythm in Motion: developing English skills through music and creative movement

Creative Arts Educ Ther (2019) 5(2):134–142 DOI: 10.15212/CAET/2019/5/26 Rhythm in Motion: developing English skills through music and creative movement 运动中的节奏：通过音乐和创造性动作发展英语技能 Abstract In August 2015 a group of seven students and staff from Liverpool Hope University in the UK visited the SOS Children’s Village just outside Galle town in Southern Sri Lanka, to partake in a two week residential program ‘Global Hope’, teaching English to children between four and fifteen. Below is lecturer Dr Rachel Sweeney’s account of their experiences at the SOS Village, reflecting on a range of somatic educational tools as applied to the pedagogic focus of teaching English through movement and music, and focusing broadly on the education values of somatics as placed within an interdisciplinary embodied approach. The paper will follow the pedagogic approach to teaching English through creative play, where the emphasis is on inclusivity and individual agency, allowing for more receptive learning through familiarity with lessons often centred around rhythmic exercises that emphasise repetition through call and response alongside gestural movement and song. These learning practices follow a constructivist approach to pedagogy where the physical embodiment of the image or word allows children to take ownership over their learning, while engaging widely with each other as also the young student teachers. In presenting an extended case study of the above creative arts programs that are designed to prioritise kinaesthetic learning methods whilst implementing English speaking and writing skills, this paper will also engage with a wider political overview of the Centre’s mission aims, which respond to the vast spectrum of southern Sri Lanka’s social and economic problems. Keywords: creative pedagogy, kinaesthetic learning, language skills, ecology, rhythmic training 摘要 2015年8月，来自英国利物浦赫普大学的学生和教职人员一行7人参观了斯里兰卡南部加勒镇郊外的SOS儿童村，参加为期两周的住宿计划 “全球希望” ，教授四岁到十五岁的儿童英语。以下是讲师Rachel Sweeney博士对他们在SOS村经历的描述，对一系列侧重使用动作和音乐进行英语教学的身心教育工具进行了反思，聚焦于跨学科具身教学法中身心学广泛的教育价值。本文将采用创造性游戏的教学方法教授英语，强调包容性和个体能动性，考虑到更具接受性的学习方式，通常结合手势与歌曲，以相互应答的方式进行节奏练习，强调重复性，以此熟悉课文。这些学习实践遵循建构主义的教学法，其中以肢体具身化的方式体验图像或单词允许孩子们自主学习，同时也与年轻的实习老师大量地互动。本文除了介绍一个运用上述创造性艺术课程的具体案例，旨在展示优先运用动觉学习方法，教授英语口语和写作技能的方式，还将从政治层面概述该项目中心的使命目标，以应对斯里兰卡南部广泛层面的社会和经济问题。 关键词: 创造性教学法，动觉学习，语言技巧，生态学，节奏训练

Hungarian Sculpture of the Late Twentieth Century. At the Intersection of Romanticism and Pop Art

Developing intensively and in its own way throughout the 20th century, Hungarian sculpture has gained recognition as one of the leading European schools. Much in its creative image was determined between the two world wars when romantic tonality, combining dynamic activity and plastic flexibility, became a high priority. Romantic pantheism made itself felt in the artistic works of the Hungarians, successfullyshown at the All-Union Art Exhibition in Moscow in 1957-1958. The appeal to the motives and forms of nature enriched the human modulus of Hungarian sculpture.The period between 1960-1970 is its most fruitful time. The combination of romantic concepts and themes with object textures and aesthetics of simplicity, inherent in pop art, among the masters of the older generation, Imre Varga and Erzsébet Schaár who were recognized in Europe, was the biggest event among the variants of its creative movement. Imre Varga’s evolution in this direction, from grotesque-naturalistic publicism to the use of pop art techniques as a means of the dramatic theatricalization of human life and history, is illustrated in the article. Varga developed a synthesis of the pop art-inspired landscape and romantic portrait in the best monuments of these decades. In Erzsébet Schaár’s art, the objective world more than once turned into an artistic metaphor of independent significance. However, for her, the most important meeting of romanticism and pop art happened, the same as for Varga, in the search for synthesis and the creation of an ensemble. Her Street, which is exhibited in the city of Pecs, is perceived as a combination of symbolic figures and environmental objects, imbued with the idea of infinity of the world.

Teaching a Creative Movement Workshop for Early Childhood Educators in Taiwan

ABSTRACTIn 2016, the author and two colleagues presented a professional development workshop on creative dance to early childhood education teachers in Taiwan. This workshop was particularly timely in light of the Taiwan government's current interest in enhancing students' creative thinking, which has become central to the discourse on twenty-first-century learning worldwide. This article details what was taught, provides specific and effective strategies that were used, and presents conclusions based on participant feedback from a survey completed six months after the workshop.

ANÁLISIS BIBLIOMÉTRICO DE TÉRMINOS EN INGLÉS SOBRE EXPRESIÓN CORPORAL: RESULTADOS EN WEB OF SCIENCE TM DESDE 1900 HASTA 2018

A confusão terminológica em torno da Expressão Corporal, não deixando claro quais palavras em inglês correspondem a ela, limita a difusão e o avanço científico da disciplina. Este artigo tem como objetivo analisar os termos mais utilizados em inglês para se referir a ela. Para determiná-los, foi realizada uma revisão da literatura em cinco bases de dados, seguida de uma pesquisa no banco de dados Web of ScienceTM desde 1900 até 2018 com os dez termos selecionados. Os resultados mostraram um crescimento exponencial na maioria dos termos. O inglês predomina como língua e, como área, a Psicologia. Embora não pareça haver um consenso na denominação inglesa dessa disciplina, o termo mais utilizado em espanhol, português e francês, Corporal Expression, não se encaixa com o significado em inglês. Os termos mais relacionados e recomendados para usar em traduções e pesquisas são Creative Movement, Creative Dance, Expressive Movement e Physical Theatre.

Improvement of Children’s Imaginative Abilities by using Props through Creative Movement Activities

Creative movement is one of the teaching and learning methods that helps to develop one’s potential in communicating expressions creatively, applied through a series of movements. This type of learning relies on imaginations to explore movements, depending on the types of movements to be created. Exploration of creative movements by using variety of props lead to the freedom of ideas in creative imaginations. The ability to master the process of movements’ creation by using props is essential in giving interpretations and forming the thoughts towards active and dynamic levels, to improve imaginative abilities. Therefore, this research was conducted to discover how the use of props helped in improving children’s imaginative abilities through exploration of creative movements. Props were selected as tools and stimuli to enable the children to carry out imaginative explorations in movements, portraying their creative ideas. Important focus was given to kinesthetic stimulation in forming a series of movements to improve imaginative abilities, because children have their own ideas in creating desired movements. The important components such as usage of body, space, time, and energy were applied as the foundations in practicing creative movements. Qualitative method was used for this research, involving 16 subjects of 6-year-old children. Analyses by observations of participants and list of tasks to be accomplished were conducted to record the children’s skills. Therefore, this research had given the chance for the children to develop their talents in imaginative abilities. Useful alternatives can also be gained, to give variety of teaching and learning methods based on children’s exploration of imaginations, which can further lead to expressive communications through props and movements.

A KINDERGARTEN TEACHER IN STUDENTS’ CREATIVE MOTOR EXPRESSION DEVELOPMENT

The article discusses an issue of teacher’s work with preschool children in regard to movement design. The emphasis was placed on creative methods, application of which implies a child’s complete personality formation. Movement is the most important stimulator of physical development, and creative movement also influences intellectual, emotional and social development. A unique personality of a preschooler requires a teacher to have an innovative attitude and to use diversified and novel methods in physical education. Children’s creativity can only be developed by creative teachers. Therefore, research was undertaken, which established to what extent teachers use motor creative expression methods, what’s the status of their preparation for it, and what factors determine the diversity of respondents in this field. The research procedure was based on a diagnostic survey method. A questionnaire was administered among 158 female teachers coming from different local backgrounds and diversified in terms of age and career progression degree. The survey was supplemented by an observation of the respondents during classes conducted with the use of the creative motor expression methods. The results analysis led to the conclusion that teachers often use these methods. Some differences in their application frequency were noted in favor of teachers from large cities, teachers between 30 and 39 and those who obtained the degree of a certified teacher. A similar distribution of data was observed during the examination of teachers’ preparation level for conducting classes using creative motor methods, although with a higher degree of differentiation and a much lower percentage of well-prepared persons. The overall conclusion is that often poorly prepared teachers conduct classes in a kindergarten using the creative motor expression methods. Therefore, it is important to encourage teachers and to promote innovative forms of professional development through participation in qualification courses, trainings, workshops, etc., and forms of self-education, among others at online educational platforms

Not a Gift: Phenomenological Research of Everyday Experience

By using approaches of phenomenological anthropology and research of everyday experience, the author of the article introduces a possibility to study practices of gift giving and receiving, occurring in modern social life. Special attention is paid to a peculiar case of the gift giving – when a gift is not given, and the act of gift giving does not take place.Every instance of gift giving or losing presents a unique moment in the life of an individual experiencing the world. The author analyzes descriptions of experience and qualitative unstructured interviews with commentaries, conducted especially for the purposes of this study, as well as her own experiences, which is typical for the method of phenomenological research. Various experiences of gift giving that did not take place are presented in the article. The first one can be defined as refusing of the gift – when an individual bringing a whiskey bottle in gratitude for his boss’s help was kicked out from the latter’s office. The second case comprises instances of memory loss from the perspective of the gift giver and the receivers. Numerous interviewees were not able to remember any gifts received from their spouses, although the gift exchange in the family was practiced during holidays every year. However, the gifts that some close persons had forgotten to give, or that were repeatedly given, present quite another matter from the point of view of the giver that still remembers them. The third case comprises the gift that was meant yet not given – a work of art dedicated to a well-known musician, but staying in the interviewee’s home. The fourth case centers on a dramatic story of a woman who abnormally accumulated stuff in her house during her whole life, but has not once given anything to her family. After her tragical demise in a fire, her family members found various things at her home and reshaped their personal attitude towards her, making the author to reconsider her attitude as well.The analysis reveals ways in which the ungiven gifts both reflect and affect the interpersonal relationships, and possible meaning and place of these experiences in people’s memory. The impossibility of the gift giving is recognized in every story as a state of uneasiness, as a certain lapse in time. It indicates a shift in perception of the interpersonal relationship and highlights the necessity of re-evaluation of the relationship that was supposed to be established by the ungiven gift.The ungiven gift puts people off their stride, depriving them of the possibility of time for a while: it makes them understand that the Other is actually different from that Other, who the subject imagined existing in their mutual relationship. The rational consciousness feels lost, and until it finds another “I” in relation to the Other, the only possible relationship is the one between “I” and “Myself”, which is separated from the world, time, and existence. However, the individual can move from the state of passive helplessness and adopt an active role in the mastership game. The concept of the mastership game presupposes an objective to influence the world that does not belong to the individual like the Other, but can be appropriated as a masterfully created game instead, subsumed by way of recognizing the meaning.The mastership game is a creative movement that presupposes searching for a new meaningful form. Thus, the gift is also a creative act: while being unable to influence the Other, the subject becomes engaged in a game and replaces the intersubjective relationship with a connection between the subject and the object (gift). Therefore, two mutually immanent subjects are related by the gift that makes their interrelationship meaningful; or, likewise, become separated, when the gift is not given.

The Effect of Creative Movement-Dance on the Development of Basic Motor Skills of Pre-School Children

The purpose of this study is to evaluate the effectiveness of a program for children aged 4-5 with the main tool of creative movement - dance and its influence on the development of basic motor skills. The aim of the intervention program is to develop "moving" motor skills through an organized intervention program with a variety of creative moves and creative dance. The intervention program aims to create a positive environment in which children can overcome negative emotions and join the team, communicate, experiment, discover, co-decide and create new kinetic dance forms.

The Role of Physiotherapy in Direct Assistance to Victims of Torture: A Holistic Approach to Healing and Wellbeing

<p>Physiotherapy is considered a healthcare profession concerned with human function and movement, and maximising potential. It normally uses physical approaches to promote, maintain, and restore physical, psychological, and social well-being, taking account of the variations in health status. The human function is more than just a physical and movement issue. Physiotherapy plays a unique role in the rehabilitation of people who have been profoundly traumatised. Certain precautions are needed when handling survivors of torture, but sensitive physical techniques can relieve the legacies of severe pain, dysfunction, and stress. The physical medium is especially effective for people who are unable to speak of their experiences. (<em>Hough, 1992</em>) Trauma, especially those who have experienced torture and considerable life-threatening violence presents a very wide range of responses from an individual - responses that often include family members and close relationships. The <em>Humane to Humane</em> Transcultural Centre for Torture Victims in Manipur has been providing direct assistance to over 450 clients and their families in support with the UN Torture Fund since 2009.</p><p>Working with people who have been tortured has similarities to working with intensive care patients. There is a need for acute sensitivity to the client's responses, an extra awareness of the importance of autonomy, and an understanding of issues of power and helplessness. A multidisciplinary approach was adopted that included medical, psychological, creative movement therapy, social and financial assistance. Physiotherapy constituted an important component of the services provided by the centre, providing a vital link in rebuilding the personality of survivors of torture because trust can be fostered in the context of physical contact. Close liaison between the physiotherapist and other therapists is needed in this area of work. A combined approach is essential in the work and the support team also indulges in caring for each other and the luxury of co-working. The intimacy of our relationship with survivors of torture is matched by the perverted intimacy of their previous relationship with the torturer, and extra care is needed in this context.</p><p>This paper elaborates on the range of psychosocial, physical, and emotional responses to torture, the methodologies adopted, and the results obtained in our centre.</p>

Drumming and dancing: creative movement for Convention refugee youth in a physical activity space

ABSTRACTConvention refugees are individuals who have fled their home countries due to a substantiated fear of persecution. As a consequence, many young Convention refugees are disconnected from their environment as they enter schools and communities and are often misunderstood in their new country due to cultural barriers. Given the universality of human movement, the physical activity setting can be an important space through which acculturation can be fostered. The purpose of this ethnographic study was to capture the nuances and experiences of 17 Convention refugees engaged in a community program. Significant moments, at the point of data saturation, were validated through observations, ethnographic interviews, artifacts and participant observations. The process of data analysis produced four themes: (a) embodied space (b) proxemics, (c) collective sharing (d) rhythm. Through triangulation, the appearances of creative movements were captured in tandem with rhythm, thus recording individual expressions within a collective space [Paulson, S. (2011). The use of ethnography and narrative interviews in a study of ‘cultures of dance’. Journal of health psychology, 16(1), 148–157]. The exploration of cultural and situational frames through drumming and movement can attempt to build an emotional bridge to support acculturation. Creative movement is a culturally relevant way to engage individuals in dialogue by asking them to tell us what they know to be moments of truth [Oliver, K. L. (1998). A journey into narrative analysis: A methodology for discovering meanings. Journal of Teaching in Physical Education, 17, 244–259]. This collective sharing lends itself to physical activity environments where there are opportunities to foster creativity, encourage intersectional identity, and support Convention refugee acculturation.

Body image promotion program with a creative movement approach for female college students in Taiwan

Body image is considered to be positively correlated with self-esteem and self-efficacy. “Beauty in the midst of moving: My healthy body image” program based upon a creative dance/movement therapy approach was proposed to improve body dissatisfaction in female college students. A quasi-experiment design with three groups: the experiment group of 16 female college students, the comparison group (mat Pilates course) of 17 female college students, and the control group of 24 female college students. These three groups were examined at three different time-points: pre-intervention, post-intervention, and three-month follow-up. The experimental group was designed with eight 90 min sessions, once a week for eight weeks. The results showed that after the program, the scores of body-image, mindfulness, and self-esteem were improved in the experimental group compared to the comparison and control groups, and the scores of body image and mindfulness were maintained in the three month follow-up.

Effect of Creative Rhythmical Movement Program on Perceptional Motor Ability, Emotional Experience and Facial Emotion Recognition Ability of Adults with Developmental Disability

Background/Objectives: This study analyzed the effect of creative rhythmical movement program participation on perceptional motor ability, emotional experience and facial emotion recognition ability of adults with developmental disability. Methods/Statistical analysis: This study set 30 male and female who use S social welfare protection center located in Seoul from age 20 to 30 that were diagnosed with intellectual or autistic disability. The study subjects were conducted and randomly arranged them into experiment and control group, each with 15 people. Experiment group and control group each participated in creative rhythmical movement program and yoga program. Findings: First, there was for the change within group, the experiment group showed significant increase from 3.76 to 5.71, and control group showed increase from 3.75 to 4.73, but did not show significant difference. Second, there was for the change within group, the experiment group showed significant decrease from 3.66 to 1.93, and the control group showed decrease from 3.93 to 3.80, but did not show significance. Third, there was for the change within group, the experiment group showed significant increase from 5.46 to 7.06, while the control group showed increase from 5.80 to 5.66,but did not show significant increase. Therefore, experiment group showed significant difference which indicated creative rhythmical movement activity improved perceptional motor ability, emotional experience and facial emotion recognition ability. Improvements/Applications: It is believed that creative rhythmical movement program is helpful to improvement of self-expression, creative ability to create own movement related to the space, sense of directionand furthermore.

Education to Theatricality and the Human Relationship: The Creative Movement

Education to Theatricality is an art that develops the human thought through both the performative, expressive and literary arts and the human sciences—in particular pedagogy, psychology, sociology, philosophy, and anthropology. Education for Theatricality aims to educate people through the expressive arts, and at the same time to educate them to the expressive arts by developing the personal creativity and expressiveness of every person. The article investigates the relationship between creative movement and body language for the development of the person’s relationship and communication skills. The study presents both a theoretical and a small practical reflection; the approach of the present work bases its scientific considerations in the field of Education to Theatricality. The process of knowing oneself and developing relational skills takes place in the expressive laboratory. In this physical and mental space, the person acts with his body; first of all, it reappropriates or discovers its own natural condition (or pre-expressive). Subsequently, he develops his language and his creativity. Furthermore, the body is a place of emotions; learning to control gestures, movements, voice, facial expression (all the physical elements with which we come into contact with others) means to become extremely competent in terms of communication. This belief is corroborated by recent neuroscience studies; in fact, they are investigating the correspondence between body action and brain response. When one person observes the movement of another, the same neurons of the person who is moving are activated in his brain; this process occurs even if the observer does not actually physically perform the movement. Within this perspective, the laboratory of expressive arts can really be a useful tool not only to promote artistry but also and above all to build a new educational and didactic methodology to develop “the human relationship”. The means and instrument of this methodology are the bodies; a real body, daily, normal. The body that everyone has and that can become the means for a new humanism.