One trajectory is sociopolitical; it draws on the rapidly developing ideas and language of cultural studies. Here we talk about dance in terms of the "socially constructed nature of human movement" (Reed 1998, 503) and of "bodily theories- armatures of relations through which bodies perform individual, gendered, ethnic, or community identities" (Foster 1995, 8). We discuss globalization, transmigration, de and re-contextualization, invented communities, kinesthetic homes, all of which address the way dance works and is worked upon in the changing contexts of world politics. We specify whether a dance affirms, resists, re-creates, challenges, undermines, or re-enforce the statues quo, and sometimes whether it does several of these at once, for we agree that dance as social action can be ambiguous (Desmond 1994).
The second trajectory is kinesthetic. Here we seek deeper understanding of movement itself as a way of knowing, a medium that carries meaning in an immediately felt, somatic mode, this trajectory runs parallel to the ideas and language of the anthropology of the senses.
We discuss embodied knowledge, proprioception, somaesthesia, kinesthetic ambiance, kinesthetic empathy, and synesthesia, all of which address the somatic dimensions of movement knowledge.
Understanding Kinesthetic Knowledge in Dance Ethnography
The provided text discusses two main approaches, or trajectories, within contemporary ethnographic dance studies:
- Sociopolitical Trajectory: This approach examines dance through the lens of cultural studies, focusing on how dance constructs social identities (gendered, ethnic, community), addresses issues like globalization, transmigration, and challenges or reinforces the status quo. It looks at dance as a form of social action.
- Kinesthetic Trajectory: This approach delves into understanding movement itself as a fundamental way of knowing and a medium for conveying meaning through direct, sensory experience. It connects with the anthropology of the senses.
Defining Kinesthetic Knowledge
The text elaborates on the kinesthetic trajectory by mentioning concepts such as:
- Embodied knowledge
- Proprioception (the sense of self-movement and body position)
- Somaesthesia (the awareness of bodily sensations)
- Kinesthetic ambiance
- Kinesthetic empathy
- Synesthesia
Crucially, the text states that these concepts all address "the somatic dimensions of movement knowledge." This means the kinesthetic perspective focuses on the physical, felt experience of movement and how that experience carries cultural meaning.
Connecting Kinesthetic Knowledge to Cultural Meanings
The question asks what cultural meanings inherent in kinesthetic knowledge of dance address. Based on the text's definition of the kinesthetic trajectory:
- It seeks understanding of "movement itself as a way of knowing."
- It discusses "somatic dimensions of movement knowledge."
Therefore, kinesthetic knowledge is fundamentally about understanding the meanings embedded within the physical act and sensation of movement itself.
Conclusion
Kinesthetic knowledge in dance ethnography is important because it explores the cultural meanings inherent in the physical experience and understanding of movement.
Important Questions from Reading Comprehension
What is the meaning of ‘intrigued’?
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When the iceberg turns upside down, it appears ________.
The use of science in its simple form has helped man to ____________
