Chapter 14 The Arts of Movement from WAYS OF KNOWING THROUGH THE REALMS OF MEANING by William Allan Kritsonis, PhD

Copyright © 2011 by William Allan Kritsonis/All Rights Re-served

14

THE ARTS OF MOVEMENT

INSIGHTS

1. The earliest and most elemental of all the arts is the dance.

2. Bodily movement is fundamental to all human ex-istence.

3. The sense of movement is inherent in every hu-man activity.

4. To be alive is to be able to respond—to be moved and to move.

5. No other instrument is as elaborate, sensitive, and intimately responsive as the human body.

6. The term "arts of movement" is intended to in-clude all intentional activities, undertaken for es-thetic purposes.

7. The arts of movement are the foundation for the learnings that take place under the broad heading of "physical education."

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284 PART TWO: FUNDAMENTAL PATTERNS OF MEANING

8. Closely related are the fields of health education and recreation.

9. The arts of movement, and particularly the dance, provide the main key to methods and meanings in health, recreation, and physical education.

10. The fundamental concept of the arts of movement is the organic unity of the person.

11. Health means wholeness, and the goal of educa-tion may be regarded as personal wholeness.

12. If learning is to be organic, provision needs to be made for activities in which the intellectual and motor components of experience are deliberately correlated.

13. The person's own body is the instrument of ex-pression and response.

14. The meanings communicated are, so to speak, flesh or our flesh and bone of our bone. They inter-pret the life of persons at the very well-springs of organic being.

15. In the arts of movement the organization of space, time, and weight has symbolic importance.

16. The expressive qualities of movements can be an-alyzed in terms of the qualities and combinations of the various motion factors.

17. Above all, what makes the composition a work of art is its organic quality.

18. Of great importance in the arts of movement and in the larger related fields of health, physical edu-cation, and recreation is the element of play.

19. Play is not a minor and incidental form of human activity appropriate only to children and to adults in their times of relaxation, but it is a primordial civilizing force influencing every field of cultural endeavor.

20. Play is free, not obligatory.21. Play is concerned with a make-believe world.22. Play occurs within a limited space and time.23. Play has order.24. Play lives on contest and tension.

25. Play proceeds according to rules that are abso-lutely binding on the players in the game.

26. Play activities tend to form enduring communities.27. Play associations tend to be esoteric and secret.

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THE ARTS OF MOVEMENT 285

28. The arts of movement are the source of esthetic meanings in which the inner life of persons is ob-jectified through significant dynamic forms using the human body as the instrument.

29. Meanings are expressed in purest form in the dance arts and are the basis for physical education conceived as the development of mature psy-chophysical coordination.

30. An important element in the achievement of health is the sprit of play.

31. The arts of movement, physical education, and health and recreation activities are all closely in-terrelated resources for the enrichment of esthetic meaning, both in individual persons and in the life of society.

____________________


Music and the visual arts have been considered first in the present section because they are the most highly developed, most widely understood, and, in a sense, the "purest" forms of esthetic expression. However, these arts are not primary, either historically or in rela-tion to human nature. The earliest and most elemental of all the arts is the dance. The dance is the primordial art because the instrument employed in it is the human body itself, and because bodily movement is fundamen-tal to all human existence.

BODILY MOVEMENT IS FUNDAMENTAL TO

ALL HUMAN EXISTENCE

The sense of movement is inherent in every hu-man activity. To be alive is to be able to respond—to be moved and to move. All perceptions of the surround-ing world are accompanied by motor reactions. Every experience, whether primarily of feeling, thought, or vo-lition, engages the whole person, including the inter-connected system of muscles, nerves, bones, tissues, organs, and internal secretions. No other instrument is as elaborate, sensitive, and intimately responsive as the human body. This is why the arts of movement are so important for the expression and perception of hu-man meaning.

THE SPECIAL VALUE OF THE ARTS OF MOVEMENT ISTHEY AFFORD OPPORTUNITIES FOR CULTIVATING

BODILY POTENTIALITIES

The term "arts of movement" is intended to in-clude all intentional activities, undertaken for esthetic purposes, in which the desired expressive effects are communicated by the movement of the human body. Obviously movement also occurs for other than esthetic reasons, as in daily work, eating, locomotion, and social activities. Much of what a person must learn relates to the motor skills required for the successful conduct of daily life. The special value of the arts of movement,


and particularly of the dance, is they afford opportuni-ties for the deliberate and concentrated cultivation of bodily potentialities without limitation by the exigencies of practical life.

THE ARTS OF MOVEMENT ARE FOUNDATIONAL TO THE

BROAD AREAS OF PHYSICAL EDUCATION

The arts of movement are the foundation for the learnings that take place under the broad heading of "physical education." The program of instruction in this field is ordinarily centered around individual and team sports and gymnastic activities, with the dance being at most one among many options. Closely related are the fields of health education and of recreation. All these fields are concerned with promoting the vigor of the hu-man organism, neuromuscular skills, good interpersonal behavior, emotional balance and control, and sound judgment. While these objectives extend beyond the esthetic concern that is proper to the arts, it is still true that the arts of movement, and particularly the dance, provide the main key to methods and meanings in health, recreation, and physical education.

THE FUNDAMENTAL CONCEPT OF THE ARTS OF MOVEMENT

IS THE ORGANIC UNITY OF THE PERSON

The fundamental concept of the arts of movement is the organic unity of the person. Health means whole-ness, and the goal of education may be regarded as personal wholeness. From this standpoint the classic duality of mind and body is rejected. A person cannot think without a body, nor are his motor responses inde-pendent of thought. If learning is to be organic, provi-sion needs to be made for activities in which the intel-lectual and motor components of experience are delib-erately correlated. This union of thought, feeling, sense, and act is the particular aim of the arts of movement and of the fields of heath, recreation, and physical edu-cation. Nowhere else is the coordination of all compo-nents of the living person so directly fostered, nor the


resulting activity so deeply rooted in the unitary exis-tence of the person.

It was pointed out earlier that meanings in the arts are immediate perceptions rather than the mediated conceptions of the discursive fields. Of all the arts, the arts of movement best exemplify this immediacy, since the person's own body is the instrument of expression and response. Here perceptions arise from the felt

Dance is one of the most evolvedart forms known to humans.Dance, as the first art form,

has been developed nearly aslong as humans have been

capable of physical movement.Even the beasts in the wild used

dance ritualistically. Not onlyis dancing taught, but it can be

used to teach. How manyother arts can be taught orexplained using the arts of

movement?



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tensions and rhythms of the organism itself, without ob-jectification in any nonhuman thing. The meanings communicated are, so to speak, flesh of our flesh and bone of our bone. They interpret the life of persons at the very wellsprings of organic being.

DANCE AND MOVEMENTS

The materials of dance are movements, perhaps with assistance from music, costumes, stage settings, architecture, and lighting. These supplementary materi-als are all subordinate to movement and are only justi-fied insofar as they enhance the presentation of the in-ner life of dynamic conflict and resolution, lift and de-cline, as it is objectified by bodily movements. The movements of the dance are designed to express defi-nite inward purposes, moods, and attitudes. move-ments are not random and haphazard, but controlled so as to convey ideas of the ebb and flow of feelings and emotions. Movements are intelligible forms with their own characteristic presentational logic. Movements make visible the subjective life of persons by means of a series of symbolic gestures.

DANCE DESIGNS TRANSMITTED DIRECTLY FROM PERSON TO PERSON

Unlike music, that has a highly efficient system of notation, the dance has traditionally had no written form. Consequently, dance designs have largely had to be transmitted directly from person to person instead of impersonally through graphic transcriptions. As a result, the accurate recovery of long discontinued forms is im-possible, protracted declines in the condition of the art have been difficult to avoid, and the preservation and diffusion of dance achievements have been hindered. Only in the 20th century have satisfactory systems of dance notation begun to be developed (as in the work of Rudolph Laban, the author of a comprehensive sys-tem of notation for indicating movement).


DANCE CLOSELY RELATED TO MUSIC

As an art form, dance is closely related to music. Though originally music was used only as an accompa-niment to dance, it long ago became established as an independent art in the Western world. The forms de-vised to solve musical problems are ordinarily not suit-able for dance, and musical ideas are not always trans-latable into corresponding forms of movement. Com-plete dance does involve voice as well as movement, and appropriate subordinate musical accompaniments are often composed for the dance.

CONNECTIONS BETWEEN DANCE, DRAMA, AND MUSIC

The connection between dance and drama is even closer than between dance and music. Music is a dis-embodied expression of emotions that dance expresses bodily. Drama, on the other hand, embodies emotions in the persons of characters, while the dance aims at typifying human emotions. Dance is a composition of movements that express kinds of feelings, while drama is composed of actions that portray events of human significance.

DANCE SHARES THE QUALITY OF ABSTRACTION

The dance shares with all the arts the quality of abstraction. The meanings expressed in dance are not merely accidental, subjective, and personal. They are intended as objectifications of inner experiences having universal importance. They are not of the same nature as the abstractions of the sciences, which are contained in conceptual generalizations. The meanings conveyed in the dance and in the other arts are communicated in particular sensuous presentations. Their perceptual vi-tal connotations are contained in specific organic forms capable of being understood by other sensitive and re-ceptive persons because the feelings conveyed are deeply rooted in the basic structure of human nature.

These meanings are also idealizations. They are not meant to reproduce nature nor to imitate common-


place actions, which are in no need of artistic expres-sion. The forms of art offer a reshaping or transforma-tion of nature that exalts, clarifies, and concentrates perception through significant abstraction. The artist creates a new world in which human potentialities not fulfilled in the natural world can be realized.


MEANING IN DANCE CONSISTS IN THE DIRECT EXPERIENCE

In the dance, as in every other art, the expressive forms tend to crystallize into traditional formulas. His-torical, geographic, and ethnic factors enter into the de-velopment of standardized styles in art. Even though the impulses of artistic creation are universal, the par-ticular forms of expression are influenced by circum-stances of time and place. This fact of stylization im-poses two obligations on those who seek to communi-cate esthetic meanings. First, attention should be di-rected beyond the forms to the inner life they are de-signed to express. Second, interpretations have to be offered so that the artistic style of a group of people can become meaningful to persons living in a different time or culture. Translation across group lines requires an imaginative and sympathetic attempt to participate in the life of the other people so that their unfamiliar artistic idioms may become intelligible. The goal of un-derstanding alien styles of dance is not merely concep-tual in quality, yielding knowledge about other people and their ways. The goal of understanding depends on the ability to make the appropriate motor responses to the forms presented. The characteristic meaning of the dance consists in the direct experience, whether as a dancer or as a spectator, of the sense of movement the forms of the art objectify.

CONTEMPORARY DANCE: CONTRASTING BALLET

AND MODERN EXPRESSIVE DANCE

Contemporary dance as an art form is of two main types: ballet and modern expressive dance. In ballet the objective formal qualities are emphasized; in the expressive dance the chief concern is the communica-tion of emotion. In the ballet more or less standard codes of movement are used, and particular motor skills are exploited to the full; in the expressive dance the crystallization of forms is minimized, and the direct relation of movement to life experience is emphasized.


BALLET

The ballet is a particular kind of theater dance de-veloped during the Renaissance. It suffered stylistic os-sification and became a mere decorative adjunct to the opera, until it was rescued and given its independent place as a theater art by Jean George Noverre in the mid-18th century. After another period of decay in the 19th century, it was again revitalized in the present cen-tury by Michel Fokine, whose cardinal rules may be summarized as follows: (a) Let there be no ready-made routines; (b) each ballet shall be a unified dramatic se-quence without extraneous passages; (c) expression is to be effected by means of the whole body, not by styl-ized hand gestures; (d) the corps de ballet is to partici-pate integrally in the dance and not serve merely as a decorative background; (e) music, scenery, and cos-tumes are to serve with the dance in fulfilling a single esthetic purpose. The essence of these rules is the prin-ciple of organic vitality: the insistence that the dance express living experience through an integrated sensu-ous pattern.

According to John Martin, the soul of ballet is ideal-istic abstraction, and its body is dynamic equilibrium, in which “the dancer becomes a sensuous sentient object maintaining balance against all hazards, inviting and even extending these hazards far beyond the margin of safety and meeting them effortlessly in evidence of a dominion over the inertial and circumscriptions of real-ism.”1

The classical ballet has its own vocabulary of movement. There are five fundamental positions of the feet, five corresponding positions of the arms, others for the hands and head, eight directions of the body, seven types of movement (bending, stretching, rising, jumping, gliding, darting, turning), and various climactic poses used to finish sequences of movement. Addi-tional effects can be achieved by the dancer rising on 1 Introduction to the Dance, W. W. Norton & Company, Inc., New York, 1939, p. 217. Reprinted by permission of the publisher.


the toes. From these various elements an inexhaustible variety of movement designs can be created.

The dynamic equilibrium of the ballet is achieved within a gravitational field. The postural standard from which all departures are made is that the vertical body supported by the legs as a single solid column, with the feet as a stable base. As parts of the body are moved from this neutral position, compensatory movements are made by other parts to maintain gravitational equi-librium. The support of the legs is dramatized in a great variety of ways, the arms participate in the develop-ment of designs, and the orientation of the head and the facial expression are made to harmonize with the larger body movements. In all cases the movements and postures are felt as emanating from the whole body as a dynamic unity and not simply from separate body parts.

MODERN EXPRESSIVE DANCE

The modern expressive dance emerged as an art in the present century through the revolutionary work of such artists as Isadora Duncan, who saw the dance as a projection of the inner life of a dancer, and Mary Wigman, who first developed expressive dance as an objective art with clear dramatic form. These mod-ernists in the field of dance, like their counterparts in music (e.g., Arnold Schonberg and Igor Stravinksy) and in the visual arts (e.g., Paul Cézanne and Frank Lloyd Wright), aim to liberate the artist from subservience to standard forms, particularly from the obligations of verisimilitude, so that he may create new and unfamil-iar ideal abstractions for the enrichment of the world of human meanings.

The method of the expressional dance differs from that of the ballet in that, rather than starting with a given vocabulary of movement and using it to display the dancer’s powers, as in the ballet, the point of de-parture in expressional dance is the presentation of a significant emotional concept through formal move-


ment materials created extempore for that specific pur-pose. The primary equipment of the modern dancer is a body trained for strength, control, plasticity, and re-sponsiveness. The training required is physical educa-tion in the organic sense: the development of skill in bodily responses in perfect correlation with relevant in-tellectual and affective factors within the whole person.


THE MASTER OF EMOTIONAL OBJECTIFICATION

IS THE HEART OF DANCE TECHNIQUE

As stated earlier, the emotion expressed by the dancer is not merely an individual subjective impulse. The dancer is not supposed to move under the compul-sion of immediate private emotional pressures. He has to learn to remember, re-create, and objectify signifi-cant human emotions so as to evoke similar responses in other people. This mastery of emotional objectifica-tion is the heart of dance technique.

SPACE, TIME, AND WEIGHT IN DANCE

The native realm of the dance in all types of dance is space, both the particular space around the body and the general space in which he moves. Movement through space introduces the factor of time, and since the movement must take account of gravity, weight also enters as an essential element. Space, time, and weight in the dance are perceptual categories—the stuff of immediate inward experience—and not general metrical standards as they are in the conceptual formu-lations of the physical sciences, where the same three factors also occupy a central position.

THE ARTS OF MOVEMENT HAVE SYMBOLIC IMPORTANCE

In the arts of movement the organization of space, time, and weight has symbolic importance. For exam-ple, the basic body attitudes in dance are sometimes described metaphorically as those of “arrow,” “wall,” and “ball,” connoting respectively such feelings as piercing, dividing, and turning inwards. Movements up-ward may signify aspiration, downward submission, across the body seclusion, outwards awareness and welcome, backward retreat, forward initiative and pur-posefulness. When directional movements such as these are accompanied by compensatory shifts in weight, quite different expressive effects—with more tension and complexity of emotion—are achieved. For example, movements along diagonal directions (from


the standpoint of the body imagined as in a horizontal cube) produce more tension than do movements in the vertical and horizontal directions, because of the re-quired weight redistributions. Each body orientation has its natural expressive possibilities, that the dancer seeks to explore and to realize through his movements.

EXPRESSIVE MOVEMENTS ANALYZED IN TERMS OF

QUALITIES AND COMBINATIONS

The expressive qualities of movements can be an-alyzed in terms of the qualities and combinations of the various motion factors. The weight factor may vary on a scale from heavy to light, the space factor from direct to flexible, and the time factor from sudden to sus-tained. Different combinations of these factors produce different qualities of movement. For example, a heavy, direct, sudden movement (a punch) differs in quality from a heavy, direct, sustained movement (a press) or a light, flexible, sustained movement (a float).

Being able to analyze movements is no indication that they are understood inwardly and that one has learned to respond to them with his own whole being. Conceptual analysis of perceptual forms may be helpful in directing attention to the essentials of what is to be learned through the arts of movement. Such intellectual formulation is also necessary in arriving at an under-standing of the distinctive kinds of meaning in these arts of movement and their place within the whole en-terprise of teaching and learning.

THE GOAL IS CREATING AND UNDERSTANDING

In the arts of movement, as in the other arts, the goal of creation is the making of significant individual works of art, and the perceiver’s aim is to understand the importance of those works in their uniqueness. In the dance the object to be created and understood is the individual dance composition. For the making of such works no fixed rules of method apply. They are the offspring of creative imagination, in response to the ur-


gencies of vital expression, using the natural powers of the human organism itself as materials.

THE METHOD OF INVENTION

Concerning the method of invention in the arts of movement, one begins with some kind of stimulus, such as a movement idea, a verbal concept, a visual image, or a sound, that starts an expressive movement flow. This flow comprises movement motives and movement phrases, analogous to the melodic motives and phrases in musical composition. Using these elements, themes are developed, with repetitions and variations to supply the continuity and contrast essential in every significant esthetic object. The boundaries and divisions of the composition are marked by climaxes, produced by final thrusts, intensifications, or sharp contrasts.

THE COMPOSITION OF A WORK OF ART

IS ITS ORGANIC QUALITY

Above all, what makes the composition a work of art is its organic quality. It is a whole, with beginning, middle, and end and with parts so interfused and inter-dependent that none could be omitted without damage to the others. It is not a collection of isolated elements, It is a creation expressing the organic rhythms of the living person. The logic of its development reflects the inner dialectic of personal life, in which each new ele-ment is assimilated within a system with basic organic integrity and continuity. The forms of the dance exhibit intrinsic relationships growing out of the immediacy of the inner life rather than the extrinsic relationships that characterize arbitrary constructions and conventional abstractions.

THE IMPORTANT ELEMENT OF PLAY

Elements of PlayA final factor of great importance in the arts of

movement and in the larger related fields of health,


physical education, and recreation is the element of play. Whether or not particular play activities fall within the province of the arts as such, the typical meanings inherent in play belong to the esthetic realm. A consid-eration of play helps to reinforce and illuminate the meanings characteristic of the several fields of artistic creation.

The classic treatment of the philosophy of play is Johan Huizinga’s Homo Ludens: A Study of the Play Ele-ment in Culture.2 Huizinga demonstrates that play is not a minor and incidental form of human activity ap-propriate only to children and to adults in their times of relaxation, but that it is a primordial civilizing force in-fluencing every field of cultural endeavor. He shows that the play element is clearly evident in language, in law, in war, in the pursuit of knowledge, in philosophy, in religion, in poetry, in music, and most particularly in the dance, the perfect exemplification of play.

Analysis of the Essentials of PlayHuizinga’s analysis of the essentials of play dis-

closes eight features of meaning in this field. First, play is free, not obligatory. The player chooses to participate in the game, just as the artist deliberately elects to cre-ate his works of art and the perceiver of the works vol-untarily enjoys them.

Second, play is concerned with a make-believe world, and not with ordinary, everyday life. Play, like the arts, effects a transformation of existence. By the power of imagination a new order of things is created in which the complexities and frustrations of concrete ac-tuality are overcome in the ideal abstraction of a game or a work of art. Play is not designed to enable one to adjust to the real world or to help him meet ordinary wants and needs. It is a kind of ecstasy lifting up the participant to a realm of freshness and extraordinary delight.

2 Beacon Press, Boston, 1955.


Third, play occurs within a limited space and time. A game, like a work of art, is a definite finite object with a beginning and an end. It is a complete, individual whole. Like a picture, it has a frame, and like a sym-phony, it has its proper duration.

Fourth, play has order. It is not random activity. A game is an organized pattern of events, a structure with its own inherent logic. The order of play is not pri-marily that of ordinary discourse or of science; it be-longs, rather, to the perceptual idealizations of the es-thetic realm—of forms presented for the immediate en-joyment of the experiencer.

Fifth, play lives on contest and tension. Players struggle with one another to win the game, not for per-sonal gain but for the love of the activity itself. The player strives for excellence. His aim is prowess in the chosen form of contest. His satisfaction consists in play-ing the game well, as the artist also seeks perfection in the making of his works, devoting himself without reservation to the service of his art.

Sixth, play proceeds according to rules that are absolutely binding on the players in the game. The worst sinner in play is the spoilsport, who rejects the rules, and not the cheat, who implicitly acknowledges the rules in attempting to conceal his breaking of them. The rules comprise the constitution of the play society, the binding element making possible a disciplined form of conjoint activity. The arts reflect this aspect of play to the extent that certain artistic conventions are adopted as the agreed basis for artistic construction and interpretation. In both play and art, of course, the principle of freedom requires that the rules be voluntar-ily adopted and that new sets of rules may be invented without limit.

Seventh, play activities tend to form enduring communities. The temporary association of the play group lead to long-term voluntary associations. Simi-larly, though works of art are individual esthetic ob-


jects, artistic activity leads to persisting schools and movements, that are influential in determining the cul-tural atmosphere of civilization.

Eighth and finally, play associations tend to be es-oteric and secret. They give their members a sense of being privileged insiders,” and the life shared is re-garded as something special, different from the ordi-nary life of the public world. Belonging to such groups seems to fulfill a deep hunger in human beings. The es-oteric voluntary associations of play are perhaps the best answer to the pernicious in-group/out-group dis-tinctions of race, class, and religion. Similar benefits may also flow from the esoteric associations of devo-tees in the arts, who by voluntarily combining in groups of persons with similar esthetic concerns both preserve freedom and secure the benefit of social reinforcement.


Children need physicalmovement to help develop

coordination and motor skills. Theproblem lies in making a student

interested in physical education. It ispossible to tailor play activities that

wouldinterest most students to take the

placeof structured exercise. However, if a

student is required to participatein such exercises, will he/she

still see it as play?


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THE ARTS OF MOVEMENT ARE SOURCES

OF ESTHETIC MEANING

In summary, the arts of movement are the source of esthetic meanings in which the inner life of persons is objectified through significant dynamic forms using the human body as the instrument. These meanings are expressed in purest form in the dance arts and are the basis for physical education conceived as the develop-ment of mature psychophysical coordination. The goal of such education is personal wholeness, or organic well-being of mind and body, which is the essence of health. An important element in the achievement of health is the spirit of play, which has proved to be a powerful force in the creation of culture in all its as-pects. The arts of movement, physical education, and health and recreation activities are all closely interre-lated resources for the enrichment of esthetic meaning, both in individual persons and in the life of society.

WAYS OF KNOWING

1. Why are the visual arts considered the “purest” forms of esthetic expression?

2. What is the most elemental of all the arts?3. Why is bodily movement fundamental to all hu-

man existence?4. What does it mean to be alive?5. How is the term “art of movement” intended to

be used for esthetic purposes?6. What is the special value of the arts of move-

ment?7. What is the program of instruction in the broad

areas of physical education?8. What is the fundamental concept in the arts of

movement?9. What is the goal of education?10. If learning is to be organic, what provision

needs to be made for activities in which the intel-


lectual and motor components of experience are deliberately correlated?

11. What is the particular aim of the arts of move-ment in the fields of health, recreation, and physi-cal education?

12. How are meanings communicated in the es-thetic realm when one uses his own body?

13. What materials are used in dance?14. What is the purpose of supplementary materials

in dance?15. What are movements of dance designed to ex-

press?16. How do movements make visible the subjective

life of the person?17. How has dance designs been largely transmit-

ted to others?18. As an art form, how is dance closely related to

music?19. Why is the connection between dance and

drama closer than between dance and music?20. How are meanings in dance expressed and con-

veyed?21. How does stylization impose obligations on

those who seek esthetic meanings?22. What is the goal for understanding alien styles

of dance?23. What does the characteristic meaning of dance

consist of?24. What is emphasized in ballet?25. What is emphasized in modern expressive

dance?26. Why is there an insistence that ballet express

living experience through an integrated sensuous pattern?

27. The aim of modern expressive dance is to liber-ate the artist from what standard forms?

28. How does the method of expressional dance differ from that of ballet?

29. What is the goal of the expressional dancer?


30. What is the primary equipment of the modern dancer?

31. What training is required in the organic sense for the modern expressive dancer?

32. How does the dancer learn to objectify signifi-cant human emotions so as to evoke similar re-sponses in other people?

33. In dance, what is the significance of space, time, and weight?

34. Does being able to analyze movements indicate understanding inwardly that one has learned to re-spond to them with his whole being?

35. Is conceptual analysis of perceptual forms help-ful in directing attention to the essentials of what is to be learned through the arts of movement?

36. Why is intellectual formulation necessary in ar-riving at an understanding of the distinctive kinds of meanings in these arts of movement and their place within the whole enterprise of teaching and learning?

37. What is the goal in the arts of movement?38. What is the method of invention in the arts of

movement?39. What makes the composition a work of art?40. Why does play belong to the esthetic realm?41. How is play a civilizing force that influences ev-

ery field of cultural endeavor?42. What are the eight essentials of play?43. In both play and art, what does the principle of

freedom require?44. What are some positive esoteric benefits in vol-

untary associations of play?45. What are some positive benefits in voluntarily

combining groups of persons with similar esthetic concerns?

Documents

Chapter 14 The Arts of Movement from WAYS OF KNOWING THROUGH THE REALMS OF MEANING by William Allan Kritsonis, PhD