This thesis studies the topic of the effects of the somatic improvisation dance program, which centers on the body-parts metaphor technique, body awareness, and expression of modern dance majors. As for more in-depth content, this research constitutes a program centered on the body-parts metaphor te...
This thesis studies the topic of the effects of the somatic improvisation dance program, which centers on the body-parts metaphor technique, body awareness, and expression of modern dance majors. As for more in-depth content, this research constitutes a program centered on the body-parts metaphor technique, which deals with life experiences and symbols that are inherent to corporeal bone and muscles, above all other various dances and recovery methods of Halprin, and it applies this program to modern dance majors to study its effectiveness.
Most of the improvisation dance process consists of moments and creations of novel works as movements are realized, not of moving towards a goal with specific topics or intentions, and this process can be seen as putting focus on change and creation by awakening the body’s latent senses. In that respect, the research in this thesis argues that, in order to reformulate a program centered on Halprin’s body-parts metaphor technique and to thereby achieve understanding of one’s body and creative expression, a creative program that instigates deeper understanding of one’s own body and ability to express creatively must be designed instead of lessons and coaching on techniques.
Furthermore, a somatic characteristic of improvisation dance is that the human is the organic being of the body and the mind. This process, by suggesting the possibility of healing a person through he or she placing an unconditional trust in the physical/mental capability of humans, becomes a meaningful working process that can reveal one’s ability to express creatively through choreographing or creating, and that includes an internal healing process as well. With a movement-oriented expressive arts therapy program at the center, body-parts metaphor technique, which works with the body, is the integral application of expressive arts with the Jungian psychology of active imagination, the various methods of healing in Gestalt’s psychotherapy, etc. Based on such a theoretical background, this thesis attempts to practice the work of integrating the body and heart of the participants of this research, who are modern dance majors, using imagination and association to search for emotions and images remembered by each body part and connected with one’s life. This, ultimately, is also the aim of this research.
At the same time, the somatic method is an important process in improvisation dance, and the program in this research is considered highly applicable because it is developed around the physical self-consciousness and the metaphorical relationship, both of which can actualize the process in a more specific manner. Therefore, this research proceeds through two-level studies: the first level consists of a program that revolves around a somatic body-part metaphor technique combined with improvisation dance, and the second level consists of examining physical/mental changes through physical self-consciousness and expression. In order to draw these processes, the following research questions have been posed.
The first research question organizes a somatic improvisation dance program that revolves around Halprin’s body-parts metaphor technique. The second research question verifies how the program affects modern dance majors. Specifically, it looks at how a somatic program influences the physical self-consciousness and expression of modern dance majors.
To test this, a total of seven people were divided into two groups and participated in the experiment. The following is a summary of the physical self-consciousness ability, expression, and physical/mental changes caused by the application of the somatic method of body-parts metaphor technique.
First, after looking at the subcategories of physical self-consciousness capability, physical competence showed the greatest change, followed by physical interest and internal self-consciousness, a manner of order that revealed that the program influenced the participants’ physical self-consciousness competence.
Second, after looking at the subcategories of the above analysis, expressivity showed the greatest change, followed by variety, individuality, and significance, leading towards the conclusion that the program is effective in improving the participants’ expressivity, variety, and individuality. As a result of both quantitative research as well as the analysis and observations of qualitative responses from individual participants, it is revealed that there is a special response from and effect on the physical, mental, and cognitive aspects of various areas.
Therefore, this study, which examined the effects of the somatic improvisation dance program focusing on Halprin’s body-parts metaphor technique on the body awareness and expression of modern dance majors, analyzed the results before and after applying the program to the participants. The results showed that this program contributed to quantitative and qualitative changes in the research participants at various levels, and it was effective in improving their body awareness and creative expression.
This thesis studies the topic of the effects of the somatic improvisation dance program, which centers on the body-parts metaphor technique, body awareness, and expression of modern dance majors. As for more in-depth content, this research constitutes a program centered on the body-parts metaphor technique, which deals with life experiences and symbols that are inherent to corporeal bone and muscles, above all other various dances and recovery methods of Halprin, and it applies this program to modern dance majors to study its effectiveness.
Most of the improvisation dance process consists of moments and creations of novel works as movements are realized, not of moving towards a goal with specific topics or intentions, and this process can be seen as putting focus on change and creation by awakening the body’s latent senses. In that respect, the research in this thesis argues that, in order to reformulate a program centered on Halprin’s body-parts metaphor technique and to thereby achieve understanding of one’s body and creative expression, a creative program that instigates deeper understanding of one’s own body and ability to express creatively must be designed instead of lessons and coaching on techniques.
Furthermore, a somatic characteristic of improvisation dance is that the human is the organic being of the body and the mind. This process, by suggesting the possibility of healing a person through he or she placing an unconditional trust in the physical/mental capability of humans, becomes a meaningful working process that can reveal one’s ability to express creatively through choreographing or creating, and that includes an internal healing process as well. With a movement-oriented expressive arts therapy program at the center, body-parts metaphor technique, which works with the body, is the integral application of expressive arts with the Jungian psychology of active imagination, the various methods of healing in Gestalt’s psychotherapy, etc. Based on such a theoretical background, this thesis attempts to practice the work of integrating the body and heart of the participants of this research, who are modern dance majors, using imagination and association to search for emotions and images remembered by each body part and connected with one’s life. This, ultimately, is also the aim of this research.
At the same time, the somatic method is an important process in improvisation dance, and the program in this research is considered highly applicable because it is developed around the physical self-consciousness and the metaphorical relationship, both of which can actualize the process in a more specific manner. Therefore, this research proceeds through two-level studies: the first level consists of a program that revolves around a somatic body-part metaphor technique combined with improvisation dance, and the second level consists of examining physical/mental changes through physical self-consciousness and expression. In order to draw these processes, the following research questions have been posed.
The first research question organizes a somatic improvisation dance program that revolves around Halprin’s body-parts metaphor technique. The second research question verifies how the program affects modern dance majors. Specifically, it looks at how a somatic program influences the physical self-consciousness and expression of modern dance majors.
To test this, a total of seven people were divided into two groups and participated in the experiment. The following is a summary of the physical self-consciousness ability, expression, and physical/mental changes caused by the application of the somatic method of body-parts metaphor technique.
First, after looking at the subcategories of physical self-consciousness capability, physical competence showed the greatest change, followed by physical interest and internal self-consciousness, a manner of order that revealed that the program influenced the participants’ physical self-consciousness competence.
Second, after looking at the subcategories of the above analysis, expressivity showed the greatest change, followed by variety, individuality, and significance, leading towards the conclusion that the program is effective in improving the participants’ expressivity, variety, and individuality. As a result of both quantitative research as well as the analysis and observations of qualitative responses from individual participants, it is revealed that there is a special response from and effect on the physical, mental, and cognitive aspects of various areas.
Therefore, this study, which examined the effects of the somatic improvisation dance program focusing on Halprin’s body-parts metaphor technique on the body awareness and expression of modern dance majors, analyzed the results before and after applying the program to the participants. The results showed that this program contributed to quantitative and qualitative changes in the research participants at various levels, and it was effective in improving their body awareness and creative expression.
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