The interplay of emotions (or
motivations/limitations) that occurs within the decision-making process is
significant and various approaches to producing movement material using
this interplay produce choreographically interesting material e.g.
-
Pelvis moving (or being moved) forward, head
moving backwards
-
Feet trying to move forwards (this comes from
the activity of ‘hauling’ which occurs in the stimulus story Fly: “he hauled himself up to the top of
the cliff”), pelvis shifts forward when the feet begin to stall, head keeps
moving away
-
Finding the place where ambition is situated in
the body and similarly, the place where doubt is situated and exploring the way
in which ambition can drive us forward and doubt can take us back
It is important to remember:
-
ambition and doubt are 2 of many possible
motivation/limitations and everyone experiences them differently (including experiencing
them in a different place in the body); through discussing these
motivations/limitations we can build a more specific picture of how they look
and feel and their impact on the body e.g. ‘ambition’ or something like it is
more direct, more open, can be a whole body experience which wraps around some
people like a cloak or fills the ‘bowl’ of the pelvis, may lift the focus, is
unlimited by space and therefore doesn’t finish; ‘doubt’ or something similar
is indirect, disjointed (perhaps as a result of responding to too many
options?), manifesting itself in the shaking of the head or an inwards spiral,
something private and therefore more closed than ambition, situated for some
people to the side of the head or behind the eyes
-
where we do experience doubt, we have discovered
that doubt always seems to override any other impulses, no matter how
insignificant that doubt might seem – we can be 99% certain, and the 1% of
uncertainty could still prevent us from jumping, even from getting to the edge
of the cliff
-
where we feel 50% doubt and 50% ambition, this
can lead to a kind of inertia, neither moving forward or backward in space (but
still moving: choreographically, I am interested in documenting this 'small dance' on film, as the film medium enables us to focus in on small details)
-
other motivations or motivating behaviours
include resignation, faith, not considering the consequences
-
other limitations include fear (which we
described as getting stronger as we get older)
-
to be open to the unexpected e.g. 2 or more
initiation points may impact in an unexpected way on each other e.g. we
discovered that sometimes moving the ‘ambition’ and ‘doubt’ initiation points
towards each other produces an overall feeling of uncertainty, whereas moving
them away from each other feel more open and therefore empowering (we can also
emphasise these experiences through use of rhythm i.e. indecision or doubt has
a more fidgety, staccato rhythm and is more indirect in terms of its pathway;
ambition is expansive and sustained and more direct)
-
individuals can experience different proportions
of different intentions at different times: we have tried to map this for our
journey towards the point of making a decision, which depends very much on the
context of the decision (I talked in my last blog about this journey map or
‘story board’ of events; more recently, I have been made aware of the potential
correlation between this idea and the Transtheoretical
Model of Behaviour Change, following informal discussions with Dr Kate Hefferon and
Siri Steinmo)
Kate and Siri have also shared with me some information about Embodied Cognition,
which suggests that all aspects of cognition are shaped by aspects of the body,
or the way in which we behave in response to certain situations is informed by
the body as much as it is informed by the brain. Based on our workshops over
the past 2 weeks, this notion makes sense to me, and often the dancers express
their experience of ‘flow’ in terms of responding physically, without thinking
about it: e.g. “it’s nice to get to the place where you don’t have to think
about it”, “not even considering what’s going to happen”. This focus on the
physical experience means that the dancers are not necessarily able to identify
moments of ‘flow’ within the
workshops, but what they tell me about their experiences indicates that they
have experienced flow. Or, the dancers feel that they have enjoyed what they
have done, but can’t necessarily pinpoint why. So,
it seems they find flow easier to identify when they are not mindful of the fact that
they are identifying it. This links for me with what Csikszentmihalyi
describes as “the self expand[ing] through acts of self-forgetfulness”. Elsewhere, Stephen Mumford also writes about this and De Manzano, Theorell, Harmat and Ullen (2010) describe that a flow state is characterised by "effortless attention", or a "subjective experience of heightened, unforced concentration", which might seem to be a contradiction in terms given how hard we often have to try in order to concentrate on what we are doing.
I think the idea of Embodied Cognition has implications for the
way in which I set up movement tasks within the choreographic process, and it
could be useful in terms of enabling the dancers to access flow to emphasise
the physicality of their response before
we enter into a discussion about what that response means, and therefore begin
to intellectualise it.
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