This research investigates how the kinesthetic body forms knowledge of an environment and how that knowledge transforms with the involvement of participants. A Practice as Research (PAR) methodology employs the body as primary agent in cognition. Choreographic and improvisational movement devices assist the task of tracing cognition in…

This article addresses the notion of touch and its constitutive role in the participatory sense-making process (de Jaegher and Paolo 2007) of play and dance improvisation. It is argued that touch is always relational, as it continuously changes the contours of self, other(ness), and world(ing). It is therefore surprising that touch traditionally…

The purpose of this action research is to explore the value of 'touching' when teaching in a ballet studio-based class. This method, as part of cultural heritage, is traditionally used and preserved to correct students, but in today's society, this could become challenging and problematic in Higher Education. Is this way of teaching still…

Environmental, organizational and attitudinal obstacles continue to prevent people with vision loss from meaningfully engaging in dance education and performance. This article addresses the societal disabilities that handicap access to dance education for the blind. Although much of traditional dance instruction relies upon visual cuing and…

Contact improvisation (CI) is a form of dance based on motor creativity, improvisation and the physical contact between different improvisers dancing together. This will generate different ways of moving and a varied use of motor creativity depending on the dancers involved. This study aims to observe the differences in movement generation…