Choreography as Embodied Critical Inquiry: Embodied Cognition and Creative Movement

Contents

• Chapter 1: Dance: What does it all mean, anyway?
• Dance and Meaning
• Phenomenology and the Embodied Mind
• Embodied Metaphors and Enactivism
• Overview
• Chapter 2: Critical Inquiry and Creative Cognition
• What is Critical Inquiry
• Creativity and Critical Inquiry
• Creative Cognition in Dance Research
• Chapter 3: Affect and Embodied Intuition
• Affect in Embodied Theories
• Affect as Intuition
• Embodied Intuition and Dance
• As Aside: Bergson, Nietzsche, and Embodied Intuition in Dance
• Chapter 4: Improvisation vs. Choreography
• Improv
• Choreo
• The Different Aims of Improv and Choreo
• Chapter 5: Embodied Critical Inquiry (Main chapter)
• Embodied Inquiry vs Phenomenological Method
• Embodied Cognition and Procedural Knowledge
• Embodied Cognition in Thinking in Movement
• Embodied Critical Inquiry as Thinking in Movement
• Dancing Critical Inquiry through Linguistic Bodies
• Chapter 6: The Priority of the Soma
• Somatics
• Soma and Embodied Intuition
• Somatics in Dance Movement Therapy
• Soma and the Cognitive Unconscious
• Chapter 7: Embodied Critical Inquiry and Enactivism
• Enactivism in Embodied Theories of Cognition
• Enactivism and Dancing Linguistic Bodies
• Embodied Metaphors in Enactivist Frameworks
• Chapter 8: Dance Methodology
• Theory Behind the Method
• Methodological Framework and Procedure
• Chapter 9: Results of Methodology experiments
• General Results
• Connie
• Shannon
• Julianna
• Chapter 10: Remaining concerns