Dance and the brain

Just as a child’s neurodevelopment becomes more sophisticated with life experience, somatic psychotherapy and dance/movement therapy, now in their eighth decade, are approaching a more intricate stage of growth. As each discipline grows in complexity, conflicts have risen regarding the concept of identity. The recent debate of whether dance/movement therapy is one of the somatic psychotherapies or its own discipline is a necessary and exciting “growing pain” in the evolution of embodied psychotherapy practices. This paper provides a historic overview and uses a systems theory framework to compare the disciplines with data derived from original and recent literature. Practices, education, and governance of each discipline are presented as they exist in the United States. Findings illustrate the comparison and offer clarity on the current trend toward integration. Suggestions are made for further critical thinking to develop awareness toward an evolved perspective of embodied psychotherapy practices.

A peer-reviewed paper that evaluates and discusses the impact of a dance and health project in a setting for people with dementia in Nottinghamshire, UK that was designed and carried out by Tina Heeley. It discusses the importance of collaboration, of partnership with the host organisation, of mentorship for those involved and the importance of independent evaluation, as well as the benefits/outcomes for all involved.

and Keywords Dance and music appear to belong together: Conventional definitions of dance often con ceive it as a rhythmical activity in which a series of steps is performed to musical accom paniment. Indeed, dance and music share many similarities such as rhythm and may have co-evolved as a form of nonverbal communication between groups of people. Despite a rich history of composers and choreographers exploring the aesthetic relationship be tween dance and music, only a few scientific studies have systematically explored how the visual aesthetics of dance interact with the auditory aesthetics of sound and music. In this chapter we will focus on such interactions; we will explore the common evolutionary origins of dance and music and review existing research on how dance and music influ ence each other to produce an audiovisual aesthetics of sound and movement. The chap ter will explore interactions in both directions: music influences dance perception by al tering movement expressiveness, orienting visual attention, and by modulating memory. At the same time music perception strongly depends on groove and danceability and is shaped by the listener's dance experience. The chapter closes with a review of method ological challenges to studying the audiovisual aesthetics of dance and music and sug gestions for future research in this field.

The Book titled “Hasta Mudra Therapy – An effective aspect of Dance Therapy” deals with various disciplines like Dance, Therapy, Dance Therapy, Hasta Mudra Therapy, Hasta Mudras used in Dance, Yoga, Hindu and Buddhist religious practices; Physiology of palm, Pharmacokinetics and Acupressure. This Book is the result of the PhD thesis titled “A study of Dance Therapy with specific reference to Hasta Mudra Therapy”, submitted to University of Hyderabad, Telangana, India, which fetched me a PhD degree. The research involved a comprehensive study and analysis of the above mentioned disciplines to substantiate the work and prove it scientifically. Dance is an ocean which has boundless and inexhaustible benefits hidden in it. Dance involves all the fine arts, it encompasses mathematics, physics, chemistry, biology, management; it is closely associated to mythology; imbibes culture and tradition; involves language with technical grammar; improves communication skills & memory; cultivates discipline; it is a fitness health, entertainment & refreshment; imparts knowledge and above all it is divine and next to God. Dance can also be a mode of therapy, a skill which keeps you fit and good health. Practicing dance nurtures the body just like any other physical training or meditation. Although dance has been a method of expression for centuries, it wasn’t until recently that it was characterized as a form of therapy. Dance Therapy research has been undertaken to heal both physical and mental illness, however, Dance as a whole or Dance Movement analysis is only considered as the research topic. Dance Therapy research in specific to Hasta Mudras is not done till 2008, which prompted me to choose it as my PhD research topic, as most of the Indian classical Dance forms use the Hasta Mudras to communicate Dance. From the study, it is obvious that, Dance therapy and in specific Hasta Mudra Therapy, can be a potential alternative therapy which has been proved and established.

Die Diskussion um Abstraktion und Körper ist auf engste mit dem Medium Schrift verbunden und subsumiert wesentliche Aspekte der Schriftphilosophie, insbesondere die Frage nach der Materialität von Schriftzeichen und der Körperlichkeit ihrer Hervorbringung. Der Text wirft einen Rückblick auf die historische Gewordenheit der Verschränkung von Schrift und Abstraktion samt ihrer Rolle als Negativfolie einer phonozentrischen Konkretionsidolatrie. Auf der Suche nach Alternativen zu der harten Dichotomie von Schrift und Konkretion fällt der Blick auf Tanz und Choreographie als Inszenierungen einer écriture corporelle. Am Beispiel von Trisha Browns 'Locus' (1975), einem der einflussreichsten Stücke des Postmodern Dance, stellen sich die Fragen: Mit welcher Taktik schreibt sich hier Tanzen in den Diskurs der Schrift ein? Wie verändert eine solche Einschreibung das Verhältnis von Konkretion und Körperlichkeit? Und: Warum provoziert gerade die Korporealität eines Schrifttanzes dessen Wahrnehmung als abstraktes Ornament?

Each of the four panelists who presented “Forging mutual pathways: Developing dance literacy in the 21st century” look at dance literacy from theoretical and practical perspectives. Tina Curran draws from a review of literature to present different identities and mutual paths within the landscape of how "dance literacy" has been articulated in the contexts of pedagogy and dance education in the first paper, “Perspectives on literacy and dance literacy.” She highlights tenets of key educational theorists for further consideration of characteristics to qualify dance literacy in an effort toward defining a collaborative understanding.
Susan Gingrasso introduces the concept of functional literacy and applies it to dance in the second paper, “Functional literacy applied to dance literacy.” She presents a case study, using Motif Notation to teach technique to first year dance majors and a lesson plan on the Movement Alphabet concept of pathways from a July 2010 professional development intensive that Curran, Heiland and she designed and taught to dance educator/artists to make a case for using the symbolic representation of movement to develop functional literacy in dance.
Beth Megill looks closely at the curricular implications of a dance literacy "program" and how two and four year institutions must examine this issue to move the field forward in the third paper, “Dance literacy in search of a curricular home.” She proposes the groundwork for dance literacy (dance theory, notation and scholarly research using theory and notation) in the first two years of college as is done in most music theory programs. She also presents the barriers she has discovered when coordinating with 4-year institutions that do not offer such theoretical coursework. She will share her positive experiences incorporating dance literacy into her classes at Moorpark College and pose her concern for her 2-year graduates, who are often stronger in theory and scholarship than technique, many of whom are disenfranchised because of the increasing focus on performance in many 4-year institutions.
Teresa Heiland examines the nature of dance literacy as a critical component of a “multiliteracy” (New London Group) framework needed to be a literate dancer and how multiliteracy is critical to evolving the field in the fourth paper, “Dance-based dance literacies.” Heiland highlights what Gingrasso presents regarding approaches to making meaning, but expands upon what is missing in 4-year college programs that create enforced illiteracy, thus building a case for Language of Dance for college students and a system for spreading diversity through college graduates to the K-12 population. Heiland makes a strong argument for using dance-based languages, such as Laban Movement Analysis and motif notation to easily eradicate the roadblocks of enforced illiteracy in dance by weaving them into usual components of any liberal arts dance curriculum of exploring dance through technique, composing, reading, and writing. She envisions multiliteracies in a 4-year dance degree revealing a scaffolded system that brings LOD into the entire curriculum and eventually into K-12 and studio education.

Just as a child’s neuro-development becomes more sophisticated with life experience, somatic psychotherapy and dance/movement therapy, now in their eighth decade, are approaching a more intricate stage of growth. As each discipline grows in complexity, conflicts have risen regarding the concept of identity. The recent debate of whether dance/movement therapy is one of the somatic psychotherapies or its own discipline is a necessary and exciting ‘growing pain’ in the evolution of embodied psychotherapy practices. This paper provides a historic overview and uses a systems theory framework to compare the disciplines with data derived from original and recent literature. Practices, education and governance of each discipline are presented as they exist in the United States. Findings illustrate the comparison and offer clarity on the current trend towards integration. Suggestions are made for further critical thinking to develop awareness towards an evolved perspective of embodied psychotherapy
practices.

Bharatanatyam is a highly codified and schematized Asian Indian style of classical dance that
accommodates the different kinds of learners. This dance is culturally relevant to Asian Indian
American students, but the findings are applicable to students from other demographics that are
interested in learning math through dance. Many Asian Indian students learn Bharatanatyam for cultural
maintenance and preservation. Dance is also a beneficial medium to teach basic geometric shapes to
young children because dance is an engaging art curriculum that can be used in schools. This mixed
methods study informed by categorical content analysis is designed to recommend a framework for
exploring how Asian Indian students can learn basic geometric shapes through Bharatanatyam. The
study investigates dance movements called adavus, cultural relevance, and integration of elements
from dance and geometry and the implementation of alternate strategies such as dance instruction to
teach and learn basic geometric shapes. The data analysis revealed the benefits of dance and math
integration.
Key words: Asian Indian students, Bharatanatyam, geometry, learning styles, teaching and learning.

Dance Management is a new domain in the theoretical aspects of Management. It is at a very young stage with respects to its literature; however, the concept of management prevailed since its evolution. The management tools, features, functions etc are all followed and implemented in a Dance profession too, knowingly or unknowingly, but are not acknowledged till recent times. Dance is a performing art which is always dealt with respects to its technicalities of a performance. Dance has always been witnessed as an entertainment since ancient times. Dance, besides giving entertainment, yet it has various other benefits and features, which are to be investigated and accredited. Dance profession or Dance as a practice itself is Management. The concept of Management is part and parcel of Dance by itself, both in its performance and practice. This study enlightens and focuses on Management in Dance. The major aim and objective of the study is to prove, establish and confirm the evidence of Management in Dance. This paper is a modest attempt to bring in the functions and features of Management with an analytical approach.

Apunte de cátedra de la asignatura "Apreciación Musical I - Cátedra Anzil".
Departamento de Artes del Movimiento, Universidad Nacional de las Artes (UNA).
Buenos Aires, Argentina.

El presente documento ofrece una mirada holística y especialmente abarcativa del universo sonoro y musical. Aunque pensado originalmente para estudiantes de artes del movimiento, incluye conceptos y categorías de pensamiento novedosas que exceden en mucho los hallables en la mayoría de las currículas de carreras de música y sonido, haciéndolo útil también para estudiantes y/o personas interesadas en disciplinas afines a dichos campos.

Asumiendo un punto de vista culturalmente descentrado y en diálogo con las perspectivas musicales tradicionales (i.e.: de base eurocéntrica), cada tema presenta categorías novedosas para explicar al fenómeno sono-musical. De dicho modo y según transcurren los capítulos, entre muchos otros temas se revisan detalladamente y con una mirada crítica: la física y psicoacústica del sonido, el "sentido musical" y los conceptos técnicos de "forma", "textura", "ritmo", "melodía" y "armonía".
Con abordajes novedosos y cargado de numerosos enlaces a ejemplos y ejercicios en línea, el meta-texto resulta un recurso muy útil tanto para el aprendizaje de los conceptos asociables a los fenómenos sono-musicales como para la adquisición de las diversas capacidades prácticas requeridas durante el reconocimiento y caracterización de los diferentes aspectos de dichos fenómenos.

Sin serlo, el apunte constituye la primera aplicación por generalización de una "Perspectiva audiotáctil" para la comprensión de los fenómenos sono-musicales. Incluyendo algunos de sus conceptos de forma explícita, las categorías de pensamiento y herramientas originales presentadas inicialmente en la tesis doctoral "Sensación táctil y audiotáctil en música. El caso de las músicas electrónicas utilizadas para el baile social en locales de baile de la Ciudad Autónoma de Buenos Aires y alrededores." subyacen y resultan implícitas a cada fragmento.

Dance has been part of the evolution of human thought and their social relations since the beginning. Nowadays, in our society, dance is part of the culture of the marketing of arts, that leads people to think that it is only a hobby. Dance, apart from belonging to commercial issues, also possesses many variations, among which one can see different dance styles that allow the transmission and projection of different emotions. These emotions, expressed through dance, neurologically have an aesthetic character related to creativity and emotional perception, which is why researches in contemporary sciences such as neuroaesthetics can relate dance with Emotional Intelligence. This intelligence, in order to improve the capabilities of humans and the benefits that this represents socially, culturally and economically, has gained such importance since the emergence of the multiple intelligences by Gardner, because it involves the interpersonal and intrapersonal relations, which are abilities that must be developed appropriately so, one is able to deal with the obstacles that are given by the current society or simply for mental well-being. These capabilities are linked to the recognition of emotions or sentiments that others feel. The proper development of these empathic abilities, important to confront the reality, gets more value, since it involves the well-being of an individual in their society. This research aims to demonstrate the relationship between dance and the development of Emotional Intelligence, therefore, for this purpose it is needed to be done through a historical investigation of dance, showing its importance in the development of  the human being and through a revision of theory and information that explains how the Emotional Intelligence works in human beings in order to establish a relationship between both topics, dance and Emotional Intelligence.

El origen de LA SARDANA es un extracto del libro Karuo el secreto ibero, Enrique Cabrejas o Enric Cabrejas nos relata de modo llano su experiencia personal con lo extraordinario de un descubrimiento. El 21 de Abril de 2012 consiguió lo que parecía imposible: Descifrar la escritura ibérica. El hallazgo más relevante de la cultura universal en nuestro país de los últimos tiempos, sin lugar a dudas. Un hito en la historia de la escritura sin precedentes. Desde este mismo instante la obra Karuo de Enrique Cabrejas lo convierte en un referente destacado a nivel mundial en historia y lingüística. Los innumerables datos, explicaciones, pruebas y significados que nos reporta nunca conocidos antes, son una referencia obligada para todos aquellos que quieran comprender la historia, la lengua antigua e incluso también la moderna de nuestro país o para quienes en el futuro deseen estudiarla e investigarla en profundidad, más si cabe desde el mundo académico.

Rasa plays a very prominent role in performing arts. It is the soul and motive for a successful performance of a dance, an act or a play. If Rasa is to be of any moment and significance, it must necessarily be educated and explored. This research article might provoke thought and further inspire the performer to devise various ways and means in understanding the concept and significance of Rasa and incorporate the same in their performances. It would also facilitate in creating interest among individuals and professionals and further help in taking up in-depth research in this domain.This study has been undertaken to investigate the aesthetics of the sentiments and their interpretation in Kuchipudi dance.

Rasa plays a very prominent role in performing arts. Shringara Rasa is the primary Rasa that occupies a significant place amongst the Rasas.  It is the soul and motive of all the Rasas; and is termed as the king of all the Rasas. Due to its prominence and significance, it must necessarily be educated and explored. This chapter might provoke thought and further inspire the performer to devise various ways and means in understanding the concept and significance of ShringaraRasa and incorporate the same in their performances. It would also facilitate in creating interest among individuals and professionals and further help in taking up in-depth research in this domain.

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

The purpose of the paper is to emphasize Dance as a mode of healing. Since ages, Dance has been helpful to us in various capacities.  Since ancient times it is used as a medium of communication, entertainment, spirituality – as an offering to Gods and so on. Dance, since its origin has undergone many developments and today, its knowledge is imparted in academics at various levels ranging from Certificate programmees to PhD programmee.  Individuals are opting and practicing Dance either as profession or as a hobby and various other options. Today, in the contemporary era, Dance is viewed and treated differently as it has various other benefits. One among them is the healing capabilities. With the ingenious thoughts of Marian Chace – The grand Dame of Dance Therapy, Dance is witnessed as a medium of Therapy besides communication and entertainment. Me, being an Indian origin, and practicing Dance since more than 3 decades, would like to correlate the origin of Dance in general to the origin of Dance Therapy in particular, according to Indian mythology. According to Hindu mythology, Dance has been created by Lord Brahma to heal the illness (bad deeds, misery, jealousy, exploitation etc) of the humans on the earth and bring them back to a systematic life. Hence, I feel the reason for the origin of Dance itself is with a therapeutic motive. It clearly justifies that practicing and implementing Dance has various other benefits besides entertainment. Dance has always been as a means of communication and entertainment till nineteenth century. Subsequently, Dance is being perceived and viewed into various other means and approaches to spread its wings and branches. Dance is analysed, substantiated and proved into various disciplines and forms to manifest its efficiency besides entertainment. In this context, Dance is witnessed as a mode of Therapy from 1920 onwards by Marian Chace, the lady behind the concept of Dance Therapy. The present paper is a modest attempt to highlight the importance of Dance; and to bring in and establish the concept of Dance Therapy, its origin and evolution, while enlightening its significance.

2006 saw the end of a performance dance course that was once integrally connected to the performing arts in New South Wales. That same year, Australian choreographer Elizabeth Cameron Dalman (1934-) and dance researcher Paul Mason (1982-) undertook a period of collaborative research into the evolution of the choreographic process from improvisation to performance. Dance choreography allows researchers a unique opportunity to gain insight into the dynamics of discrete social systems. It offers them distinctive perspectives to understand the dynamic interactions between embodied minds and socio-cultural processes. It is hypothesised that collaborative choreography is characterised by evolutionary properties that can be characterised at multiple levels of complexity. Dance is constructed by embodied brains and shaped by social and cultural interactions. The end of a dance course in Western Sydney coincided with the burgeoning of new dance research methodologies in Australia

In the present study, we examined mood changes following dancing. Previous works suggested that contextual factors may influence affective states; it has been shown that changes in mood following competition differ from those following recreational exercise. The study has been conducted in Warsaw, Poland. Mood was assessed before and after dance activity in three groups of ballroom dancers: recreational (n = 32) and competitive (n = 38) dancers doing ordinary training and competitive dancers taking part in a dance competition (n = 35). We observed a moderately positive change in recreational dancers doing ordinary training; they reported higher energetic arousal (EA) and hedonic tone (HT) and lower tense arousal (TA) after dance activity. In comparison dancers taking part in a competition were higher on TA before dancing and felt less pleasure after dancing than recreational and competitive dancers doing ordinary training; HT, TA and EA moderately decreased during competition. In general, the current study suggests that dance can elicit changes in mood; however,
situational context has to be taken into consideration when explaining the influence of dance on mood.

This paper argues for an arabesque vision as a way to perceive postmodern and contemporary dance in particular, as such I investigate newer theories of ornament (Jean-Claude Bonne) which conceptualize the ornamental as a modus operandi beyond ἐπίθετον and πάρεργον and with particular reference to a theory of the arabesque beyond orientalism. The arabesque unfolding and branching of an ornamental dance lineament thus demands a unique perception and gaze from the viewer who actively constructs a vision that continues and crosses the écriture corporelle of the dancers in a likewise arabesque way.

Throughout history, dance has maintained a critical presence across all human cultures, defying barriers of class, race, and status. How dance has synergistically co-evolved with humans has fueled a rich debate on the function of art and the essence of aesthetic experience, engaging numerous artists, historians, philosophers, and scientists. While dance shares many features with other art forms, one attribute unique to dance is that it is most commonly expressed with the human body. Because of this, social scientists and neuroscientists are turning to dance and dancers to help answer questions of how the brain coordinates the body to perform complex, precise, and beautiful movements. In the present paper, we discuss how recent advances in neuroscientific methods provide the tools to advance our understanding of not only the cerebral phenomena associated with dance learning and observation but also the neural underpinnings of aesthetic appreciation associated with watching dance. We suggest that future work within the fields of dance neuroscience and neuroaesthetics have the potential to provide mutual benefits to both the scientific and artistic communities.

A brilliant ballet teacher revolutionised my young life when she introduced the notion of breathing when dancing, and encouraged self-investigation and problem-solving; all with a robust sense of humour. My professional performance career incorporated classical ballet, contemporary dance and lead roles in musical theatre, then transitioning to Movement Studies with actors at NIDA. In all these fields, breathing technique is fundamental. As a ballet teacher I have observed that many adolescent ballet students hold their breath whilst dancing. Given that breathing efficiently can increase stamina and highlight movement dynamics, and that restricted breathing can lead to unnecessary tension and less than optimal cognitive function, it would seem clear that mindful breathing techniques are desirable in classical ballet pedagogy. I have found that instructing ballet students to breathe has little effect on habitual tendencies, hence I am embarking on an investigation into cause and effect: What factors affect the breathing patterns of adolescent ballet dancers within a ballet class environment? Like most ballet teachers, I'm driven to improve and investigate my practice. The reason I applied for the QUT Professional Doctorate was to investigate how my eclectic skill set and experience may offer a contribution to the body of ballet education knowledge. I'm energised and motivated by empowering adolescent dancers, and I have a hypothesis: Breathing patterns may influence emotions, stamina, movement, and even perhaps the young dancer's capacity to focus in the ballet studio.

Resumen: Muchos experimentos artísticos en la performance contemporánea se centran en lo orquestal (Escuela de Palo Alto), en los aspectos más bien no intencionales de comunicación: los co-particpantes y los co-creadores del espectáculo a menudo participan involuntariamente debido a la (auto)comunicación. Desde el punto de vista de la observación de la audiencia, los actos ilocucionarios que se realizan en el escenario, en una actuación teatral tradicional, son actos reales dentro de un universo de cción (Searle). Pero en realidad sucede algo muy diferente en el drama ritual, desde el punto de vista de los participantes, ya que los actos reales se llevan a cabo dentro de un mundo real. El drama ritual tiene este valor altamente performativo, por lo que es un medio de actuar sobre lo real.

Abstract: Many artistic experiments in the contemporary performance are focused on the orchestral (Palo Alto School), rather non-intentional aspects of communication: the audience co-participates and co-creates the show, often (self-)communicating unintentionally From the viewpoint of the observing audience, the illocutionary acts performed on stage, in a traditional theatrical performance, are real acts within a fictional universe (Searle). But it's really quite diferent in the ritual drama, where from the participants viewpoint, real acts are being performed within a real world. The ritual drama has this highly performative value, it is a means of acting on the real.

In her article "Towards a Framework of a Semiotics of Dance" Nicoleta Popa Blanariu constructs a framework of based on de Saussure's, Peirce's, and Barthes's thought. She applies Ferdinand de Saussure's concept of semiosis defined as a cultural system of conventions. In dance this occurs when choreographic signs are encoded, for example in magic, ritual, or religious expressions of movement. Further, Charles Sanders Peirce's concept of the role of "intelligent consciousness" is crucial for the engendering of signification and thus to dance. In dance, the choreographer "interprets" the world and by means of selection and interpretation, the choreographic sign reveals its object and this process is related to abstraction. In semiosis dance involves a process of "culturalization" (Barthes), whereby codes of dance represent the spontaneity of "natural" of movements and feelings within a repeatable system of expression. Last but not least, Edmund Husserl's notion that dance belongs to the domain of "pre-reflexivity" of signal and entails symbolic qualities derived from its embedding of cultural codes is employed by Popa Blanariu in her building a framework of the semiotics of dance.

Communication dans le cadre d'une journée d'études par Géraldine Sfez (Université de Lille) et Stéphane Cattalano (Lycée Faidherbe)

L’intervention de la danse dans le cinéma d’Andreï Tarkovski relève toujours d’une interrogation du flux temporel. Il s’agira de montrer comment le temps filmique est éprouvé par le mouvement de la danse. Or, le mouvement de la danse s’immisce dans le dispositif cinématographique tarovskien sous différentes formes qu’il s’agira d’analyser à travers quelques exemples précis. D’abord, la performance du corps dansant propulse les formes filmiques qui assimilent et réinventent les figures chorégraphiques. Au-delà du corps mouvant, la danse émane aussi des corps en mouvement, comme les corps en lévitation récurrents dans la filmographie de Tarkovski. Enfin, les formes filmiques se substituent aux corps et prennent en charge le mouvement dansé.

The meaning of the body's movements is elusive in its nature - often only to be understood in relation to its action on or within an environment. Yet, what does an arbitrary bend of the knee have to do with elated joy? What does the torque of the waist mean in relation to anger? More than one could ever imagine ... especially in the context of dance. The body's movements and its emotion-expressing affordances, enable the investigation of nonverbal aspects of the triadic message exchange between the choreographer, the dancer and the audience. To explore the particular intersection of these phenomena: emotion, movement (dance), and communication, this experiment utilized a non-verbal communicative choreographic process to investigate the efficacy of the communication of one's emotion experience though movement. This was a two part study. In study 1, the choreographer relays emotion intentions to two differing choreographic groups of dancers. In study 2: the two groups of dancers relay emotional intentions to an audience. The two groups of dancers differed in choreographic training: one received no verbal choreographic feedback and the other did. During the experimentation period, the choreographic process took place in two parts: the kinematic structure of the movement and the refinement of the movement. Each dancer was surveyed on their emotional experience using a scale-based assessment, as well as interviewed in order to evaluate their ability to feel and understand the emotional intentions of the choreographers. The results reveal the effectiveness of nonverbal communication of emotional experience between the choreographer and the dancer and the dancer and the audience by comparing the survey responses between the two groups of dancers and the audience. Specifically, the results demonstrate dancers' ability to feel and understand the emotional intentions of the choreographers, as well as the audience's ability to feel and understand the emotional intentions of the two groups of dancers. This study unfurls the assumptions and uncertainties about the body and its movements as a constituent of thought - elucidating how effective we can communicate even the complexities of emotions, utilizing the body as an explicit tool of communication, and ultimately share those emotional experiences that arise in the body's movements with others successfully.

An analogy between dancing and writing deals intrinsically with the question of embodied fantasy. Dancer and spectator create together an image of dance as a radically ornamental and therefore opaque figuration of moving letters and ephemeral lineaments, existing neither merely on the stage nor simply in the perception of the spectator, but rather in the complex interdependency that arises between them. Thus, the notion of dance as an écriture corporelle —which has a history dating back to the 17th century— is too often discussed in a phenomenologically oversimplified fashion which neglects the interweaving of fantasy and corporeality by focusing only on the materiality of dancing and the passive gaze of the spectator.

In order to properly examine the highly complex interweaving of fantasy and embodiment in dance I ask: where exactly does the figuration of pré-écriture-like forms take place? How does the Gestalt of a spatial writing suddenly emerge in the perception of the spectator as a fantasy always already embodied in his mind? And how does this impression vanish within the next moment, leaving a perceptual afterimage of the bodily movement that then becomes part of an imaginative diagram of lines or a phantasmagoric spatial calligraphy?

I will address these questions in regard to 'The Dance Sections' (1987) by the Flemish choreographer Jan Fabre dedicated to the exploration of the analogy between classical ballet and  calligraphy. By focusing in particular on the figuration and de-figuration of the bodily shapes of the dancers I will argue that their movement blended with the constantly shifting imaginings of the spectator, create a synaesthetic and kinaesthetic vision of dance as an embodied form of writing.

The aim of this study was to study the diagnostic parameters in
brain tuberculosis (meningeal and parenchymal)
Material and Methods: This study was conducted in the
department of Neurosurgery and Neurology SKIMS for a period
of two years. A total of 61 patients presenting with brain
tuberculosis admitted at skims during these two years were
included in the study.
Results: The most presenting symptom in our study was headache
found in 95.10% followed by vomiting found in 86.90% of
subjects, fever in 78.70%, altered sensorium in 49.20%, seizures in
19.70% and diplopia in18%. Out of 61 patients cranial nerve
involment was found in 34(55.73%) with 11 having more than two
cranial nerves involved. The most common cranial nerve involved
were 3rd and 6th. ADA was positive in 36 of 53 patients of TBM
with a sensitivity of 67.9% and a specificity of 75%. PCR proved
to be highly specific CT scan of head was abnormal in 56 out of
61 patients (91.8%). 12 (19.70%) were in stage I (meningeal
involvement only), 29 (47.50%) were in stage II (parenchymal
involvement only) and 15 (24.60%) were in stage III (both
parenchymal and meningeal invlolvement). The most common
finding in CT head was meningeal enhancement in 43 patients,
hydrocephalus in 37 patients and tuberculomas in 14 patients. The
most common sites of tuberculomas were frontal lobe (n=6;
42.8%), parietal lobe (n=4; 28.5%), followed by cerebellum in 2
patients and occipital in two. Nine patients had single and five
multiple tuberculomas. Of the 14 patients with tuberculomas,
hydrocephalus on CT was seen in 6 patients.
Conclusion: CT scan is a useful diagnostic tool even in very early
stages of TBM. Abnormalities reported on CT scan done are
hydrocephalus, infarcts, basal enhancement, and tuberculomas.
Normal study is reported in up to 20% of the cases.