Muhammad Fairul Azreen Mohd Zahid, Mohd Kipl Abdul Rahman, Ahmad Kamal Basyah Salehuddin, Syahrul Fithri Musa, Yanti Heriyawati

Embodied Cognition in ‘1st appeal’: Integrating Spoken Word, Sound, And Movement as Choreographic Tools

Introduction

Embodied cognition in ‘1st appeal’: integrating spoken word, sound, and movement as choreographic tools. Discover how embodied cognition shapes dance. This research integrates spoken word, sound, and movement as choreographic tools, revealing language, culture, and embodiment insights for dancers and educators.

Abstract

This research investigates the intersections of embodied cognition, language, and culture in dance, drawing on theoretical frameworks from anthropology and performance studies. Through an Auto Ethnomethodological approach, using the case study of “1st APPEAL” self-creation, this study examines how dancers employ spoken word, sound, and movement to interpret and negotiate choreographic intentions. By applying embodied cognition as a lens, this research reveals the complex relationships between language, culture, and embodiment in dance. This research lies in its innovative application of embodied cognition to dance practices, highlighting the crucial role of embodied experiences in shaping dancers’ understanding and execution of choreographic intentions. This research will contribute to a deeper understanding of the intricate relationships between language, culture, and embodiment in dance, providing valuable insights for dance practitioners, choreographers, and educators. The findings also underscore the importance of considering embodied and cultural contexts in dance practices, ultimately enriching our understanding of choreographic tools and creative processes.

Review

This research proposes an engaging exploration into the fascinating nexus of embodied cognition, language, and culture within dance practices, using the intriguing case study of "1st APPEAL." The interdisciplinary approach, drawing from anthropology and performance studies and employing an Auto Ethnomethodological framework, is commendable, promising a rich and nuanced perspective. The core strength lies in its innovative application of embodied cognition as a lens to analyze how spoken word, sound, and movement function as choreographic tools, offering a fresh angle on the interpretive and negotiation processes dancers engage in. This promises valuable insights into the dynamic interplay between conceptual understanding and physical execution in creative dance. The methodology, centered on the "self-creation" of "1st APPEAL," is particularly noteworthy, suggesting an in-depth, experiential examination of the choreographic process. By meticulously dissecting how dancers utilize specific elements – spoken word, sound, and movement – to embody and convey choreographic intentions, the study aims to reveal the intricate relationships between linguistic, cultural, and embodied dimensions of dance. The stated contribution to a deeper understanding for dance practitioners, choreographers, and educators is significant, as it seeks to illuminate the crucial role of embodied experiences in shaping artistic understanding and execution. While the abstract effectively outlines the research's scope and potential contributions, a full review would eagerly anticipate the specific findings emerging from this auto-ethnomethodological approach. Future discussions could particularly focus on how the "self-creation" aspect of "1st APPEAL" informs the unique insights into embodied cognition, and how these specific insights might resonate or differ from collaborative choreographic processes. Ultimately, this research holds strong potential to enrich our understanding of choreographic tools and creative processes by foregrounding the indispensable role of embodied and cultural contexts, making it a valuable addition to both dance scholarship and cognitive studies.

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