Relevant bibliographies by topics / Body-Mind Centering

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Body-Mind Centering'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Body-Mind Centering"

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Leinweber, Dirk, and Ka Rustler. "Was ist eigentlich … Body-Mind-Centering®?" DO - Deutsche Zeitschrift für Osteopathie 14, no. 02 (2016): 31–33. http://dx.doi.org/10.1055/s-0042-101083.

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Sargent-Wishart, Kim. "See where you are: Somatic meditation and contemplative photography." Dance, Movement & Spiritualities 8, no. 1 (2021): 97–107. http://dx.doi.org/10.1386/dmas_00029_1.

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This article shares contemplative explorations of somatic and visual perception through guided movement meditations and photography practice, with roots in Body-Mind Centering® and the Shambhala Buddhist tradition. These are hybrid practices that I have developed through designing and teaching an online course in Somatic Meditation and Photography. Body-Mind Centering and contemplative photography share some common approaches and values, including inquiry into the nature of perception and the movement of attention, interest in being present to what is unfolding in the present moment and perception as a full-bodied felt sense experience. Contemplative arts and somatic practices offer ways of engaging with intention and choice, to work with the mind and senses, to lightly direct our attention and awareness, which can guide us to moments of landing in and with the present moment as it emerges. I offer three somatic meditations that lead into photography practice for the reader to experience.
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Eddy, Martha. "The Practical Application of Body-Mind Centering® (BMC) in Dance Pedagogy." Journal of Dance Education 6, no. 3 (2006): 86–91. http://dx.doi.org/10.1080/15290824.2006.10387320.

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Kim, Ji Young. "A Study on the Design and Development of a Korean Ayurveda Mind-Body Balance Education Program from the perspective of Holistic Education." Korean Society for Holistic Convergence Education 27, no. 1 (2023): 1–21. http://dx.doi.org/10.35184/kshce.2023.27.1.1.

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The purpose of this study is to design and develop a mind-body balance education program using the Korean Ayurveda education and training system from the perspective of holistic education. For this purpose, first of all, through the review of preceding studies, the holistic educational perspective of the Korean Ayurveda education and training system and the concept and approach of mind-body balance are analyzed, and after examining the mind-body balance education method, the Korean Ayurveda mind-body balance education program from the perspective of holistic education suggested. The significance of this mind-body balance education program is as follows. First, it provides an integrated perspective on mind-body balance education. It provides an integrated approach in the cognitive, emotional, and physical domains of mind-body healing and mind-body balance, and provides ways to strengthen subjective self-healing capabilities. Second, it is a systematically structured mind-body balance education program. In accordance with the structure of the Korean Ayurveda education and training system, the educational goals and contents leading to self-understanding, me and you (interpersonal relationships), collective understanding (social self), integrated mind-body balance, and happy life design are designed in a spiral structure that repeats, deepens, and expands. Third, it is a learner-participatory educational program designed centering on learners. Experiential learning and narrative educational approaches are used as the main teaching and learning methods. Fourth, it is meaningful as a lifelong education program.
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Caetano, Patricia de Lima. "Por uma Estética das Sensações: o corpo intenso dos Bartenieff Fundamentals e do Body-Mind Centering." Revista Brasileira de Estudos da Presença 5, no. 1 (2015): 206–32. http://dx.doi.org/10.1590/2237-266047495.

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Resumo: Este artigo pretende discutir conceitos e propostas metodológicas que abordam o estudo teórico e prático acerca do corpo, entendendo-o como matéria expressiva em constante mutação e processo de reinvenção. Para tanto, o presente estudo se aproxima de duas abordagens somáticas, os Bartenieff Fundamentals (tm) e o Body-Mind Centering (tm). O intuito foi perceber como estas abordagens possibilitam a construção de um corpo intensivo que engendra uma estética das sensações.
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Yang, Youngeun. "‘춤’과 ‘움직이는 몸들’을 통해 형성되는 사고, 지식, 그리고 지혜 : 자넷 렌즈데일, 수잔 리 포스터 그리고 Body-Mind Centering® 사이를 읽기". Journal of Dance Society for Documentation & History 55 (31 грудня 2019): 213–43. http://dx.doi.org/10.26861/sddh.2019.55.213.

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Sacur Muñoz, Paula Alejandra. "Corporalidades para la propuesta transescénica Orgiologia, desde un abordaje somático." Revista Actos 1, no. 1 (2019): 16–30. http://dx.doi.org/10.25074/actos.v1i1.1371.

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Este texto comparte la investigación entorno a lo que fue la búsqueda de las corporalidades para la creación artística de la obra transescénica Orgiologia. Profundizando a partir de laboratorios de exploración y experiencia en el abordaje de la práctica somática en Body-Mind Centering™, para encontrar un lenguaje corporal en los intérpretes-autores de la transescena. Una creación artística que cruzó, danza contemporánea, performance, teatro político, teoría crítica de la cultura y activismo de disidencia sexual.
 
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Immordino-Yang, Mary Helen, Na’ilah Suad Nasir, Pamela Cantor, and Hirokazu Yoshikawa. "Weaving a Colorful Cloth: Centering Education on Humans’ Emergent Developmental Potentials." Review of Research in Education 47, no. 1 (2023): 1–45. http://dx.doi.org/10.3102/0091732x231223516.

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We integrate work from human development, psychology, education, and neuroscience to argue for five interrelated developmental principles that together provide the conceptual basis for a fundamental shift in thinking in education about the nature of learning, and hence the work of teaching, and the purpose and design of schools and youth-facing policies. These principles foreground humans’ natural agency, subjectivity, and variability and the dynamic, adaptive interdependence of body, mind, and culture in development and learning. We take the analogy of weaving cloth to highlight the properties and valuable variations of effective educational systems. We argue that reconceptualizing learning is necessary to meaningfully improve schooling and its outcomes, support equity and human dignity, and ultimately, build a sustainable democratic society.
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Mundim, Ana Carolina da Rocha, and Patrícia de Lima Caetano. "Poéticas da paisagem: Experiências do ensino remoto a partir de texturas imagéticas e movimento." Urdimento - Revista de Estudos em Artes Cênicas 3, no. 42 (2021): 1–32. http://dx.doi.org/10.5965/1414573103422021e0109.

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O presente artigo busca compartilhar as experiências produzidas no entrelaçamento das disciplinas Laboratório de Criação: Pesquisa Corporal e Laboratório de Criação: Corpografias, assumidos respectivamente por Patrícia Caetano e Ana Mundim, nos cursos de graduação em Dança da Universidade Federal do Ceará. No contexto da crise sanitária da COVID-19, o ensino emergencial remoto das respectivas disciplinas ocorreu a partir do cruzamento da abordagem somática do Body-Mind Centering℠ e da abordagem filosófica da Antroposofia, oportunizando o desenvolvimento de trabalhos criativos pautados na relação do corpo com os quatro elementos da natureza em formatos visuais e/ou audiovisuais.
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Castilho Barone, Luciana Paula. "The use of Body-Mind Centering ® to support training in Michael Chekhov’s acting technique." Theatre, Dance and Performance Training 15, no. 1 (2024): 61–75. http://dx.doi.org/10.1080/19443927.2023.2297896.

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Dissertations / Theses on the topic "Body-Mind Centering"

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Pees, Adriana Almeida. "Body-Mind Centering® e o sentido do movimento em (des)equilíbrio = princípios e técnicas elementares, na criação em dança, pela póestica nas linhas dançantes de Paul Klee." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284939.

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Orientador: Júlia Ziviani Vitiello<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T11:20:22Z (GMT). No. of bitstreams: 1 Pees_AdrianaAlmeida_D.pdf: 45750189 bytes, checksum: a1f9701451b5c8aef61be6cb017ff685 (MD5) Previous issue date: 2010<br>Resumo: Esta pesquisa busca através dos princípios de movimento do método Body-Mind Centering® (BMC) ? desenvolvido por Bonnie Bainbridge Cohen ? estudar o Sistema Vestibular e suas relações com o equilíbrio do corpo. Investiga suas possíveis contribuições quanto ao desenvolvimento motor e suas implicações qualitativas nos gestos e nas ações para a atuação e criação nas artes cênicas. Desde que o equilíbrio corporal deve-se a interação de três sistemas: somatosensorial, visual e vestibular. O método Body-Mind Centering® apresentase relevante neste estudo, pois seus princípios proporcionam uma vivência anatômica de diferentes sistemas corporais, favorecendo o reconhecimento da atuação do sistema vestibular no movimento. Isso conduz à compreensão de como abrangemos inteligentemente os sentidos no corpo, e como estes se relacionam com a percepção e o desenvolvimento do movimento. Almeja-se que esta pesquisa possa elucidar de que maneira o BMC pode interferir no aprendizado de como as ações se codificam possibilitando que se compreenda também que novas maneiras de co-emergir nos movimentos habilita e sustenta o processo criativo, uma vez que na dança, o artista conta com o próprio corpo para desenvolver seu trabalho de interpretação e criação. Esse processo de criação deve contar, por parte do artista, com uma atitude baseada na percepção do equilíbrio do seu corpo, nas suas escolhas e nas qualidades inerentes da reestruturação equilíbrio/desequilíbrio no movimento e no desenho coreográfico. A aplicação desta pesquisa foi realizada no entrelaçamento de três vias, as quais consideramos essenciais: laboratórios práticos (vivência específica da teoria por meio do Método BMC), de criação (desenvolvimento de uma coreografia) e pelo estudo da obra do pintor Paul Klee, que contribuiu como alicerce poético/imagético ao processo coreográfico.<br>Abstract: This research aims, through the movement principles of the Body-Mind Centering® (BMC) method developed by Bonnie Bainbridge Cohen, at studying the Vestibular System and its connections with body balance. It researches its possible contributions regarding the motor development and its qualitative implications in gestures and actions towards acting and creation in performing arts. Since body balance is due to the interaction of three systems: somatosensory, visual and vestibular, the Body-Mind Centering® method is realized as relevant in this study, as its principles provide an anatomic experience of different body systems, favoring the recognition of the vestibular system action in motion. This leads to understanding how we wisely cover the senses in the body, and how these senses relate to perception and motion development. This research is intended to be able to elucidate how BMC can interfere in learning the way the actions are coded allowing one to also realize that new ways to co-emerge in the movements enables and supports the creative system, since in dance, the artist counts on the proper body to develop his or her interpretation and creation work. This creation process must count, by the artist, on an attitude based on his/her body's balance perception, on his/her choices and on the inherent qualities of balance/unbalance restructuring in motion and choreographic design. The application of this research has been achieved in the three-way interlacement, which we consider essential: practical laboratories (specific experience of theory by means of BMC Method), of creation (development of a choreography) and by studying painter Paul Klee's work, which has contributed as a poetic/imagetic foundation to the choreographic process.<br>Doutorado<br>Artes Cenicas<br>Doutor em Artes
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Damian, Jérémy. "Intériorités/Sensations/Consciences : sociologie des expérimentations somatiques du Contact Improvisation et du Body-Mind Centering." Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENH039/document.

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Je considère deux pratiques « somatiques » nées dans le même contexte culturel des années 70 aux États-Unis, l'une héritière de la postmodern dance — le Contact Improvisation —, l'autre s'inscrivant dans le champ émergeant de l'Éducation Somatique — le Body-Mind Centering. Je m'intéresse à elles en tant qu'elles expérimentent des discours, des pratiques et des savoirs sur les rapports entre le corps et l'esprit, ou encore la « conscience corporelle ». À la croisée de l'anthropologie somatique et de la sociologie des sciences, l'enquête porte sur des expériences qui questionnent l'évidence de notre conception « moderne » de l'« intériorité », réduite à sa part mentale, et qui contestent le partage selon lequel tout ce qui se manifeste « à la surface » du corps est une affaire publique tandis que tout ce qui s'y passe « en profondeur » est une affaire privée. Elle suit des praticiens qui font de leur « intériorité » un lieu de pratique et d'apprentissage, presque un lieu d'intervention publique, en construisant des sensations à la fois intérieures et publiques Ces pratiques instaurent la possibilité de se rendre sensible à des « entités intérieures » (internal material) qui comptent comme autant de ressources pour danser, improviser, composer et, plus largement, sentir, se relier et connaître. Cette recherche documente ce travail de « mise en culture des sens intérieurs » (Luhrmann) par lequel d'autres « versions » (Despret) de l'« intériorité », de la « sensation » et de la « conscience » se mettent à exister, à compter et à guider ceux qui apprennent à les cultiver. Au final, cette thèse ne fait rien de plus que de poser la question « qui danse ? », en s'obligeant toutefois à donner suffisamment d'épaisseur spéculative à cette interrogation pour que l'enquête puisse témoigner du nombre et de la variété de ceux que la réponse requiert et engage<br>This inquiry considers two different somatic practices coming from the same cultural context: 70's in United States. One emerged whithin Postmodern dance experimentations — Contact Improvisation —, the other belongs to the “somatics” field (Hanna) — Body-Mind Centering. Both practices experiment discourses, knowledge and experiences on the binding of body and mind. The inquiry aims to document the ways practitioners, thanks to their inner sensations and specific training of their attention, allow their “interiority” to transform into a place for practicing and learning, or even into a public space. I intend to describe these practises as practices enhancing an « inner sense cultivation » (Luhrmann) revealing the opportunity for what we normally call « interiority », « sensation » or « body consciousness » to exist in other « versions » (Despret). Somehow, it just points out a recurrent question: “who does the dancing?”. And it brings another one: How could we force ourselves to detail our answers so that these new ‘versions' might start to vividly enter the dance?
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Zamarioli, Debora. "Cartografia de um corpo em cena: extração e codificação de matrizes corporais através do método Body Mind Centering." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-14012010-150951/.

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Este projeto está intimamente ligado à criação artística do ator, suas abordagens, reflexões e métodos. Ele está no âmbito da pesquisa do corpo cênico, de seus movimentos e de sua continua (re)significação perante quem o assiste e, por sua vez, da sua própria (re)organização. Para isso, cartografei meu próprio processo de aprendizagem e criação através dos diálogos entre o método de educação do movimento, Body Mind Centering®, inicialmente desenvolvido pela americana Bonnie Bainbridge Cohen, das formas de extração e codificação de matrizes corporais mapeadas por Renato Ferracini, e dos princípios da performance estudados por Renato Cohen. Assim, o desafio desta pesquisa foi a utilização do material perceptivo, proveniente da prática corporal, para a elaboração cênica. Ou seja, transcrever as sensações em matrizes codificadas, visando uma apresentação final em que este procedimento fosse (in)visível.<br>The present project is closely linked to the artistic creation of the actor, his approaches, thoughts and methods. The project is located in the realm of the research of the scenic body , its movements and its continuous (re)meaning in the face of the spectator and, on its turn, facing its own (re)organization. To achieve my goal I mapped our own learning and creation process through the dialog between the method of educating the movement, called Body Mind Centering ®, firstly developed by Bonnie Bainbridge, through the method of extracting and encoding the body matrixes mapped by Renato Ferracini, and through the performances studied by Renato Cohen. Therefore, the challenge of the present research was the use of perceptive material, deriving from the body practice used to build the scene. That means, translate the sensations into coded matrixes, aiming a final presentation where the said procedure would be (in)visible.
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Caetano, Patrícia de Lima. "O corpo intenso nas artes cênicas: procedimentos para o corpo sem órgãos a partir dos Bartenieff Fundamentals e do Body Mind Centering." Escola de Teatro, 2012. http://repositorio.ufba.br/ri/handle/ri/27466.

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Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-09-20T19:53:04Z No. of bitstreams: 1 TESE PATRICIA CAETANO.pdf: 8321515 bytes, checksum: fc24058d686a138b81bdf4663944c401 (MD5)<br>Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-09-24T17:20:03Z (GMT) No. of bitstreams: 1 TESE PATRICIA CAETANO.pdf: 8321515 bytes, checksum: fc24058d686a138b81bdf4663944c401 (MD5)<br>Made available in DSpace on 2018-09-24T17:20:03Z (GMT). No. of bitstreams: 1 TESE PATRICIA CAETANO.pdf: 8321515 bytes, checksum: fc24058d686a138b81bdf4663944c401 (MD5)<br>A presente pesquisa discute conceitos e propostas metodológicas que abordam o estudo teórico e prático acerca do corpo entendendo-o enquanto matéria expressiva em constante mutação e processo de reinvenção. O objeto desta pesquisa é, portanto, o corpo e suas experiências intensivas a partir de experimentações no campo da educação somática. Para tanto o presente estudo se aproxima de duas abordagens somáticas, os Bartenieff Fundamentals™ e o Body Mind Centering™. O intuito foi perceber como estas abordagens possibilitam, a partir dos processos de desconstrução e reconstrução corpórea, aquilo que Antonin Artaud chamou corpo sem órgãos, entendendo-o não como um conceito, mas sim, como uma prática. A partir deste estudo foi possível reconhecer uma grande afinidade entre as proposições artaudianas em torno da arte e da vida e as proposições metodológicas das abordagens somáticas aqui pesquisadas. Para tanto, pesquisou-se a radicalidade da obra de Antonin Artaud e sua conseqüência no campo das artes cênicas a partir da análise de seus textos e de pensadores que contribuíram para o entendimento do corpo sem órgãos, especialmente Gilles Deleuze e Félix Guattari. Em seguida, foram analisadas as especificidades e características em comum, princípios e fundamentos das propostas metodológicas referentes às abordagens somáticas citadas. Tendo em vista o caráter prático-teórico deste estudo, uma pesquisa de campo foi realizada por meio de experimentações práticas das respectivas abordagens em Laboratórios, além de entrevistas com profissionais das artes cênicas envolvidos com a prática somática. Num último momento foram transversalizados os arcabouços práticos e teóricos levantados pelo presente estudo. Através dos resultados obtidos a partir deste arcabouço prático-teórico é possível afirmar que a experimentação somática dos Bartenieff Fundamentals™ e do Body Mind Centering™ no âmbito das artes cênicas entrelaça vida e arte, reconfigurando o fazer artístico em sua potência vital e a própria vida enquanto obra de arte, tal qual preconizou Antonin Artaud.<br>This research argues concepts and methodological proposals that approach the theoretical and practical study concerning the body understanding it while the expressive subject in constant mutation and process of reinvention. The object of this research is, therefore, the body and its intensive experiences from experiments in the field of somatic education. For this reason, the study approximates two somatic approaches, the Bartenieff Fundamentals™ and Body Mind Centering™. The aim was to perceive how these somatic approaches allow, from the processes of corporal deconstruction and reconstruction, what Antonin Artaud called body without organs, perceiving it not as a concept, but as practical one. From this study it was possible to recognize a great affinity between the artaudians propositions about art and life and the methodological proposals of somatic approaches surveyed here. To this end, we inquired the radical work of Antonin Artaud and its consequence in the field of scenic arts from the analysis of their texts and thinkers who contributed to the understanding of the body without organs, especially Gilles Deleuze and Félix Guattari. After that, we analyze the features and characteristics in common, principles and foundations of the methodological proposals concerning the somatic approaches that had been cited. Given the character practical-theoretician of this study, a field survey was carried out through practical trials of approaches in laboratories, as well as interviews with performing arts professionals involved with the somatic practice. At the last moment, it was interrelated the practical and theoretical frameworks raised by this study. With the results obtained from this theoretical-practical framework was possible to assert that the trial of somatic Bartenieff Fundamentals™ and Body Mind Centering™ within the performing arts weaves life and art, reconfiguring the artistic making in its vital power and life as a work of Art, like praised Antonin Artaud.
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Vadori, Nadia. "Du mouvant : processus somatique de création individuelle et collective d'images et de formes vivantes." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080004.

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Cette recherche est une tentative de mener un processus de création artistique, à la fois théorique et pratique, qui puisse contribuer à penser de nouvelles modalités d'images dans le champ de l'art et propose des pistes alternatives à la représentation. Ces images, fluides, autopoïétiques, sont davantage pensées ici comme translations continues que comme formes déterminées. Vivantes, elles se constituent sur leur bordure, à la limite d'une prise de consistance ou d'une dissolution. Nous partons du mouvant, de la durée bergsonienne, nous plaçant en son sein afin d'épouser le flux continuel des nos corps et des choses. Nous investissons un processus ouvert, celui d'une base d'expérimentation somatique fluide impliquant à la fois un corps sans images, en amont de celles produites par le système nerveux, et une multiplicité d'images poétiques engendrées par l'expérience. À ces pratiques, nous couplons celle d'une philosophie vécue en acte, engageant des concepts dans le processus créatif, le mouvement et la danse. Nous sommes portés à vivre, à penser, un seuil de tremblement sur lequel la perception ordinaire vacille, et à élaborer des modalités de regard qui tentent d'ouvrir les corps et les espaces les libérant d'images fixes ou d'identités trop définies. Il s'agit non seulement de voir avec la peau, les liquides, les os, mais d'épouser le vide au cœur des choses et de tenter de voir avec « les yeux du vide » afin que les images se transmutent continuellement en leur anagramme : magies. Nous pouvons alors nous connecter aux dimensions fluidiques de la vie afin que coule une nouvelle douceur entre les corps et les catégories<br>This research is an attempt to establish a process of artistic creation, simultaneously theoretical and practical, contributing to the conception of new image modalities in the art field and offering alternatives to representation. Images –fluid, autopoietic– are considered here more as continuous translations than fixed shapes. They are living entities, constituting themselves at their limits, always on the verge of attaining consistency or dissolving. We start with movement, Bergsonian duration, putting ourselves inside it in order to embrace the continual flux of our bodies and of things. We enter into an open process based upon a groundwork of fluid somatic experimentation involving both (1) explorations without images (explorations antecedent to the images produced by the nervous system) and (2) a multiplicity of poetic images engendered by the process itself. We join to these practices that of a philosophy experienced in action, involving concepts in the creative process, movement, and dance. We come to experience and conceive a threshold of trembling on which ordinary perception flickers. We develop modalities of the gaze that attempt to open bodies/spaces, liberating them from set images or too-fixed identities. At issue is not merely seeing with skin, liquids, bones, but espousing the void at the heart of things and attempting to see with "the eyes of the void" in order that images be transmuted continually into their anagram: magies [spells]. We may then connect to the fluidic aspects of life and a new gentleness may flow between bodies and categories
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Robles, León Carola Lucía. "Construcción de la consciencia del espacio relacional en el performer desde las experiencias de ceder (yielding) en el Body-Mind Centering y la danza Contacto Improvisación: una investigación desde la práctica." Master's thesis, Pontificia Universidad Católica del Perú, 2019. http://hdl.handle.net/20.500.12404/15683.

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Esta investigación se fundamenta en la corporización (embodiment) como forma de producir conocimiento que permite reflexionar sobre las maneras en que los performers construyen el espacio con otros dentro de un contexto de improvisación escénica. Dicho contexto es abordado desde las experiencias de ceder (yielding) en Body-Mind Centering, en interacción con la danza Contacto Improvisación. El soporte metodológico de esta tesis es un laboratorio de investigación práctica con ejercicios reflexivos entre el diálogo somático y cognitivo, cuyo propósito es acercarse a una comprensión de la consciencia que el performer desarrolla del espacio o entorno en el cual se relaciona consigo mismo y otros. Es a lo largo del laboratorio que esta consciencia del espacio relacional se gesta, desde la experiencia del tacto y el tratamiento del ceder, abriendo preguntas en torno a cómo se percibe el performer en la improvisación. Las experiencias escénicas presentadas al público se llaman “Ceder, sesiones de danza e improvisación”.<br>Tesis
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Vadori, Nadia. "Du mouvant : processus somatique de création individuelle et collective d'images et de formes vivantes." Electronic Thesis or Diss., Paris 8, 2014. http://www.theses.fr/2014PA080004.

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Cette recherche est une tentative de mener un processus de création artistique, à la fois théorique et pratique, qui puisse contribuer à penser de nouvelles modalités d'images dans le champ de l'art et propose des pistes alternatives à la représentation. Ces images, fluides, autopoïétiques, sont davantage pensées ici comme translations continues que comme formes déterminées. Vivantes, elles se constituent sur leur bordure, à la limite d'une prise de consistance ou d'une dissolution. Nous partons du mouvant, de la durée bergsonienne, nous plaçant en son sein afin d'épouser le flux continuel des nos corps et des choses. Nous investissons un processus ouvert, celui d'une base d'expérimentation somatique fluide impliquant à la fois un corps sans images, en amont de celles produites par le système nerveux, et une multiplicité d'images poétiques engendrées par l'expérience. À ces pratiques, nous couplons celle d'une philosophie vécue en acte, engageant des concepts dans le processus créatif, le mouvement et la danse. Nous sommes portés à vivre, à penser, un seuil de tremblement sur lequel la perception ordinaire vacille, et à élaborer des modalités de regard qui tentent d'ouvrir les corps et les espaces les libérant d'images fixes ou d'identités trop définies. Il s'agit non seulement de voir avec la peau, les liquides, les os, mais d'épouser le vide au cœur des choses et de tenter de voir avec « les yeux du vide » afin que les images se transmutent continuellement en leur anagramme : magies. Nous pouvons alors nous connecter aux dimensions fluidiques de la vie afin que coule une nouvelle douceur entre les corps et les catégories<br>This research is an attempt to establish a process of artistic creation, simultaneously theoretical and practical, contributing to the conception of new image modalities in the art field and offering alternatives to representation. Images –fluid, autopoietic– are considered here more as continuous translations than fixed shapes. They are living entities, constituting themselves at their limits, always on the verge of attaining consistency or dissolving. We start with movement, Bergsonian duration, putting ourselves inside it in order to embrace the continual flux of our bodies and of things. We enter into an open process based upon a groundwork of fluid somatic experimentation involving both (1) explorations without images (explorations antecedent to the images produced by the nervous system) and (2) a multiplicity of poetic images engendered by the process itself. We join to these practices that of a philosophy experienced in action, involving concepts in the creative process, movement, and dance. We come to experience and conceive a threshold of trembling on which ordinary perception flickers. We develop modalities of the gaze that attempt to open bodies/spaces, liberating them from set images or too-fixed identities. At issue is not merely seeing with skin, liquids, bones, but espousing the void at the heart of things and attempting to see with "the eyes of the void" in order that images be transmuted continually into their anagram: magies [spells]. We may then connect to the fluidic aspects of life and a new gentleness may flow between bodies and categories
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Šešerová, Dominika. "Body-Mind Centering jako cesta k sebeuvědomění." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313952.

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The aim of this thesis is to introduce BMC approach in relation to other body-oriented psychotherapies, to characterise its principles and techniques, the format of therapy and to analyze and assess it from a point of view of the basic questions of scientific validity of a psychotherapeutic modality. Further in this thesis we summarize the bodily anchored experiencing theory. The empirical part of this thesis is a quantitative study of relation of body awareness, depressive experiencing and the satisfaction with life. We also studied a relationship among body awareness and socio-demographical characteristics of respondents. We ascertained some statistically significant correlations pointing towards a link between the ability of body awareness and depressive experiencing and also with satisfaction with life. The findings of this empirical study point towards the usefulness of further systematical developing of the body awareness construct.
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Books on the topic "Body-Mind Centering"

1

Hendricks, Gay. Centering and the art of intimacy. Prentice-Hall, 1985.

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Kooch, Daniels, ed. Matrix meditations: A 16-week program for developing the mind-heart connection. Destiny Books, 2009.

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Crum, Thomas F. Journey to center: Lessons in unifying body, mind, and spirit. Simon & Schuster, 1997.

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Society for the Study of Native Arts and Sciences., ed. Wisdom of the body moving: An introduction to body-mind centering. North Atlantic Books, 1995.

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Miller, Gill Wright. Exploring body-mind centering: An anthology of experience and method. North Atlantic Books, 2011.

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Warner, Judith S. From chaos to center: A training guide in the art of centering. Aiki Works, 1999.

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Rolek, Michiko J. Mental fitness: Complete workouts for mind, body, and soul. Weatherhill, 1996.

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Rolek, Michiko J. Mental fitness: Basic workouts for mind, body, and soul. Weatherhill, 1996.

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Mindell, Arnold. Riding the horse backwards: Process work in theory and practice. Arkana, 1992.

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1949-, Nelson Lisa, and Smith Nancy Stark, eds. Sensing, feeling, and action: The experiential anatomy of body-mind centering. Contact Editions, 1993.

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Book chapters on the topic "Body-Mind Centering"

1

Engler, Jeanette, and Esther Maria Häusler. "Body-Mind Centering#u#®#e# als tanzkünstlerische Arbeitsweise." In Sinn und Sinne im Tanz. transcript Verlag, 2020. http://dx.doi.org/10.14361/9783839453407-025.

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Lee, Mo Yee, Siu-Man Ng, Pamela Pui Yu Leung, and Cecilia Lai Wan Chan. "Centering the Self: Personal Growth and Transformation." In Integrative Body–Mind–Spirit Social Work. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195301021.003.0009.

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Abstract Throughout life there are challenges and changes created by life transitions, sickness, accidents, loss of loved ones, and other crises. Based on the assumption that life is a process of constant change and evolution, Integrative Body–Mind–Spirit Social Work sees therapy as part of this process of searching, discovering, and becoming that the client goes through in his or her life. Believing that problems will come and go, Integrative Body–Mind– Spirit Social Work does not consider problem resolution the ultimate goal of therapy. Rather, it aims to provide a therapeutic context for enhancing the self-healing and self-balancing abilities of individuals and families. Only when the self is well grounded can an individual maintain a sense of peace and personal integrity while facing life’s unfolding challenges. Nurturing and rediscovering the “self” is therefore of paramount importance, not only for restoring the self-healing and rebalancing abilities of individuals but also for ongoing personal growth and becoming. In Integrative Body–Mind–Spirit Social Work, nurturing and rediscovering the “self” is more than enhancing self-awareness and self-actualization. It is about achieving and maintaining balance in the self–other dynamics in an individual’s identity (Leung &amp; Chan, 2006b) and connecting to a larger sense of self. This chapter describes an understanding of the “self” based on Eastern traditions and how it shapes the practice of social work.
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Engler, Jeanette, and Esther Maria Häusler. "Body-Mind Centering® als tanzkünstlerische Arbeitsweise." In Sinn und Sinne im Tanz. transcript Verlag, 2020. http://dx.doi.org/10.1515/9783839453407-025.

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Greil, Thomas. "Freiräume schaffen, Potenziale fördern. Die Bewegungsentwicklung aus der Sicht von Body-Mind Centering (BMC)." In Körperpsychotherapie mit Säuglingen und Eltern. Psychosozial-Verlag, 2017. http://dx.doi.org/10.30820/9783837973525-267.

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Greil, Thomas. "Freiräume schaffen, Potenziale fördern. Die Bewegungsentwicklung aus der Sicht von Body-Mind Centering (BMC)." In Körperpsychotherapie mit Säuglingen und Eltern. Psychosozial-Verlag, 2016. http://dx.doi.org/10.30820/9783837968071-267.

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Dymoke, Katy. "Embodied Ethics." In The Impact of Touch in Dance Movement Psychotherapy: A Body-Mind Centering Approach. Intellect Books, 2021. http://dx.doi.org/10.1386/9781789384598_4.

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Dymoke, Katy. "Case Study Session 1: Transcript and Data Analysis." In The Impact of Touch in Dance Movement Psychotherapy: A Body-Mind Centering Approach. Intellect Books, 2021. http://dx.doi.org/10.1386/9781789384598_5.

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Dymoke, Katy. "Case Study Session 6: Transcript and Data Analysis." In The Impact of Touch in Dance Movement Psychotherapy: A Body-Mind Centering Approach. Intellect Books, 2021. http://dx.doi.org/10.1386/9781789384598_7.

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Dymoke, Katy. "The Personal and Professional Quests." In The Impact of Touch in Dance Movement Psychotherapy: A Body-Mind Centering Approach. Intellect Books, 2021. http://dx.doi.org/10.1386/9781789384598_2.

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Dymoke, Katy. "Finding an Ending and Emergent Theory." In The Impact of Touch in Dance Movement Psychotherapy: A Body-Mind Centering Approach. Intellect Books, 2021. http://dx.doi.org/10.1386/9781789384598_8.

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