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These sensations stemmed from the present social and social context of aging and also therefore, had a tendency to replicate established ageist ideas of the feminine dance body. We now questioned the requirement to adhere with a specific body perfect and also challenged the concept of needing to be less physical as fully grown dancers. We took pleasure in moving with a team of devoted, hardworking dancers with comparable age and also capacity. We found our dance selves once again in this social context without needing to "mask aging" (Schwaiger, 2012, p. 76) by resorting age-appropriate movement vocabulary appropriate for "old dancers" (Schwaiger, 2005, p. 112). In their research, Southcott and Joseph interviewed six Australian modern dancers and their educator that had actually developed a dancing team Fine Lines to continue dance practice and also performance beyond age 40. Integrating Bourdieu's principle of habitus and also an interpretive phenomenological evaluation, they located that the contemporary dancing body came to be a website of self-creation, self-realization, and health and wellbeing.
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