Article Vol. 23, No. 1, 2023

Sensual and psychosomatic benefits of modern dance: High heels

Oleksiy Pastukhov
Received 11.04.2023 Revised 19.07.2023 Accepted 03.09.2023 Pages 64–69 644 Views

Abstract

The purpose of the article is to analyse the sensual, bodily, and psycho-emotional benefits of contemporary dance on the example of the High heels dance style. The research methodology is based on a comprehensive combination of a number of general scientific methods and approaches integrated from contemporary art history, psychology, and pedagogy. The scientific novelty is to draw attention to the study of contemporary dance in a broad interdisciplinary context, as well as to the study of the contemporary dance style – High heels. Conclusions. High heels dance is a real kind of choreographic art, and therefore it deserves more research attention, as it holds an important reference value that can significantly influence the further development of contemporary dance. It is about the ability to freely express your true feelings, both emotional and bodily. In addition, High heels are one of the styles that allow you to look at the body, physical practices, and, accordingly, at the physical advantages of this or that performer in a different way. Besides, this dance allows you to take a different look at other styles that are included in it and become an interesting practice of complementing them with a new accessory – high heels. The popularity and importance of the High heels dance for the correction of psycho-emotional and physical condition requires the development of a comprehensive teaching methodology, including the expansion of modern choreographic education

Show full abstract

Keywords

Suggested citation

Copy citation
Pastukhov, O. (2023). Sensual and psychosomatic benefits of modern dance: High heels. Notes on Art Criticism, 23(1), 64-69. https://doi.org/10.32461/2226-2180.43.2023.286837

References

Show all references

[1] Burnidge, A. (2012). Somatics in the dance studio: Embodying feminist/democratic pedagogy. Journal of Dance Education, 2, 37-47. doi: 10.1080/15290824.2012.634283.

[2] Camurri, A., Lagerl'́of, I., & Volpe, G. (2003). Recognizing emotion from dance movement: comparison of spectator recognition and automated techniques. International Journal of Human-Computer Studies, 59, 213-225. doi: 10.1016/S1071-5819(03)00050-8.

[3] Christensen, J.-F., Gaigg, S.-B., Gomila, A., Oke, P., & Calvo-Merino, B. Enhancing emotional experiences to dance through music: The role of valence and arousal in the cross-modal bias. Frontiers in Human Neuroscience. doi: 10.3389/fnhum.2014.00757.

[4] Daniels, K. (2009). Teaching to the wholedancer: Synthesizing pedagogy, anatomy, and psychologyThe IADMS Bulletin for Teachers, 1, 8-10.

[5] Desmond, J.C. (2000). Terra Incognita: Mapping new territory in dance and "Cultural Studies"Dance Research Journal, 32(1), 43-53.

[6] Eddy, M. A brief history of somatic practices and dance: Historical development of the field of somatic education and its relationship to dance. Journal of Dance and Somatic Practices, 1(1), 5-27. doi: 10.1386/jdsp.1.1.5/1.

[7] Foulkes, J.L. (2002). Modern bodies: Danceand American modernism from Martha Graham to Alvin Ailey. Chapel Hill & London: University of North Carolina Press.

[8] Gracia, Z. (2023). Heels dance 101: A beginner’s guide to this fun and flirty dance.

[9] High Heels in Kyiv. (2023). Retrieved from https://dancedynasty.com.ua/style-danceheels.

[10] Jola, C., Ehrenberg, S., & Reynolds, D. (2011). The experience of watching dance: Phenomenological-neuroscience duets. Phenomenology and Cognitive Science, 11, 17-37. doi: 10.1007/s11097-010-9191-x.

[11] Novack, C.J. (1990). Sharing the dance: Contact improvisation and American culture. Madison, Wisconsin: The University of Wisconsin Press.

[12] Reason, M., & Reynolds, D. (2007). Kinesthesia, empathy, and related pleasures: An inquiry into audience experiences of watching dance. Dance Reserach Journal, 42(2), 49-75. doi: 10.1017/S0149767700001030.

[13] Sexystyle y Heels Dance, Tacones para todes. (2023). Retrieved from https://streetdancearea.com/sexystyley-heels-dance-tacones-para-todes/.

[14] Takata, Y., & Uchiyama, Е. (2023). Wearing high-heeled shoes on a side slope makes standing balance unstable. Journal of Bodywork and Movement Therapies, 33, 171-175. doi: 10.1016/j.jbmt.2022.09.023.

[15] Theodorou, L., Healey, P.G.T., & Smeraldi, F. (2019). Engaging with contemporary dance: What can body movements tell us about audience responses? Frontiers in Psychologydoi: 10.3389/fpsyg.2019.00071.

[16] Whatley, S. (2018). Somatic practices: How motion analysis and mind images work hand in hand in dance. Handbook of Human Motion. Cham: Springer. doi: 10.1007/978-3-319-14418-4_113.