Features of kinesthetic empathy in modern dance

Abstract

The purpose of the article is to identify the features of kinesthetic empathy in the context of the specifics of dance partnership in modern dance. Research methodology. The method of cognitive and systems analysis was used (to highlight the basic essential characteristics of kinesthetic empathy and its manifestation in modern dance); comparative method (to identify the features of dance partnership in modern dance); method of theoretical generalization (to formulate research conclusions). Scientific novelty. Kinesthetic empathy in modern dance has been studied through the prism of dance partnership; the concepts of "kinesthetics", "empathy" and "kinesthetic empathy" in the context of the specifics of dance art are specified; the development of the kinesthetic-empathic approach in modern dance in retrospect is considered; the peculiarities of the manifestation of kinesthetic empathy in the process of partnership interaction are analyzed. Conclusions. The act of modern dance is a unique pattern of conscious movements in space-time, and a dancer endowed with the ability to go beyond it can cause a local experience in himself and his partner in kinesthetic communication. Contemplating the body of a partner in motion, he sees a possible move that can be made by his own body. The study found that the nature of relationships represents kinesthetic empathy in the dance partnership of modern dance, the specifics of physical performance parameters, external form of the existence and is based on three main aspects: contact (direct physical, emotional, visual, etc.); coherence of actions; mutual understanding (manifested both in functional technical characteristics, from the coincidence of rhythm, consistency of steps to visual consistency, and in the ethics of contact). Considering the partnership between dancers as a rhetorical act based on a particular type of nonverbal confidence between two (or more) people who move together physically and/or energetically (according to F. Adrin) and includes time, balance, strength, body shape, and personality, united in movement (according to K. Lowe), we can state that the concept of kinesthetic empathy in the context of the specifics of partnership in modern dance is manifested as an empirical interaction between performers, embodying aspects of their movements. This unique interaction is positioned as a sensory experience facilitated by the emotional component, memory, and imagination of the dancers - aspects of emotions and memory become ways to kinesthetically enhance their interaction. Dancers create motor images that combine positions of movement, so their partners can kinesthetically experience the dynamics of movement sequences, and thanks to the kinesthetic imagination, they "connect" to the energy and rhythms of the partner's movements.

Key words: kinesthetic empathy, kinesthetic imagination, dancers, partners, improvisation, movements.