How can animation connecting us with land?
Playing with the words of Exiner and Kelynack, I read ‘animation’ for ‘dance’ and ‘art’ for ‘therapeutic’:
We hold the view that change is brought about by a process of learning…
Given that our art material is animation and animation takes place in the body, so must the learning. As it is animation through which we learn, and animation engages the whole person so must the learning. All true learning (which is more that acquiring information and skills) generates change. Animation provides true learning in the fullest sense.
(1994; 24)
But does this ring true?
Although, as the authors suggest (p. 5), everything we respond to involves the organic processes of the entire body, the aesthetic experience of dance engages us more wholly. Reading a book is an action in response to a stimulus, but the whole of the body is not so consciously engaged. Dance, the authors suggest, is an experience of unity. Body and mind are one (p. 15):
We believe that this unification of dancer and dance occurs when movement is carried out with sensitivity, mindfulness and imagination…
A new way of knowing is encountered. We have entered the dance mode which transports us into the domain of aesthetics. What this entry feels like, some describe as the “eureka” experience. Arthur Koestler (1964) refers to it as an “oceanic” feeling (p. 88). It elates, excites, excites and fulfills.
The combination of physical movement AND drawing can involve the whole person, offering possibilities for the transformation of thoughts and feelings, for the participant, and potentially for the observer.
Others viewing the artifacts will bring to them individual expectations. Their kinesthetic responses will be subjective.
For those engaged in the drawing and moving, these artifacts can trigger the original physical experience.
Drawings and animations can extend the lives of transformative movement experiences through their material persistence long after the original experience.