| Chapter 1: | Introduction |
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How far behind feelings can we get? These questions…define the edge of our current scientific research’ (Damasio 2000, 314). For me, throughout these experiences I have detailed, feelings, in their complexity and intuitive drive, became trusted and dependable assets for creativity. I used them in a multifaceted way both to deepen and to broaden my work with the company. When other creative routes might dry up or falter, my ability to draw on this attribute was a definite source of associated ideas. One learns to trust this. One learns to relax a little and allow things to arise and guide, sometimes switching off the conscious cognitive to better understand how feelings might offer legitimate impressions.
Over the years, I have been a performer in the arts and also an educator of others, from primary-aged children to fully fledged adults. I have taught and guided students of, and professionals in, dance, drama, singing, instrumental music, and sport. That teaching has encompassed a wide ability level in large classes, small groups, and one-to-one tuition, in a range of venues from purpose-built sport centres and studios to dusty theatres to church basements. In all of this, and at every level, I have found understanding based in physical experience to be a powerful tool of learning. This reliance on physicality has been an underlying theme of my teaching, which ultimately has led to this research. It is certainly true that, when other avenues have failed, my confidence in using bodily understanding has been justified. One example I recall was a GCSE (General Certificate of Secondary Education) music student who loved singing but was unable to stay in tune, even at a simple level of melody. She was determined and came to me with open respect, anticipating that I would help her overcome the difficulty. I implemented many strategies and exercises but could not break through what seemed to be a psychological wall of reserve. I, therefore, tried a new framework. I began screaming (short bursts) and invited her to join me. It took quite a while to free her muscles and deliver an open sound. I developed a throwing gesture of the arms to support each initiation of sound, thus almost forcing the body to ‘let go’, and each time, my student mirrored my actions. From this juncture, an unambiguous change came over our sessions. I continued to demonstrate and work with the student, who