Darkowaa A-K; Being Seen, Being Moved- Authentic movement and perfirmance; DANC 0163; Response 11

'In Authentic Movement, the mover remains the 'expert' on his or her own movement experience- not the viewer, nor the writer." by Andrea J. Olsen is a quote that I simply adore. In the article by Olsen, she articulates how Authentic Movement is basically a means of healing and creativity for dancers. I much appreciate how Authentic Movement links the dancer to the audience. It is believed that the dancer or the mover is the story teller whilst the audience or the witness of the dance is simply to reflect on the performance back to personal experiences without judging the performance. I found this very interesting because dance is a form of art and it can be perceived in various ways. But it seems that in this instance, the witness can not ridicule or perceive a performance according to personal preference. This hence gives room for the freedom of the dancer to perform whatever he or she loves. But initially, the dancer would have to know his or her personal movement, in order to create a piece of art that is unique.

Authentic Movement facilitating healing is something that stroke me as a function of dance. But Authentic Movement's healing process is more of a therapeutic process that involves connecting with memories and past experiences, in order to internalize the healing and to have deeper meaning in intended movements. Certain movements the body makes can play a role in a dancer's personal history, such as the twisting of the spine or the angle of the torso. As part of the healing process, I admired the fact that, 'imperfection is our gift,' expressing how dance does not need to be perfect and performed how viewers want to see dance, but more of a personal thing. This part of the healing process aids dancers, whether beginners or professionals, to accept themselves for their own personal style and dialogue expressed in dance.

Once a dancer is able to undergo this healing process, the understanding of the relationship between the dancer and witness or audience would make more sense, in that, the composition of a dance piece would be understood equally by both audience and performer. I think I would be very glad to undergo the Authentic Movement process, as it would provide the opportunity for me to explore my inner self as a performer and to make me conscious of the meanings of my movements.