Response 11: Being Seen, Being Moved

JJ Janikis
DANC 163

With any form of art I always find it important to discuss its intimate connection with artist or performer. Andrea J. Olsen’s study of Authentic Movement analyzes a medium of dance that serves as means of self-reflection and healing for the dancer. The natural movements of the body can build self-trust and self-actualization and also serve as means of communication between the performer and the witness. In our studies of African dance, the importance of music and the rhythm of the drums serve a means of discovering natural movements in the body. Many of the modern African choreographers that we have studied such as Alvin Ailey and Katherine Dunham used the movements as a source of self-discovery to convey personal narratives and social messages of change using an African aesthetic. Olsen describes that Authentic Movement of the body “encourages us to know ourselves and to bring this awareness to performance” (53). Before one can try understand their art, they must first value and trust their true self.

Over the past few years I have become increasingly interested in “theater of the oppressed”, which similar to Authentic Movement faces personal fears and confronts social boundaries. Olsen describes that Authentic Movement “facilitates healing as the body guides us into the stored memories and experiences and toward consciousness” (47). Therefore, closing your eyes challenges one to express internal emotions of conflict that can be expressed through natural movements. In addition, group Authentic Movement sessions encourage self-trust and the trust of the group by opening one’s “true-self” to a large group of collective expression. The language of the body explored through Authentic Movement communicates unconscious and collective personal narratives that encourage communication with an audience and the performer.
From an African aesthetic, Authentic Movement can be an effective resource in understanding the connection of one’s body with the music. Olsen writes that “movement impulses” are the process of being moved. Therefore, the poly-rhythm in the drugs serves as a tool for connecting the movements of the body. It is the music that is driving the dancer, not the choreography itself.

Overall, I feel that the Authentic Movement technique can be a very powerful tool in not only improving a dance aesthetic, but as a form of therapy and a means of self-expression.

JJ Janikis