Integration of body and mind through kinesthetic imagery: Nancy Topf's repatterning technique in modern dance training and creative process.

摘要

This study examines the work of Nancy Topf as an innovator in the evolution of repatterning technique through kinesthetic imagery and to describe its use as a method in the development process of dance.; Nancy Topf has been recognized as an innovator in the field of dance and dance education. Her work reaches out from the seminal work of Mabel Todd, who founded the idea of a "psychophysical system." Furthermore, her work had a profound effect on Barbara Clark and Lulu Sweigard, who are Todd's disciples.; Although kinesthetic imagery has been used in various dance techniques, it has been focused more on body alignment and body awareness than creative process. However, Topf developed her repatterning technique not only to help facilitate correct alignment and enhance body awareness, but also to encourage creative movement exploration. As a post-modern dancer, Topf choreographed more than fifty dance pieces. Since 1972, many of those works were created by the use of kinesthetic imagery.; This study is the premier in-depth study of Nancy Topf's dance works, which have been described in the context of artistic manner. The study goes on to illustrate the origins of Mabel Todd's "psychophysical system" and her influence on dance movement theory through the work of Barbara Clark, Lulu Sweigard and Nancy Topf. It also investigates the definition of kinesthetic imagery.; Finally, this research attempts to clarify Topf's philosophical and professional development. Articulation of the principles of her repatterning technique and her technique classes and their vital role in the development of kinesthetic imagery are central to this study. In addition, Topf's dance pieces have been analyzed using Elizabeth R. Hayes' "Guiding Principles of Art Form." Finally Topf's influence on other dancers, such as Sara Rudner, Gloria McLean and Vicki Schick, is examined.