Every expression of a living person, no matter how they present themselves, always has a bodily representation. Everything we experience, think, and decide is embodied. The brain is a part of the body — this is a simple yet essential understanding.
When a person presents themselves, tells their story, or expresses their feelings, we always look at how this manifests on the bodily level — through facial expressions, small gestures, shifts of posture, changes in muscle tone, or vocal intonation.
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=== 2. 人是一个过程，而非一个物体 ===
=== 2. A human being is a process, not an object ===
必须将人视为一个不断发展的多维过程。
It is essential to see a person as a developing multidimensional process.
The first conclusion from this principle: every situation that exists here and now has a certain history — a person has gone through particular stages, phases, and episodes of development. The second conclusion: this situation will continue, this story is not finished.
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从某种意义上说，这与存在主义对人作为未完成项目的理解不谋而合。
In a certain sense, this coincides with the existential understanding of a person as an unfinished project.
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我们不禁要问：什么在持续发展？什么在持续变化？正在发生怎样的变化？
We ask: What continues to move? What continues to change? What process is unfolding?
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=== 3. 万物皆有其舞，皆有其舞伴 ===
=== 3. In everything, one can see a dance and partners for movement ===
这第三个原则源于前一个问题：这究竟是什么过程？由此，我们便能领悟到舞蹈的真谛。
This third principle arises from the previous question: What is this process? And here we arrive at dance.
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如果我们把舞蹈理解为一个多维度的、协调的过程，那么为任何体验找到合适的场所就变得非常重要。
If we understand dance as a multidimensional, coordinated process, it becomes important to find the appropriate place for any experience.
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例如：“这种情况不适合我，因为我内心深处无法接受它。”
For example: “This situation doesn’t suit me because some part of me is not in the place where I could accept it.”
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或者：“我目前的处境限制了我，让我无法接受正在发生的事情。”
Or: “The position I’m in limits me and doesn’t allow me to embrace what is happening.”
From a holistic, integral point of view, we cannot discard anything. In this sense, we understand dance in a truly broad way, and we can consider any situation in life as a dance, and its participants as partners in movement.
If a person is truly whole, this extends to the quality of their relationships with others — in which, if one wishes, one can always see partners for movement.
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与世界共舞 ===
=== Dance with the world ===
This means that I have my own place in the world, and I am at peace with it — my place in society, in culture, and in nature.
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这意味着我在世界上有自己的位置，并且我对此感到平静——我在社会、文化和自然中的位置。
It means that I have a certain connection with nature — one that feels right for me.
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这意味着我与自然之间存在某种联系——一种让我感觉很合适的联系。
These can be very simple things: for example, a person enjoys walking in the park and intuitively knows when it’s time to go there.
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这些可以是一些非常简单的事情：例如，一个人喜欢在公园散步，并且凭直觉就知道什么时候该去公园了。
Or perhaps they feel a deep connection with a certain element or force of nature.
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或许他们与某种自然元素或力量有着深厚的联系。
Connection with the world also manifests as connection with culture — in the sense that I truly understand which culture influences me, which culture I belong to, and why my tastes and preferences are what they are.
This is what integration means: what I do in society corresponds to my inner sense of self, and there is no strong contradiction between them.
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这就是融合的意义：我在社会中的行为与我内心的自我认知相符，两者之间没有强烈的矛盾。
There may be compromises or crises that I go through, but strategically I am in my right place in this world.
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我可能会经历妥协或危机，但从战略角度来看，我在这个世界上处于正确的位置。
=== Dance with eternity ===
Most people who practice dance note that at times they encounter an inner experience that is difficult to express in words — as if part of it cannot be verbalized and lies beyond our consciousness.
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=== 与永恒共舞 ===
If a person has experienced a powerful, vivid state through dance, it needs to be integrated — to find its place and meaning.
What place does it occupy? Where can it be of use, and what nourishes it in return?
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它占据什么位置？它在哪里能发挥作用？又有什么能滋养它？
Integral Dance provides space for this sacred side of the dance experience, creating a field for calm and clear understanding — where it leads and why it is needed.
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Integral Dance 为舞蹈体验的神圣一面提供了空间，创造了一个平静和清晰理解的领域——它将引领我们走向何方，以及为什么需要它。
== Main Tools of Integral Dance ==
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<span id="Main_Tools_of_Integral_Dance"></span>
* Integral Dance-Movement Therapy
== Integral Dance 的主要工具 ==
* Integral Somatics
* Integral Performance and Improvisation
* Dance as a Spiritual Practice
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* Integral Dance-运动疗法
The foundation of Integral Dance is built upon several different schools of improvisation and improvisational performance on one hand, and body-centered therapy on the other. Dance therapy itself treats movement as a language of communication between therapist and client. Establishing non-verbal therapeutic relationships is the essence of classical dance therapy.
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* 整体身体疗法
Another cornerstone of Integral Dance is Authentic Movement. Interestingly, Authentic Movement is both a separate discipline and, at the same time, already carries a sense of integrality. It can serve as a therapeutic tool, it can be a personal practice—sometimes for stress management, sometimes to support creativity, sometimes to address personal challenges, and sometimes simply because the process itself is valuable. It is also a spiritual practice. At least in the form practiced by Janet Adler, the Discipline of Authentic Movement is a modern mystical practice. Both aspects—the therapeutic and the spiritual—are explored in A. Girshon’s book Stories Told by the Body.
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* 整体表演与即兴创作
A significant body of knowledge emerged after classical dance-movement therapy, particularly in the 1970s–1990s, through somatic techniques. These, on one hand, share much with dance-movement approaches but are positioned under a different label. Somatic therapists often have separate professional associations, use somewhat different tools, and draw on a distinct knowledge base. Yet the foundations and goals are very similar. The somatic approach has significantly enriched the understanding of dance, movement, and human development. It also integrates well with discoveries in neuroscience—a field that must be incorporated today. Naturally, dance therapy and psychotherapy in general strive to understand and integrate this knowledge, relating it to practical therapeutic techniques.
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* 舞蹈作为一种灵性实践
Additionally, there are practices not focused on creativity or therapy per se, but rather on dance as ritual or prayer—dance as a form of spiritual practice.
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Integral Dance 的基础一方面建立在多种即兴创作和即兴表演流派之上，另一方面则建立在以身体为中心的疗法之上。舞蹈疗法本身将动作视为治疗师和来访者之间的一种沟通语言。建立非语言的治疗关系是古典舞蹈疗法的精髓所在。
Thus, Integral Dance draws on many foundations: improvisation, therapy itself, authentic movement, dance as a spiritual practice, and somatic or body-oriented approaches. Integral Dance is a process that helps us understand how all these elements relate to one another. By combining these forms of knowledge, we can more clearly and accurately—and most importantly, while staying connected to ourselves and our intentions—use Integral Dance for self-discovery, personal development, and enhancing our engagement with life.
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Integral Dance 的另一个基石是 Authentic Movement。有趣的是，Authentic Movement 既是一门独立的学科，同时又蕴含着一种整体性。它可以作为一种治疗工具，也可以是一种个人修行——有时用于压力管理，有时用于激发创造力，有时用于应对个人挑战，有时则仅仅是因为过程本身就很有价值。它也是一种灵性修行。至少在 Janet Adler 的实践形式中，Authentic Movement 的修行是一种现代神秘主义修行。A. Girshon 的著作《身体讲述的故事》探讨了这两个方面——治疗性和灵性性。
因此，Integral Dance 汲取了多种基础：即兴创作、治疗本身、Authentic Movement、作为一种精神实践的舞蹈，以及身体或身体导向的方法。Integral Dance 是一个帮助我们理解所有这些要素之间相互关系的过程。通过结合这些知识形式，我们可以更清晰、更准确地——最重要的是，在与自身和自身意图保持联结的同时——运用 Integral Dance 进行自我发现、个人发展，并提升我们对生活的投入。
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Latest revision as of 04:16, 15 February 2026
Integral Dance logo
Integral Dance（由 亚历山大·吉尔松 创建）是一种引领我们走向更完整自我的舞蹈。它有助于我们与自身（在身体和意识层面）保持深层的联结，以一种特殊的方式将我们与他人连接起来，帮助我们感受到我们与世界（自然和艺术）的归属感，以及与某种难以言喻的更高存在（精神层面）的联结。此外，这些联结本质上是动态的。
Integral Dance 为舞蹈体验的神圣一面提供了空间，创造了一个平静和清晰理解的领域——它将引领我们走向何方，以及为什么需要它。
Integral Dance 的主要工具
Integral Dance-运动疗法
整体身体疗法
整体表演与即兴创作
舞蹈作为一种灵性实践
Integral Dance 的基础一方面建立在多种即兴创作和即兴表演流派之上，另一方面则建立在以身体为中心的疗法之上。舞蹈疗法本身将动作视为治疗师和来访者之间的一种沟通语言。建立非语言的治疗关系是古典舞蹈疗法的精髓所在。
Integral Dance 的另一个基石是 Authentic Movement。有趣的是，Authentic Movement 既是一门独立的学科，同时又蕴含着一种整体性。它可以作为一种治疗工具，也可以是一种个人修行——有时用于压力管理，有时用于激发创造力，有时用于应对个人挑战，有时则仅仅是因为过程本身就很有价值。它也是一种灵性修行。至少在 Janet Adler 的实践形式中，Authentic Movement 的修行是一种现代神秘主义修行。A. Girshon 的著作《身体讲述的故事》探讨了这两个方面——治疗性和灵性性。
