Historical and Cultural Context/nb: Difference between revisions
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== Gammel opprinnelse og ritualer == | == Gammel opprinnelse og ritualer == | ||
Fra forhistoriske samfunn til etablerte sivilisasjoner ble dans brukt til å få kontakt med det guddommelige, uttrykke sorg eller feiring, og forene samfunn i felles ritualer. Antropologer har bemerket at rytmisk bevegelse og kollektiv dans er nesten universell menneskelig atferd – sentralt i seremonier som overgangsritualer, sesongmessige overganger og åndelig helbredelse.<ref name="Dunbar2014">Dunbar, R. (2014). How conversations around campfires came to be. ''Frontiers in Psychology'', 5, 1135. https://doi.org/10.3389/fpsyg.2014.01135</ref> | |||
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Revision as of 17:47, 15 February 2026
«Bevisst dans», slik den eksisterer i dag, er dypt forankret i en lang og mangfoldig historie med rituell bevegelse, fellesskap og åndelig uttrykk. På tvers av kulturer og århundrer har dans tjent som et kraftig verktøy for helbredelse, historiefortelling og gruppesamhold. Den moderne bevisste dansebevegelsen henter inspirasjon fra disse forfedrestradisjonene samtidig som den integrerer moderne innsikter fra psykologi, somatikk og ekspressiv kunst.
Gammel opprinnelse og ritualer
Fra forhistoriske samfunn til etablerte sivilisasjoner ble dans brukt til å få kontakt med det guddommelige, uttrykke sorg eller feiring, og forene samfunn i felles ritualer. Antropologer har bemerket at rytmisk bevegelse og kollektiv dans er nesten universell menneskelig atferd – sentralt i seremonier som overgangsritualer, sesongmessige overganger og åndelig helbredelse.[1]
Examples include the trance dances of the San people in Southern Africa, the spinning rituals of Sufi mystics, and drum-based ceremonies among Afro-Brazilian and Native American traditions.[2] These practices often aimed to induce altered states of consciousness for collective healing, spiritual insight, or social bonding.
Evolution to Modern Conscious Dance
In the 20th century, dance reemerged as a healing tool through therapeutic disciplines such as Dance/Movement Therapy (DMT), pioneered by figures like Marian Chace, Mary Whitehouse, and Trudi Schoop. These practitioners recognized that movement could be used to access emotion, release trauma, and support integration.[3]
By the 1970s and 1980s, non-clinical conscious dance practices also began to take shape. Gabrielle Roth's 5Rhythms and Anna Halprin's movement-based art therapy laid the groundwork for a modern movement emphasizing freedom, presence, and transformation.[4] In the following decades, new modalities such as Biodanza, Movement Medicine, and Soul Motion emerged, incorporating ritual, psychology, and creative expression into accessible dance experiences.
Cross-Cultural Perspectives
Contemporary conscious dance reflects a wide array of cultural influences. Many practices borrow from African diaspora movement, Indigenous ceremony, Eastern philosophy, and Western therapeutic models. While this synthesis allows for innovation and inclusivity, it also raises questions around cultural appropriation and the ethical use of ancestral knowledge.
Facilitators and communities are increasingly calling for culturally respectful frameworks that honor the origins of movement practices and acknowledge their spiritual and historical significance.[5] Today’s global dance scene includes conversations around decolonization, accessibility, and the preservation of lineage-based wisdom alongside open-source creativity.
References
- ↑ Dunbar, R. (2014). How conversations around campfires came to be. Frontiers in Psychology, 5, 1135. https://doi.org/10.3389/fpsyg.2014.01135
- ↑ Aldridge, D. (1996). Music therapy research and practice in medicine: From out of the silence. Jessica Kingsley Publishers.
- ↑ Levy, F. J. (1988). Dance movement therapy: A healing art. American Alliance for Health, Physical Education, Recreation and Dance.
- ↑ Roth, G. (1998). Maps to ecstasy: A healing journey for the untamed spirit. New World Library.
- ↑ Turino, T. (2008). Music as social life: The politics of participation. University of Chicago Press.
