[ePub] The Artistrsquo;s Watercolour Problem Solver by Artist Magazine at Arts-Photography

Review

2 of 3 people found the following review helpful. Reviewing the empatheticBy JJessica DiMauroChoreographing Empathy In Choreographing Empathy by Susan Leigh Foster (2011) the reader is guided through a detailed dissection of three terms; each with a section devoted to it: Choreography; Kinesthesia and Empathy. This terminology is placed within a historical context; revealing significant developments that act as chronological landmarks for which the reader is guided to rely on in the final section of the book: Choreographing Empathy. Not only does Foster track the origin of these terms; but she reveals insight into the evolution of each; the interrelatedness becoming more apparent as the book progresses. Approaching each term with a fervency for detail; the author unearths issues of sexuality; gender and social; cultural and political impact on the physical experience. Each section begins with rooted definitions of the term; continuing with numerous examples of innovators who provided significant developments in the category being discussed. The amount of material presented is extensive; requiring the reader to use these exemplary figures as guides to lead to a greater understanding. The terminologyrsquo;s chronological evolution is highlighted within historical context to reveal the resulting influence on the use and awareness of the body as a source of expression. Evolution of choreography within historical context; kinesthesia as an evolved practice and influence and empathy as an embodied experience are revealed through careful consideration of physicality. Whether embodied; adorned or viscerally experienced; Foster reveals body politics as mapped throughout historical and cultural conditions. Whether in dance genres; both traditional and cultural; educational; medical or fitness arenas; the material presented systematically travels through historical and cultural climates to reveal notions of empathetic physicality; while excavating the roots of these realizations. In the final section of the book; the author uses specific choreographic works; indicative of a particular body politic and weaves in previously discussed terminology; revealing influences and resulting material; while continuing to develop the meaning of the phrase ldquo;choreographing empathy.rdquo; If the reader conquers the first three clinically delivered sections; this final section proves to be full of clever insight that can potentially be tracked back to the previously administered information. By exploring performances concerned with body politics; Foster tackles choreographic works ranging in subject matter from technological preoccupation to works that enliven cross cultural conversations; tying these selected together by reinforcing the empathetic. Each work varies in application; however the point is clear; the revelation of terminology within a specific cultural or political context; provides a platform for discovery of empathetic importance within performative works. Foster states: ldquo;Choreography; whatever its meaning; can provide clues to this specific experience of the physical in the ways that it records or documents movement; and also in the ways that it sets forth principles upon which movement is to be learned and crafted. The notion of empathy then theorizes the potential of one bodyrsquo;s kinesthetic organization to infer the experience of another.rdquo; (2011; p. 175). This regard for empathetic response is developed throughout the book and resonates heavily with my choreographic self. Although the extensive detail is intended to enlighten the reader; I found myself craving a more thorough exploration of actual transference of intention or phenomenological reasoning behind empathetic experience. Instead we are presented a detached portrayal of historical markers for which we are supposed to rely on when presented with choreographic examples in the fourth section of the book. The writing; although sticking diligently to the termed headings; jumps from discipline to discipline-dancers; artists; physical educators; environmentalists; scientists; politicians- are mentioned in an effort to portrait historical significance and development of terminology. While extremely informative; the first three sections proved to be exorbitant in nature. The description of this book bills it as an exploration in expressivity and receptivity. I would have preferred 218 pages of analysis as in the final section. This book is appropriate for graduate level study and could potentially act as a reference for historical developments of the kinesthetic experience.Work Cited:Foster; Susan Leigh; 2011. Choreographing Empathy. London and New York: Routledge.5 of 6 people found the following review helpful. fails to deliver on its titleBy David BolamAfter interesting and thorough (a little too thorough) historical surveys of the terms choreography; kinesthesia; and empathy Foster runs out of steam and fails to adequately apply these concepts to the performances she otherwise describes well. Experiments and direct research would have made a more useful book. Hard to tell who this is aimed at. Heed the faint praise on the back.0 of 4 people found the following review helpful. Nice TitleBy Fisherman2It was a gift for my daughter---a student of hers 25 years ago. She is thrilled to have it---contact the ship to for an actual review.