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Thought in ActionExpertise and the Conscious Mind$
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Barbara Gail Montero

Print publication date: 2016

Print ISBN-13: 9780199596775

Published to Oxford Scholarship Online: June 2016

DOI: 10.1093/acprof:oso/9780199596775.001.0001

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The Aesthetic Experience of Expert Movement

The Aesthetic Experience of Expert Movement

Chapter:
(p.192) 10 The Aesthetic Experience of Expert Movement
Source:
Thought in Action
Author(s):

Barbara Gail Montero

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199596775.003.0011

For Dreyfus and Dreyfus (1986), an expert’s skill has become “so much a part of him that he need be no more aware of it than he is of his own body.” This may be correct only because experts are highly aware of their own bodies in dance, sports, musicianship, and other expert activities in which the quality of one’s actions depends on the quality of one’s bodily movements. Here, countering those who proscribe bodily awareness during highly skilled bodily movement, this chapter presents an argument for the view that proprioception—the sense by means of which we are aware of the positions and movements of our limbs via receptors in muscles, tendons, joints, ligaments, and skin—enables dancers (and others) to perceive the grace, beauty, power, and precision of their own movements.

Keywords:   proprioception, dance, grace, bodily movement, sports, musicianship, bodies, bodily awareness

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