Dancing n/om

Keeney, Hillary; Keeney, Bradford
November 2012
Journal of Dance & Somatic Practices;2012, Vol. 4 Issue 1, p11
Academic Journal
For the Ju/'hoansi Bushmen (San) of southern Africa, embodied ecstatic expression is inseparable from their healing dance. But more than any particular kind of improvisation or choreography, their dance is orchestrated by infusion with what they call n/om, the purported life force they claim arises from an awakened heart. This is similar to what the Spanish flamenco tradition calls duende, the ineffable passionate expression that makes a dance performance come to life. Celebrating the growing interest among dancers and somatic therapists in the relationship between dance, spirited experience and healing, we discuss how examining the Bushman relationship to n/om brings attention to an under-examined aspect of the discourse on dance and healing.


Related Articles

  • Introduction. Bacon, Jane; Midgelow, Vida // Choreographic Practices;2013, Vol. 4 Issue 2, p125 

    An introduction is presented in which the authors discusses various reports within the issue on topics including the relationship of language and choreography, the dance performance "I Will Not Hope," and the creative practices of the Dance-Moving Image discipline.

  • Dancing Catalonia.  // Dancing Times;Oct2015, Vol. 106 Issue 1262, p42 

    The article discusses the International Choreographic Competition DANCING CATALONIA to be held in Spain in 2016 in which participants received award from party planner Fiestalonia Mileno along with independent and professional assessment from an international jury.

  • World Dance. Trance Dance.: A CONTEXTUALIZED LOOK AT VINCENT MANTSOE'S SOLO IN MEN-JARO. Vedel, Karen // Nordic Theatre Studies;2007, Vol. 19, p91 

    Looking at South African choreographer Vincent Koko Sekwati Mantsoe's solo in Men-Jaro (2006), the article examines at the ways in which it connects different arenas or performance spaces through the use of trance. Wishing to look at but also beyond the exoticism solicited by the dancer's use of...

  • Dancing Your Body Temple. Michaels, Lisa // Sacred Dance Guild Journal;Spring2010, Vol. 52 Issue 2, p5 

    In this article, the author discusses the religious aspects of dancing. She mentions that the human body is a temple and aligning it with spirit can provide a path to the divine. She mentions that rhythmic movement during the dance can activate individual's emotional energy, mental air realm and...

  • Maguy Marin: the faces of the present. Schoonejans, Sonia // Ballet 2000;2011, Issue 223, p42 

    The article focuses on French choreographer Maguy Marin and her works such as Faces performed by the dancers of the Lyon Opera, Umwelt and Turba.

  • Dancers on Fire. Duley, Melissa // Louisville Magazine;Jun2005, Vol. 56 Issue 6, p11 

    The article presents information on flamenco dance. According to the author, watching a flamenco dance is more like attending a raucous sporting event than going to the ballet. The rhythmic stomping of feet, clacking of castanets, the twirl of a ruffled skirt, rambunctious clapping entice...

  • Kathak Master Chitresh Das Collaborates With Flamenco Artist.  // India -- West;9/19/2014, Vol. 39 Issue 44, pC7 

    No abstract available.

  • Flamenco Festival London. ANDERSON, ZOË // Dancing Times;Apr2016, Vol. 106 Issue 1268, p57 

    The article discusses the Flamenco Festival London, held in London, England from February 16-27, 2016.

  • Stealing, Influence, and Identity. Rethorst, Susan // Contact Quarterly;Winter/Spring2012, Vol. 37 Issue 1, p17 

    An essay is presented on the author's perspectives on the aspects of influence and identity in dancing. She shares her experience of being a choreographer, as she discovered that there is a fear of influence and a fear of being stolen from among fellow choreographers. She states that her...


Read the Article


Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics