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How to develop the body’s innate intelligence for individual and planetary transformation • Explains how healing ourselves and enacting inner change can also contribute to healing of the planet • Shows how ecosomatics—embodiment work for personal and planetary health—can help us shift our consciousness, heal individual and collective wounds, and uncover latent energetic, somatic, and psychic abilities • Shares ecosomatic and embodiment exercises to help you expand perception, develop somatic intelligence, let go of limiting beliefs, lessen fear and anxiety, and open to new levels of awareness The inner world of self and body is inextricably linked to the outer world of biosphere and biome. As experienced somatic and energy medicine practitioner Cheryl Pallant reveals in vivid depth, by expanding our sensory perceptions and becoming intimately in touch with the rhythms of the body, we can contribute not only to our own healing and transformation but also that of the planet. In this practical guide, Pallant explains how ecosomatics—embodiment work for personal and planetary health—can help us shift our consciousness through expanded listening with all our senses and embracing the interconnections between our inner and outer worlds. Blending research with personal experience in somatic and contemplative practices, the author explores how a broadened appreciation of conscious and unconscious bodily events and perceptions leads to vitally needed, improved stewardship with ourselves and the planet. She shows how the current health, social, and environmental crises are a chance for an evolution in consciousness, pushing us to heal the divisions within personal identity, between self and others, and with the environment. Throughout the book, the author offers ecosomatic and embodiment exercises to help you expand perception, develop somatic intelligence, let go of limiting beliefs, lessen fear, anxiety, and alienation, and open to levels of awareness that allow you to tune in to a greater vision of what is humanly possible. Revealing how to incorporate embodiment into everyday life, this guide shows how the body is a process that is part of nature, not separate from it, and that by embarking on the transformative inner journey, we can bring healing to the world around us.
Modeling a disability culture perspective on performance practice toward socially just futures In Eco Soma, Petra Kuppers asks readers to be alert to their own embodied responses to art practice and to pay attention to themselves as active participants in a shared sociocultural world. Reading contemporary performance encounters and artful engagements, this book models a disability culture sensitivity to living in a shared world, oriented toward more socially just futures. Eco soma methods mix and merge realities on the edges of lived experience and site-specific performance. Kuppers invites us to become moths, sprout gills, listen to our heart’s drum, and take starships into crip time. And fantasy is central to these engagements: feeling/sensing monsters, catastrophes, golden lines, heartbeats, injured sharks, dotted salamanders, kissing mammoths, and more. Kuppers illuminates ecopoetic disability culture perspectives, contending that disabled people and their co-conspirators make art to live in a changing world, in contact with feminist, queer, trans, racialized, and Indigenous art projects. By offering new ways to think, frame, and feel “environments,” Kuppers focuses on art-based methods of envisioning change and argues that disability can offer imaginative ways toward living well and with agency in change, unrest, and challenge. Traditional somatics teach us how to fine-tune our introspective senses and to open up the world of our own bodies, while eco soma methods extend that attention toward the creative possibilities of the reach between self, others, and the land. Eco Soma proposes an art/life method of sensory tuning to the inside and the outside simultaneously, a method that allows for a wider opening toward ethical cohabitation with human and more-than-human others.
Geographies of Us: Ecosomatic Essays and Practice Pages is the first edited collection in the field of ecosomatics. With a combination of essays and practice pages that provide a variety of scholarly, creative, and experience-based approaches for readers, the book brings together both established and emergent scholars and artists from many diverse backgrounds and covers work rooted in a dozen countries. The essays engage an array of crucial methodologies and critical/theoretical perspectives, including practice-based research in the arts, especially in performance and dance studies, critical theory, ecocriticism, Indigenous knowledges, material feminist critique, quantum field theory, and new phenomenologies. Practice pages are shorter chapters that provide readers a chance to engage creatively with the ideas presented across the collection. This book offers a multidisciplinary perspective that brings together work in performance as research, phenomenology, and dance/movement; this is one of its significant contributions to the area of ecosomatics. The book will be of interest to anyone curious about matters of embodiment, ecology, and the environment, especially artists and students of dance, performance, and somatic movement education who want to learn about ecosomatics and environmental activists who want to learn more about integrating creativity, the arts, and movement into their work.
In Mindful Movement, exercise physiologist, somatic therapist, and advocate Martha Eddy uses original interviews, case studies, and practice-led research to define the origins of a new holistic field--somatic movement education and therapy­--and its impact on fitness, ecology, politics, and performance. The book reveals the role dance has played in informing and inspiring the historical and cultural narrative of somatic arts. Providing an overview of the antecedents and recent advances in somatic study and with contributions by diverse experts, Eddy highlights the role of Asian movement, the European physical culture movement and its relationship to the performing arts, and female perspectives in developing somatic movement, somatic dance, social somatics, somatic fitness, somatic dance and spirituality, and ecosomatics.
The first book to offer a somatic movement education curriculum adapted to the unique needs of adolescents Susan Bauer presents a groundbreaking curriculum for teaching teens how to integrate body and mind, enhance kinesthetic intelligence, and develop the inner resilience they need to thrive, now and into adulthood. Designed for educators, therapists, counselors, and movement practitioners, The Embodied Teen presents a pioneering introductory, student-centered program in somatic movement education. Using the student's own body as the lab through which to learn self-care, injury prevention, body awareness, and emotional resilience, Bauer teaches basic embodiment practices that establish the foundation for further skill development in sports, dance, and leisure activities. Students learn the basics of anatomy and physiology, and unlearn self-defeating habits that impact body image and self-esteem. By examining their cultural perceptions, they discover their body prejudices, helping them to both respect diversity and gain compassion for themselves and others. Concise and accessible, the lessons presented in this book will empower teens as they navigate the volatile physical and emotional challenges they face during this vibrant, powerful stage of life.
Based upon the author's lifetime practices as a dancer, poet and teacher, this innovative approach to developing body awareness focuses on achieving self-discovery and well-being through movement, mindfulness and writing. Written from a holistic (rather than dualistic) view of the mind-body duality, discussion and exercises draw on dance, psychology, neuroscience and meditation to guide personal exploration and creative expression.
How we sense and move our bodies shapes how we relate with each other. Current socio-economic practices are reducing generative qualities of relating. Doerte Weig shows how bodily capacities for sensitive tensional responsiveness are relevant to (re)generative cultures, the future of work, lifelong learning, sharing, healing and well-being. She draws together her own experience of living with Baka egalitarian foragers in North-Eastern Gabon, her corporate experience, and her studies on body-ing, somatics and our connective tissue-system fascia. Interweaving neurophysiological shifting-sliding with a radically different ecosystemic awareness opens up potentials for bodying beyond current legal and political limits into enchantingly vibrant and ecosomatically alive futures. Doerte Weig holds a PhD in social anthropology and research experience working with, for example, hunter-gatherers, contemporary dancers, corporate managers, citizen scientists, somatic practitioners, and fascia specialists. She aims to uncover how different facets of human physicality relate to socio-political transformation and ecological awareness. She believes that we cannot think-perceive the future of human societies, of education, health, or work, without taking into account the sensoriality of our moving-sensing bodies, and raising our ecosystemic awareness.
Although scholars in the environmental humanities have been exploring the dichotomy between "wild" and "built" environments for several years, few have focused on the field of disability studies, a discipline that enlists the contingency between environments and bodies as a foundation of its scholarship. On the other hand, scholars in disability studies have demonstrated the ways in which the built environment privileges some bodies and minds over others, yet they have rarely examined the ways in which toxic environments engender chronic illness and disability or how environmental illnesses disrupt dominant paradigms for scrutinizing "disability." Designed as a reader for undergraduate and graduate courses, Disability Studies and the Environmental Humanities employs interdisciplinary perspectives to examine such issues as slow violence, imperialism, race, toxicity, eco-sickness, the body in environmental justice, ableism, and other topics. With a historical scope spanning the seventeenth century to the present, this collection not only presents the foundational documents informing this intersection of fields but also showcases the most current work, making it an indispensable reference.
Poetry that inhabits and queers bodies and lands in an ecosomatic investigation. Gut Botany charts my body / language living on indigenous land as a white settler and traveler," Petra Kuppers writes in the notes of her new poetry collection. Using a perfect cocktail of surrealist and situationist techniques, Kuppers submits to the work and to the land, moving through ancient fish, wounded bodies, and the space around her. The book invites the reader to navigate their own body through the peaks and pitfalls of pain, survival, sensual joy, and healing. Gut Botany is divided into eight sections. In "Court Theatre," Kuppers revisits courtroom performances following her sexual assault while drawing from the works of Perel and Bhanu Kapil. "Asylum" grew out of the Asylum Project performance experiments that Kuppers co-directed with dancer/poet Stephanie Heit. "Moon Botany" began as a collaboration with visual artist Sharon Siskin and offers a wheelchair user's view of insects, mushrooms, and horsetail ferns. Amber DiPetra notes that "this book is beautiful when it needs to be beautiful and it is edgy when it needs to be edgy and that is the sign of writing that matters." Readers looking for experimental poetry that takes up space in their brains and bodies will dive deep and fast into this queer ecosomatic investigation.
In most forms of dancing, performers carry out their steps with a distance that keeps them from colliding with each other. Dancer Steve Paxton in the 1970s considered this distance a territory for investigation. His study of intentional contact resulted in a public performance in 1972 in a Soho gallery, and the name "contact improvisation" was coined for the form of unrehearsed dance he introduced. Rather than copyrighting it, Paxton allowed it to evolve and spread. In this book the author draws upon her own experience and research to explain the art of contact improvisation, in which dance partners propel movement by physical contact. They roll, fall, spiral, leap, and slip along the contours and momentum of moving bodies. The text begins with a history, then describes the elements that define this form of dance. Subsequent chapters explore how contact improvisation relates to self and identity; how class, race, gender, culture and physiology influence dance; how dance promotes connection in a culture of isolation; and how it relates to the concept of community. The final chapter is a collection of exercises explained in the words of teachers from across the United States and abroad. Appendix A describes how to set up and maintain a weekly jam; Appendix B details recommended reading, videos and Web sites. Instructors considering this book for use in a course may request an examination copy here.