Glossery

The definitions in this glossary are shaped by the experiences, reflections, and creative explorations that emerged during this research process. They are supported by general insights from the fields of somatic practice, choreography, and psychology. Rather than citing specific external sources, the terms are formulated as working definitions that have been developed to suit the context and needs of this project.

Agency: The capacity of participants to make choices and take ownership of their movement within the choreographic process. Encouraging agency allows for a more personal and authentic engagement with the material, fostering a sense of autonomy and investment in the artistic outcome.

Body-Mind Relationship: This refers to the interconnectedness between the body and the mind, where physical sensations and movements are not merely mechanical actions but are deeply intertwined with mental and emotional states. In this work, the body serves as a repository for psychological experiences, and the somatic process becomes a way to access and release emotions and memories that may not be immediately accessible through language.

Diverse Group of Participants: This term refers to a varied group of individuals from different backgrounds, experiences, and perspectives, including a range of ages. This diversity enriches the creative process, as each participant brings unique narratives and embodied knowledge, contributing to a more dynamic and inclusive performance.

Embodiment: The process of fully inhabiting and experiencing movement, where physical actions are infused with intention, emotion, and personal meaning. Embodied movement arises from an internal awareness rather than mere external execution.

Energetic Connections

This term refers to the development of subtle, often invisible lines or threads of energy between the centers of the dancers' bodies. Whether dancing alone, in pairs, or as a group, participants cultivate an ongoing awareness of these energetic pathways, recognizing that they remain connected even across distance. In this research, energetic connections are not dependent on physical touch; instead, they are sensed through breath, focus, and intention, creating a felt web of communication that supports relationality, responsiveness, and cohesion within the choreographic process.

Expressive Translation: The process of transforming personal emotions and internal experiences into movement that communicates meaning. This translation allows for abstract but deeply resonant physical expressions of themes such as conflict, vulnerability, and self-acceptance.

Groundedness: As developed in the course of this research, refers to a quality of movement that emphasizes stability, weight, and a connection to the floor. This concept involves yielding to gravity by releasing body weight into the ground, creating a sense of strength and stability. Even during airborne movements like jumps, maintaining groundedness is achieved by engaging the core and relaxing the bones, ensuring a continuous connection with the floor and enhancing control and balance.

Micro-movements: Subtle, often unconscious physical shifts that emerge within a dancer’s body, reflecting internal states, emotional tensions, or somatic responses. In choreographic practice, micro-movements function as an expressive layer that reveals nuanced bodily awareness and can serve as an entry point for deeper exploration of movement quality, intention, and presence. They bridge the gap between internal experience and external articulation, enriching both improvisation and structured choreography.

Not Feeling Good Enough: This concept speaks to an inner belief or feeling of inadequacy that can stem from various sources, such as childhood experiences, societal pressures, or personal expectations. In the context of this research, it refers to the pervasive emotional experience of self-doubt and the sense that one is not worthy, often linked to underlying trauma or emotional neglect. It is explored in the process as a theme of self-criticism and self-acceptance that participants transform through the embodied work.

Relationality: Relationality highlights the understanding that movement and meaning are not created in isolation but emerge through connection — to oneself, to others, and to the wider environment. In this work, relationality is explored both physically and emotionally: dancers respond to each other’s presence, actions, and energies, shaping a choreography that is built on responsiveness, mutual influence, and attunement. This perspective shifts the focus from individual expression to co-creation and shared embodiment.

Residual Energy: The lingering physical or emotional quality left behind after a movement or scene, which can inform subsequent actions. This concept is crucial for understanding how past actions or emotions shape the next movement, influencing the flow and continuity of a performance.

Somatic Exploration: A practice focused on sensing and moving from within the body to access authentic emotional and physical states. In this research, it is used to allow participants to explore the bodily sensations that arise from personal emotional experiences, creating a bridge between internal feelings and external expression.

Structure: In this research, structure does not refer to rigid choreography but rather to a framework that provides both clarity and fluidity. It is the process of shaping and organizing movement material in a way that gives it meaning within the dramaturgy of the piece. Structure emerges in dialogue with intuitive and somatic exploration; it is not a fixed blueprint but a dynamic process where form and freedom continuously shape each other. It offers a sense of cohesion while leaving space for transformation and organic growth, allowing movement to remain alive and responsive within the composition.

Three-Dimensionality: Expanding movement beyond the frontal plane, using all directions in space to enhance expressive range. This term refers to the ability to fully inhabit the space in all directions; vertically, horizontally, and diagonally, to create more dynamic, multifaceted movement that reflects emotional depth. An aspect of this is the expressive potential of the spine, which serves as a central axis for movement in all planes, allowing for greater flexibility and emotional expression.

Trauma: In the context of this research, trauma refers not only to extreme or overtly harmful experiences (such as war, sexual violence, or domestic abuse) but also to more subtle, everyday experiences that can impact an individual emotionally. This includes childhood emotional neglect, consistent negative reinforcement, or being dismissed or undervalued. Such experiences can lead to persistent patterns or survival mechanisms that, while once protective, may no longer serve the individual effectively in the present. These patterns are often unconscious but can influence behavior, relationships, and emotional responses.

Yes-Method: A rehearsal and artistic approach that embraces what emerges spontaneously, focusing on possibilities rather than limitations. By adopting a "yes, and..." approach, participants are encouraged to build on ideas and movements that emerge organically, fostering a sense of openness and creativity during the process. This approach was introduced to me by my artistic coach, Jordy Dik.