Floating Bones charts the author's journey into tensegrity, which begins in ballet and culminates in a model for addressing one's body as a teacher. Tensegrity flips traditional biomechanical models such that instead of support coming from the bones, the bones float, and it is the muscles and other soft connective tissue that provide support for the moving body. Using the model of tensegretic experience, Roses-Thema connects somatics, cognition, rhetoric, and reflective practices detailing the means that constructed approaching the body as a teacher. This study presents the argument for extending the models of thinking to include bodily thinking, by citing how the experiential perspective of tensegrity constructs physical evidence of the rhetorical concept, metis, where the body thinks as it moves. This book will be of great interest to students, scholars, and practitioners of dance, theater, and sociology.

Floating Bones charts the author's journey into tensegrity, which begins in ballet and culminates in a model for addressing one's body as a teacher. Tensegrity flips traditional biomechanical models such that instead of support coming from the bones, the bones float, and it is the muscles and other soft connective tissue that provide support for the moving body. Using the model of tensegretic experience, Roses-Thema connects somatics, cognition, rhetoric, and reflective practices detailing the means that constructed approaching the body as a teacher. This study presents the argument for extending the models of thinking to include bodily thinking, by citing how the experiential perspective of tensegrity constructs physical evidence of the rhetorical concept, metis, where the body thinks as it moves. This book will be of great interest to students, scholars, and practitioners of dance, theater, and sociology.

Rhetorical Moves presents ground-breaking research theorizing for the first time the dancer as a rhetor and in the process documents a new way to conceive of embodiment. Research is centered in the embodied experience of the dancer whose voice in the action of performance is reclaimed. By transplanting the framework of a rhetorical situation onto a dance performance, Dr. Cynthia Roses-Thema analyzes how the dancer utilizes interoceptive, exteroceptive, and proprioceptive bodily perception networks to create onstage movement. The result has important implications for dance professionals. If you are a dancer, this book gives you new insight into how you negotiate the many variables of embodiment during performance. If you are a dance teacher, this study provides you with information on the dynamics of dancer perception and attentional flow during the course of performance that will inform your pedagogical practices. If you are a dance researcher, Dr. Roses-Thema has opened a new field of inquiry into dance studies ripe with research possibilities. Rhetorical Moves demonstrates the depth and breadth the dancer experiences onstage and is a must read for all dance enthusiasts.