English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

The article explores the prerequisites of embodied ‘conversations’ in the improvisational pair dance  tango  argentino . Tango has been characterized as a dialog of two bodies. Using first- and second-person phenomenological methods, I investigate the skills that enable two dancers to move as a super-individual ensemble, to communicate without time lag, and to feel the partner’s intention at every moment. How can two persons - walking in opposite directions and with partly different knowledge - remain in contact throughout, when every moment can be an invention? I analyze these feats through the lens of image schemas such as  BALANCE ,  FORCE ,  PATH , and  UP-DOWN  (Johnson 1987). Technique-related discourse - with its use of didactic metaphor - abounds with image-schematic vectors, geometries, and construal operations like profiling. These enable the tango process: from posture, via walking technique and kinetics, to attention and contact skills. Dancers who organize their muscles efficiently - e.g., through core tension - and who respect postural ‘grammar’ - e.g., a good axis - enable embodied dialog by being receptive to their partners and being manoeuvrable. Super-individual imagery that defines ‘good’ states for a couple to stick to, along with relational attention management and kinetic calibration of joint walking, turns the dyad into a single action unit. My further objective is a micro-phenomenological analysis of joint improvisation. This requires a theory to explain dynamic sensing, the combining of repertory knowledge with this, and the managing of both in small increments. Dancers strategically sense action affordances (Gibson 1979) or recognize and exploit them on the fly. Dynamic routines allow them to negotiate workable configurations step-wise, assisted by their knowledge of  node points  where the elements of tango are most naturally connected and re-routed. The paper closes with general lessons to learn from these highly structured and embodied improvisational skills, especially regarding certain blind spots in current social cognition theory.

Intersubjectivity at Close Quarters: How Dancers of Tango Argentino Use Imagery for Interaction and Improvisation