Corbin, Danielle AAHP 3001-H01 Dr.

Donna Dragon 29 October 2013 Investigation 4 Integrating Our Bodies: Healing, Development and Transformation by Susan Aposhyan Roadblock (Journal Excerpt, November 26, 2001) by Maysoun Rafeedie Dancing in Paradise with Liz Lehrman on 9/11 by Linda Frye Burnham 1. Aposhyan quotes Thomas Hora: And all experiences are physical. How can we integrate these levels of selfphysical, psychological, and spiritualin a way that allows us to grow into ourselves fully, to walk the path of being human? How do you think articles 2 & 3 relate to Aposhyans ideas in her chapter? According to Aposhyan, the process(es) of integrating the physical, psychological, and spiritual (Aposhyan 1999, p.162) selves involves life-long development invested in negotiation of aspirations and limiting beliefs with regard to personal history, reality, and future transformation, and in internal dialogue which attends to emotions on a physical, biological level and allows sensations to run their course through the body (Aposhyan 1990, pp. 162-178). (1) In Roadblock, Maysoun Rafeedie reveals the importance of internal dialogue in the process of relating individual experiences to others. Rafeedie simply replies poverty, (Jackson 2008, p. 4) to the journalist, but upon internal reflection, Rafeedie comes to different and multiple answers. Rafeedies reflection also reveals the power of movement in a time of turmoil: It was amazing the way dance helped these kids focus for an hour, creating a dabke piece to traditional Palestinian rhythms while so much was happening outside lots of shooting and screaming, lots of ambulances going around (Jackson 2008, p. 3). This power seemed transformational for Rafeedie as well as the kids in spite of the limiting roadblock and the

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soldiers disheartening behavior, Rafeedie was able to say: I was happy that day because dance made some kids smile, have fun, and enjoy their time (Jackson 2008, p. 4). Linda Frye Burnhams story (2) relates to biological manifestations of emotions addressing the dangers of getting stuck in negativity and the transformational possibilities in exploring positive imagery and fun in relation to seemingly negative personal histories/realities. At first Burnham says: To my dismay, they seemed focused on the task at hand, and were content [] (Jackson 2008, p. 154) here, she was determined to remain in the negativity of the traumatic event. She soon goes on to say that (2) during the relaxed exchange, (Jackson 2008, p. 154) she felt her blood pressure dropping to normal (Jackson 2008, p.154) this demonstrates a positive biological response to positive energy emanated from the group. Someone from the group shared: We wouldnt share these stories with just anybody, you know. We trust these dance people (Jackson 2008, p. 155) (2) this demonstrates that communication with and through the body has the transformative ability to empower a group of frightened individuals from diverse backgrounds to form a community, which, in turn, may empower each individual to go out into a new world of trouble (Jackson 2008, p. 155). 2. How might you use this information in creating your final project (look at the goals and what you must do)? (3) Rafeedies article solidifies the importance of critical self-reflection. It will be useful to constantly ask ourselves what this project means to us and how we relate to it throughout our process, in order to fully articulate our positions in relation to it, including subtle nuances which may be highly informative to ourselves and our audience(s). Burnhams article reinforces the power in checking in with ourselves on a bodily level. (4) When we self-reflect or have group discussions, we might focus on our bodily responses as

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well as our conceptual thoughts. Further, this article (5) encourages me to not get stuck in the negative aspects of LGBTQ youth homelessness. While this is a devastating issue, we need to keep in mind that we are trying to advocate for other people, who probably do not view themselves as tragic victims all of the time we ought to ask ourselves and others, how we might view the issue, and the people affected by it, in a way that sheds both light and darkness. Dialogues with Humankind and Nature by Sal Murgiyanto Doing Time in Prison by Janice Ross 1. a. What idea was most crucial to you in this text in relation to your upcoming project in pluralism? b. Why? a1. The ideas that stuck out to me the most in this text, were (6) the groups investment in the Dayak people they worked with them and learned about their struggles firsthand before trying to advocate for them and the choreographers direct inclusion of the Dayak people in his dance the mid-section of the piece is fully theirs, (Jackson 2008, p. 208) he simply put it in a frame which helped a city audience to focus their attention on [his] message (Jackson 2008, p. 208). b1. These ideas stood out to me, because (6) I think that we should try to access as many firsthand accounts as possible in our process. Statistics and expert opinions may certainly be useful, but if we are interested in acknowledging multiple and diverse experiences, statistical information holds little importance in comparison to real individuals lives and perspectives. The idea of a frame seems useful here, because we are not dealing with our stories, but trying to present the stories of others in a way that will influence a particular audience. a2. One of the most crucial ideas in this text, for me, was the notion that the practice of art by those not expected to have access to it can itself be seen as a subtle critique of power and

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the status quo in America (Jackson 2008, p. 283). Like incarcerated people, homeless people may not be expected to have access to art or to participate in art-making. b2. This stood out to me, because (6) while our project may not be able to provide direct involvement with the people we are advocating for, we may be able to imagine ways to bring in some level of indirect participation through personal accounts via text or video. This may serve to challenge assumptions of what it means to utilize dance as a tool for human rights advocacy. 2. a. What part of the text was most confusing or challenging to you? b. Why? (7) a1. For me, the most challenging part of this text was the instance in which Sardono seemed to position himself as a hero warrior in his work. b1. This was problematic for me because it seemed like he was being dishonest toward his position in the situation. He is a city person who choreographically positions himself as a Kenyah warrior, even while claiming to let the Dayak people speak for themselves. This may serve as an important reminder to keep ourselves honest throughout our movement process. a2. One idea in this text presented both inspiration and a challenge. The prison dance programs allow the inmates to use the immediate physical and gestural language, experiences, and circumstances of their lives to deal with their problems (Jackson 2008, p. 282). b2. This engagement in bodily self-agency and self-expression seems vital to addressing real issues in peoples lives. It may be challenging to access anything like this from a framework of external advocacy; (8) however, we may be able to apply this approach to our own perspectives to tease out strategies to better relate to our audience members who may also have outsider positions to the issue. 3. What questions are raised for you by this article? Please create at least two open-ended questions.

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3a. With this article in mind, how can we approach our project in a way that allows LGBTQ homeless youths own dances (Jackson 2008, p. 208) to be portrayed (if not literally, then figuratively)? What strategies can we employ to build a frame that will reach our audience(s)? (9) 3b. We may manifest anger toward people/groups who may be viewed as root causes of LGBTQ homelessness in the process of working through this project. How might we dissipat[e] destructive behaviors (Jackson 2008, p. 281) or thoughts through movement? How might we go about investigating the existence/effects of sets of restraints on gendered and bodily behavior (Jackson 2008, p. 272) in homeless shelters?

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Works Cited Aposhyan, Susan. Integrating Our Bodies: Healing, Development and Transformation. In Natural Intelligence: Body-Mind Integration and Human Development. Baltimore, MD: Williams & Wilkins, 1999. (Chapter 7, pp. 162-178). Burnham, Linda Frye. Dancing in Paradise with Liz Lehrman on 9/11. in Dance, Human Rights and Social Justice: Dignity in Motion. Naomi Jackson, ed. Lanham, MD: Scarecrow Press, 2008: 154-155. Murgiyanto, Sal. Dialogues with Humankind and Nature. in Dance, Human Rights and Social Justice: Dignity in Motion. Naomi Jackson, ed. Lanham, MD: Scarecrow Press, 2008: 204-211. Rafeedie Maysoun. Roadblock (Journal Excerpt, November 26, 2001). in Dance, Human Rights and Social Justice: Dignity in Motion. Naomi Jackson, ed. Lanham, MD: Scarecrow Press, 2008: 3-4. Ross, Janice. Doing Time in Prison, in Dance, Human Rights and Social Justice: Dignity in Motion. Naomi Jackson, ed. Lanham, MD: Scarecrow Press, 2008: 270-284.