Somaesthetic Essay

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Catrin Seepo Dr. Elizabeth Cruz Petersen LIT 4250 27 August 2017 Reflection Somaesthetics Somaesthetics, according to Dr. Shusterman, is defined in terms of the “body as a locus of sensory- aesthetic appreciation (aesthesis) and creative self-fashioning” (2). It explains that body, mind, and culture are deeply dependent on each other such that the body affects the mind and vice versa; whereas culture is the sculptor that shapes body and mind, and thus provides us with the way which we think, act, and express ourselves aesthetically (2-3). Somaesthetics has three major branches: Analytical (13), pragmatic (14), and practical (16). For the purpose of this paper, the focus is going to be on the pragmatic somaesthetics, which is defined as the …show more content…

For example in theater, tattooing, piercing, customs, hair style, and the usage of cosmetic makeup are categorized as representational for they all deal with the body’s surface form (Cruz-Peterson 09:06). On the other hand, experiential somaesthetics is concerned with the inner experience of the body that increases the quality of our somatic experience in order to make us more aware of our feelings and sensations (Shusterman 15). For example, actors such as Hilary Swank have used both representational and experiential somaesthetics in the movie Boys don’t Cry. In order to look like a transgender, which was the character of the movie, Swank cut her hair, dressed with male clothes, and also adapt male gestures, all of which symbolize her identity because “she is not a woman dressed as a man; she is a man” (Cruz-Peterson …show more content…

Shusterman, the main focus of the third pragmatic somaesthetics, which is the performative one, is on building and improving disciplines of health, strength, or skills that the actress needs to improve her abilities to preform (Shusterman 16). Furthermore, to accomplish an ideal performance, the actress must modify and improve her ability to perform, and that may be associated with the representational somaesthetics, through her own understanding of her inner feelings, which be assimilated into the experiential somaesthetics. For example, consciousness of breathing helps the actress to acknowledge her feelings of anger, tenseness, or anxiousness, which may be misunderstood or unfit for the performance at the stage

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