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The Moving Body As Catalyst for Peace

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The Moving Body As Catalyst for Peace Master Thesis in the frame of the MA Program in Peace, Development, Security and International Conflict Transformation at the University of Innsbruck The Moving Body as Catalyst for Peace On (dis)embodiment and dance within peace and conflict transformation In order to obtain the degree Master of Arts Submitted by Henk Michiel van Veen Supervised by Norbert Koppensteiner Nijmegen, 2020 With gratitude to all the people that have been alongside me in the journey of my master peace and conflict transformation. For your encouragements and your own courage that have been beautiful examples. Thanks you for the honesty, the openness and the welcoming hearts. For the hugs, the cries, the smiles and all the dances. Table of content 1. Introduction ................................................................................................. 1 1.1. Author’s perspective ................................................................................................2 1.1.1 My road here.....................................................................................................3 1.1.2 Movement as vehicle ........................................................................................5 1.1.3 My body and movement ...................................................................................6 1.1.4 Embodied Relating ............................................................................................9 1.2. Research problem ..................................................................................................10 1.3. Research question ..................................................................................................12 1.4. Methods .................................................................................................................15 1.4.1 Theoretical and empirical ................................................................................15 1.4.2 Empirical research ...........................................................................................16 1.4.3 Research and the researcher ...........................................................................20 1.5. State of the art .......................................................................................................21 1.6. Thesis outline .........................................................................................................23 1.7. Language use and the use of language ...................................................................25 2. Disembodiment – the road here ................................................................ 27 2.1. The body and mind dichotomy ...............................................................................29 2.2. Drifting away from the sensuous ............................................................................32 2.3. Contemporary alienation of the body .....................................................................35 2.4. (Dis)embodiment, peaces and conflicts ..................................................................41 3. The Innsbruck school of Peace Studies – which peace? ............................. 44 3.1. From peace to peaces.............................................................................................44 3.2. Conflict transformation ..........................................................................................46 3.2.1 What is conflict? ..............................................................................................46 3.2.2 Elicitive conflict transformation .......................................................................48 3.2.3 From linearity to a singing bowl .......................................................................50 4. A phenomenological perspective – the body and experience .................... 54 4.1. The body as basis of experience .............................................................................54 4.2. The primacy of movement ......................................................................................56 4.3. Language, embodiment and experience .................................................................60 5. A changing paradigm – reunion of the body/mind ..................................... 64 5.1. The embodied mind ...............................................................................................64 5.2. Embodied unity and perceived separation..............................................................68 5.3. The potential of movement ....................................................................................70 6. Somatic psychology – a body of marks ....................................................... 73 6.1. Predecessors ..........................................................................................................73 6.2. (Neo-) Reichian .......................................................................................................74 6.3. Gestalt psychotherapy ............................................................................................80 6.4. Emotions and the body...........................................................................................83 7. Movement practices – dancing for transformation .................................... 86 7.1. 5Rhythms ...............................................................................................................93 7.1.1 Foundations of 5Rhyhtyms ..............................................................................93 7.1.2 Illustration of the rhythms ...............................................................................95 7.2. Authentic Movement .............................................................................................99 7.2.1 The origin of authentic movement ................................................................ 100 7.2.2 Authentic movement in practice ................................................................... 101 7.3. Movement and transformation ................................................................................ 103 8. Discussion ................................................................................................ 107 8.1. Facilitator’s description ........................................................................................ 107 8.2. Analysis ................................................................................................................ 113 8.2.1 The role of music ........................................................................................... 114 8.2.2 Awareness and release .................................................................................. 115 8.2.3 Thinking in movement ................................................................................... 117 8.2.4 Expression and discovery............................................................................... 118 8.2.5 Rhythms and emotions .................................................................................. 120 8.2.6 Stimulated qualities ....................................................................................... 124 8.2.7 Sexuality and (body) memories ..................................................................... 127 8.2.8 The role of the group ..................................................................................... 128 9. Conclusion ............................................................................................... 132 References ..................................................................................................... 137 Appendix ........................................................................................................ 144 A. Questionnaire .......................................................................................................... 144 B. Consent form ........................................................................................................... 146 We have come to be danced not the pretty dance not the pretty pretty, pick me, pick me dance but the claw our way back into the belly of the sacred, sensual animal dance the unhinged, unplugged, cat is out of its box dance the holding the precious moment in the palms of our hands and feet dance. We have come to be danced not the jiffy booby, shake your booty for him dance but the wring the sadness from our skin dance the blow the chip off our shoulder dance the slap the apology from our posture dance We have come to be danced not the monkey see, monkey do dance one, two dance like you one two three, dance like me dance but the grave robber, tomb stalker tearing scabs & scars open dance the rub the rhythm raw against our souls dance […] We have come to be danced Where the kingdom’s collide In the cathedral of flesh To burn back into the light To unravel, to play, to fly, to pray To root in skin sanctuary We have come to be danced WE HAVE COME We Have Come to Be Danced Jewel Mathieson 1. Introduction Without tuning into your body a good life is not possible1 (Verhaeghe 2018b) One reason it is hard to establish peace in the world is that (…) [t]here is one element in conflict that is always present and usually ignored – the body (Linden 2015, 159) When I got back from the hospital after surgery in May 2019, they gave me a letter with general instructions and some frequently asked questions. At the end of the letter I stumbled upon a beautiful advice: ‘’listen well to your body’’. It made me laugh slightly and it made me wonder again how listening
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