Writing and the Body in Motion

Based upon the author’s lifetime practices as a dancer, poet and teacher, this innovative approach to developing body awareness focuses on achieving self-discovery and well-being through movement, mindfulness and writing. Written from a holistic (rather than dualistic) view of the mind-body duality, discussion and exercises draw on dance, psychology, neuroscience and meditation to guide personal exploration and creative expression.

Instructors considering this book for use in a course may request an examination copy here.

Cheryl Pallant is a dancer, dance critic, writer, energy practitioner, somatic coach and teacher at the University of Richmond in Virginia.

Cheryl Pallant

Format: softcover (6 x 9)
Pages: 188
Bibliographic Info: 22 photos, glossary, notes, bibliography, index
Copyright Date: 2018
pISBN: 978-1-4766-6824-6
eISBN: 978-1-4766-3171-4
Imprint: McFarland

Acknowledgments v
Preface 1
Introduction 5

1. The Subjective Body 15
2. The Perceiving Body 38
3. The Kinesthetic Body 61
4. The Verbal Body 88
5. The Imagining Body 113
6. The Evolutionary Body 137
7. The Practicing Body 159

Glossary 171
Chapter Notes 173
Bibliography 176
Index 179

• “The positivity, peace, and joy in Pallant’s words congeal into a somatic wonderland. I am delighted by it…. Writing and the Body in Motion is a book one can return to often. There are many exercises that can and should be repeated.”—Thinking Dance

• Writing and the Body in Motion is not only a work for writers searching for new ways in which to express themselves, it also has relevance to anyone seeking a more intimate relationship with their body. As a somatic oriented educator, I recommend this book to anyone who is looking for a path towards a deeper understanding of mind, body and spirit. For dance and movement scholars, students and educators, this book is a way to expand the ways in which writing and the collective can impact how we teach and incorporate movement into our lives and into our teaching. It is a strong tool to engage with both clients and our own selves. For researchers, it gives a fresh methodology to approach their subject or question by moving it through the body to witness the potential emergence of a new voice. For dancers and movement practitioners for whom dance is their direct vehicle of expression, who perhaps feel that language might distance them from the physical experience, this work offers a bridge in which both are brought together. … What Pallant does is write from the body, not about it. … What makes Pallant’s book unique is that she is not writing about the body as object, but she is writing from the body, breaking it down and getting more specific by isolating and moving with each body part.”—Journal of Dance & Somatic Practices

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