LITMIR.BIZ

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DAY 28 SEXUALITY 141 Story: “Voyage” 141 To do: Relating to self 144 Relating to others 145 DAY 29 EMOTIONS 147 Story: “Support” 147 To do: The motion in emotion 148 Image Work: Masks 148 Moving contrasts 149 Creative response 149 DAY 30 SOUND AND MOVEMENT 151 Story: “Silence” 151 To do: Moving with sound 155 Vibrating the body 155 Vibrating the body, standing 156 DAY 31 PERSONAL PROJECT 157 Story: “Endings as Beginnings” 157 To do: Following your movement 158 Teach-a-friend 158 EPILOGUE WRITING OUR STORIES 159 Story: “Voices” 159 To do: Timed Writings 161 Body Tracing 162 Notes 163 Bibliography 163 Art Index 165 Multicultural Index 166 Subject Index 167 About the Authors 168

       Set Design: Robert Ferris for “Dancing on the Land”Photograph: Bob HandelmanDancer: Paul Matteson

      PREFACE

      TO NEW EDITION

      Since BodyStories was published in 1991, I have received many letters from around the world. These writings reflect a global network of people attending to the body as subject, not as object, in their lives. People share their stories: a teacher in Sweden, students in Moscow, directors of a massage school in California. We are each part of a much larger framework of understanding, each adding our view.

      BodyStories has also been printed in German and Italian. Teaching in these countries through a translator, I hear the ideas of the text in another language and notice the way words shape experience. At Middlebury College in the U.S. where I regularly teach, a Japanese dance student says, “In my country, there are so many words for ‘sensation,’ I don’t know which you mean.” A Norwegian student asks, “What is this word ‘sensation?’” As my understanding of the body deepens, I acknowledge the distance between experience and the words used to convey it.

      In the seven years since BodyStories was published, I have remained fascinated by the body attitudes expressed in my classes and workshops. Ambivalence about our physical home remains disturbingly pervasive. Students creating body tracings in an art education course filled their life-sized outlines with expressive symbols of injury, abuse, and fear: scars for surgeries, a black ribbon around the throat, words such as “don’t touch.” One student summed up her experience this way: “It is odd to focus on my body, I’ve been abusing it all of my life.”

      There are also cultural shifts affecting

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