Replying to LO25244 --
Sajeela wrote in reply to Leo Minnigh:
> I am doing research on communication across cultures and looking at
> non-verbal communication specifically, along with an emphasis on what I
> refer to as "Aesthetic process". The seminar I attended adressed some
> of the nitty gritty-linguistic nuances you have introduced in your
> e-mail, and this a ponderous topic in and of itself.
(snip)
> My own interests are focused more on non-verbal and oral explorations,
> since these can transcend (I believe) the artifices of linguistic
> structures more readily. That is to say, if I don't speak a word of a
> given language I still can communicate with you in a number of ways. So
> I tend to think the written/verbal side of things causes more gaps
> across cultures, and also reflects a bias of Euro-western cognition
> which values/focuses on written/verbal communication over the ephemeral
> nature of non-verbal/oral communication.
Hi Sajeela,
If you are interested in another approach of the artifices of linguistic
structures this contribution will interest you.
With your reply you touched on one of my favorite topics: the connection
between language (spoken and written), movement and learning. Language is
self-transcending once you have learnt to understand the deeper meaning of
movement/motion. Language is motion, language is 'flow'.
In this contribution I will try to share some of my ideas and point you
into a direction that might be helpful for your research.
Two examples.
1)
A conductor of an orchestra has learnt a more or less universal
language of movements that can be read by all members of the
orchestra. Although all players produce different sounds, it is
the conductor that binds them together by the movements of his
arms and by the expression of his gestures. The music-partiture
with its notationsystem prescribes when and how to move.
2)
In the good old times when we wrote letters instead of hammering
on PC keyboards, we had to move our hand and fingers in a more or
less rhythmical way with smooth rounded movements. It was the
time that each letter was shaped out of the basic mathematical
polarity "straight" and/or "curve". (just look at your screen and
you'll see what I mean). Graphologists could 'read' an
individual's personality through analyzing his handwriting. I
remember from my days in school the satisfaction of feeling the
flow of writing. And even today when I really want some important
thoughts put down on paper, it works better for me when I write
instead of type. I come more easily into a 'flow' and the words
just fload out of my hand.
I also think that typing instead of writing effects our way of thinking
and comprehending, because the kind and quality of movements we make is
different while typing or writing. This is so, because every visible
movement we make has its inner resonance in us and the other way around.
(Conductor!)
A spoken language contains more spirit, then a written language, and a
written language contains more 'spirit' than typed language.
What is the connection to organizational learning?
In our line of work (consultancy and training) we speak of
softskills and hardskills, software and hardware, etc.. "Soft" is
for me connected with "curved" and "hard" is connected with
"straight". Water is "soft", ice is "straight", writing is
"soft", typing is "hard", etc.
A straight movement is qualitatively different from a curved
movement and each has a different effect on the person that
performs the movement and on the observer.
For the newbees on this list: In other contributions to this list in the
past, I have elaborated on the importance of movement from other
perspectives and in related contexts.
My background is in the arts, more specific in Eurythmy. I have studied
the connection between movement and language for five years at the Academy
voor Eurythmie in The Hague - Holland in the late seventies. I am
practicing eurythmy for more than twenty years and a lot of my
organizational - and Human Resource concepts are strongly related to this
eurythmy.
What is Eurythmy?
Eurythmy translates the sounds, phrases, and rhythms of speech
into movement and gesture. The result has been described as
"visible speech," or "visible song." It could be called the
language of the soul visualized in terms of movement. To compare
it with other arts: In painting, the laws of color and form are
not bound by matter. The painter who recognizes these laws, lets
the colors themselves speak, opens the doors to art that embodies
the spirit. In architecture, beyond blending beauty and function,
buildings should be ecologically sound and reflect the character
of the region or culture. (In many ancient cultures this can
still be seen). They should provide an environment enhancing the
physical, psychological and spiritual well-being of the people
who live and work in them.
In the Art of Eurythmy the laws of movement are recognized and
transcended, by letting sounds speak for themselves. Through
these observations a kind of notationsystem of gestures was
developed for each vowel ( A, E, I, O, U) and consonant ( B, C,
D, F, G, H, etc.). This means that every sound has its own
specific gesture (movement).
But not only for the sounds (Note: NOT the written symbols are
meant here), also the rhythm of speech can be visualized in
movement.
E.g. the name 'Sajeela' has another sequence of eurythmy-gestures
and another rhythm than 'Winfried'.
In fact, through Eurythmy, a deeper understanding of languages,
regions, cultures, organizations and the physical, psychological
and spiritual being of human beings can be developed.
This list is not the place to give a detailed explanation of what
Eurythmy is about. One thing is clear though, it definitely can
not be understood by the Santa Fe approach. Instead of being only
intellectually analyzed, it has to be seen and experienced to
make sense.
For general information on the art of Eurythmy:
<http://eurythmy.org>
Musings on Eurythmy: <http://dialoog.net/deijmann/eurythmy.html>
To make some dynamic discoveries in Systems Thinking:
<http://dialoog.net/deijmann/eurythmy2.htm>
An example of an Eurythmography for Sergej Rachmaninoff's:
Prelude gis-minor: <http://dialoog.net/deijmann/eurygraph.html>
An exercise on how to make the concept for 'giving' and
'receiving' more transcendent: <
http://dialoog.net/deijmann/euryshow.html>
A workshop: <http://dialoog.net/deijmann/workshopsuk.html>
There are also some books and PH.D papers available. just search
on: 'eurythmy' and/or 'eurythmie' with your preferred
search-engine.
-- Mr. Winfried M. Deijmann - Zutphen - The Netherlands Artist, Consultant and Facilitator for Organizational Learning, Leadership and Action Learning Events <deijmann@dialoog.net> Phone + Fax: +31-(0)575-522076 personal websites: International: <http://dialoog.net/deijmann> Dutch:<http://dialoog.net/deijmann/pinforma.html>Corporate website: HORIZONGROEP - BUNNIK - HOLLAND: <http://www.horizongroep.nl> corporate email: <deijmann@horizongroep.nl>
"An educated mind is useless without a focussed will and dangerous without a loving heart."
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