Perception of Flux: A Study of Choreography and Bodily Consciousness under Socio-Ecological Changes
Dankook University, Yongin, South Korea
Abstract
Contemporary society is undergoing multiple socio-ecological transformations—including urbanization, digitalization, and the climate crisis—that have systematically reshaped individual perceptual structures. As an embodied art form, dance functions as a dynamic response of the body to ecological and social tensions. Grounded in Gibson’s ecological perception theory and the social ecology framework proposed by Haberl et al. (2016), this study introduces the concept of “Perception of Flux”, a mechanism through which socio-ecological inputs are transformed into regenerated bodily consciousness via choreographic practice. Through qualitative analysis and case-based validation, the research reveals how dancers embody environmental stimuli and social experiences into movement vocabularies, forming new ecological cognition within the interrelations of body, space, and society. The study further constructs a dual-cycle model of socio-ecological and bodily perception, offering an ecologically informed and socially oriented theoretical pathway for contemporary choreographic creation.
Keywords:
Perception of Flux; Ecological Perception Theory; Social Ecology; Choreographic Creation; Bodily Consciousness; Eco-DanceCopyright Notice & License:
All articles published in Global Review of Humanities, Arts, and Society (GRHAS) are licensed under the Creative Commons Attribution 4.0 International License (CC BY 4.0).
This license allows anyone to share, copy, distribute, transmit, and adapt the work, including for commercial purposes, provided that proper attribution is given to the original author(s) and the source.
This work is licensed under a Creative Commons Attribution 4.0 International License.
PDF Downloads
Journal Info
How to Cite
References
Andraus, M. B. M., dos Santos, M. P., & Manzolli, J. (2022). Letter #5: Reflexions on perception–action in the creative process of Entre voos e quedas. Journal of Music and Dance, 12(1), 1–10.
Gibson, J. J. (2014). The theory of affordances (1979). In K. M. T. Sutton, S. Watson, & M. Banoub (Eds.), The people, place, and space reader (pp. 56–60). Routledge.
Haberl, H., Fischer-Kowalski, M., Krausmann, F., & Winiwarter, V. (2016). Social ecology. Springer International Publishing.
Hilari, J., & Wehren, J. (2024). Social choreography as a cultural commoning practice: Becoming part of urban transformation in Une danse ancienne. Arts, 13(2), 70.
Krug, M. (2022). Temporal procedures of mutual alignment and synchronization in collaborative meaning-making activities in a dance rehearsal. Frontiers in Communication, 7, 957894.
Ravn, S., & Høffding, S. (2022). Improvisation and thinking in movement: An enactivist analysis of agency in artistic practices. Phenomenology and the Cognitive Sciences, 21(3), 515–537.
Shi, K., & Lin, Z. (2025). An exploration of the interaction mechanism between the dancing body and the environment from the perspective of ecological perception. Global Review of Humanities, Arts, and Society, 1(4), 20–25.
Stevens, C., & McKechnie, S. (2005). Thinking in action: Thought made visible in contemporary dance. Cognitive Processing, 6(4), 243–252. https://doi.org/10.1007/s10339-005-0014-x
Stone, J. (2022, October 13). Environmental dance: Listening to and addressing the big questions gently. Ausdance National.
Welch, S. (2022). Dancing: Phenomenology and embodied cognition. In S. Welch (Ed.), Choreography as embodied critical inquiry: Embodied cognition and creative movement (pp. 1–33). Springer International Publishing.
