Documents 

Elizabeth Streb has been testing the potential of the human body since childhood. Can she fly? Can she run up walls? How fast can she go? With clarity and humor—and with a world-class dance troupe called STREB—she continues to investigate what real movement is and has come to these conclusions: It's off the ground! It creates impact! It hurts trying to stop it! In this pathbreaking book, Streb combines memoir and analysis to convey how she became an extreme action dancer/choreographer, developing a form of movement that's more NASCAR than modern dance; more boxing than ballet.

Once called the Evel Knievel of dance, Elizabeth Streb intertwines the disciplines of dance, athletics, rodeo, the circus, and Hollywood stunt-work. She founded STREB in 1985, which performs internationally in theaters, museums, and town squares. She established S.L.A.M. (Lab for Action Mechanics) in 2003, a factory space in Brooklyn, which produces a cottage industry of extreme action performances and invites everyday people to wonder about movement, gravity, and flight. [editor summary]

This book aims to define new theoretical, practical, and methodological directions in educational research centered on the role of the body in teaching and learning. Based on our phenomenological experience of the world, it draws on perspectives from arts-education and aesthetics, as well as curriculum theory, cultural anthropology and ethnomusicology. These are arenas with a rich untapped cache of experience and inquiry that can be applied to the notions of schooling, teaching and learning.
The book provides examples of state-of-the-art, empirical research on the body in a variety of educational settings. Diverse art forms, curricular settings, educational levels, and cultural traditions are selected to demonstrate the complexity and richness of embodied knowledge as they are manifested through institutional structures, disciplines, and specific practices.[editor summary]

Les mouvements, même pour le jonglage le plus élémentaire, évoquent une structure qui se répète de façon cyclique, de balle en balle. Cette structure apparente est la marque d’une co-ordination , propre à l’être vivant, animal ou humain. Elle repose sur une mise en jeu spatiale et temporelle, mesurée en millisecondes, de multiples composants : les doigts, les mains, leurs muscles (au nombre de 29), les avant-bras et bras, le regard, le centre des masses, la tête, les appuis au sol. Les relations entre ces composants et la structure globale qui caractérise la performance du jonglage, sa forme ou gestalt, ont été étudiées dans les champs des mathématiques, des sciences du mouvement humain et des neurosciences du “contrôle” des mouvements.