Cet article présente le regard d’une artiste du vivant, danseuse, pédagogue et thérapeuthe en fasciapulsologie avec son questionnement sur la manière dont nous communiquons aujourd’hui ainsi que la transposition possible de cette approche vers le domaine de l'éducation et enseignement/apprentissage des langues. Ce regard intégratif qui semble se situer à la marge des échanges langagiers, notamment par son intérêt pour l’infra-verbal, vise à créer une meilleure synergie de communication en soi et avec les autres, via une meilleure « répondance ». Dans une première partie, l’artiste chorégraphe présente son parcours et ses influences. Dans une deuxième partie, elle propose des éléments de son approche personnelle : le concept de corps émotionnel, la puissance de l’intention, l’influence de la respiration sur la voix et un regard original sur les rythmes. Dans une troisième partie, elle approche les différentes notions d'équilibre à tous les niveaux entre le physique et l'énergétique, entre le physiologique et le concret extérieur, entre « l'intime » et « l'extime ». Cet intérêt est pertinent dans le contexte contemporain marqué par l'accélération des communications. La quatrième et dernière partie esquisse quelques applications possibles de ces principes pour les enseignants et pour l'apprentissage des langues grâce aux éléments énoncés au sujet de l'approche somatique et de l'intelligence ancrée dans la corporéité. La vision de l'artiste chorégraphe avec une expérience en fasciapulsologie et le regard de la linguiste experte en communication ouverte aux neuroscientifiques et aux artistes se rejoignent ainsi à travers une démarche qui lie le cognitif et le sensible.
This article presents the perspective of an artist working with the liveliness of the body, as a dancer, choreographer, teacher and therapist in fasciapulsology. It introduces her reflection on the way we are communicating nowadays. It reveals as well the possible transcriptions and perspectives within the realm of education. Her embodied point of view is situated at the edge of linguistic exchanges with a strong interest for the infra-verbal. It aims to create a better synergetic communication within one’s self and with others, through the practice of a clearer responsiveness. In the first part the artist-choreographer presents her itinerary and influences. The article proposes her journey as a dancer and then, her evolution as a therapist in fasciapulsology. - the dancer : dancer by nature and by education, she has always perceived common grounds in the diverse styles of dance that she has practiced (ballet, jazz, tap-dance, traditional Russian folk dance, African dance). Her body and her experience developed, rich of these diverse cultural influences. Around the age of 16, she decided not to continue her career in ballet, and consequently, she joined avant-garde dance-theatre companies in Belgium (Ultima Vez - Wim Vandekeybus; Damaged Goods - Meg Stuart). One of her core questions has always concerned the nature of the movement that creates unity and its quality of expression. All these encounters brought her to find confidence and autonomy in her own intuition, based on the feeling that through all these paths there is connectivity. - the therapist: Vera Orlock was her first teacher in Body-Mind Centering. This somatic approach of the body-mind, the rhythmical qualities of the physical movement and the voice, gave her skills for her own choreographic and artistic development. Later, she found interest in other somatic practices: F.M. Alexander technique, and M. Feldenkrais method. Then, she deepened her knowledge of Body-Mind Centering ® with Bonnie Bainbridge-Cohen, and found with Christian Carini, self-educated and founder of Fasciapulsology, many analogies and confirmations of her intuitive practice. For him, there is no disjonction between all of the constituting layers of the being. As well as Damasio, Carini legitimates the importance of homeostasis and its balancing quality. The second part is dedicated to elements of her personal approach: the concept of the emotional body, the inner-power of intention, the influence of breath on the voice, and her original vision on rhythms. Throughout the article she puts an emphasis on the connection between the organic and the mental, the bridge between the cellular and the universal level. In the third part, she approaches the different notions of balance at all levels, between the physical and the energetic, between the physiologic and the external concreteness, between the 'intimate' and 'extimate'. This questioning is relevant and contemporary to a context impacted by the speed of communication. Italo Calvino (1985) was already announcing the importance of some conditioning parameters for the future (Lightness, Quickness, Multiplicity, Exactitude, Visibility). Our relation to the world, usually lived as a dual experience, is nowadays being challenged and called up to evolve in order to perceive more multifaceted aspects of our sensations, the perspectives of space around us, and our quality of contact with others. In a fourth and last part, the article drafts some possible applications usable for teachers, teachers for teachers, and the teaching/learning of languages, in order to provide concrete tools to develop and enhance the ability of cultivating receptivity to the physiologic components. Also, integrating how the voice, the rhythms and the inner-power of intention together create pleasure and responsiveness in those applied processes. So, this article reveals the togetherness of cognitive and sensitive approach. (Pairon, 1996, 2015). The importance of conjunction between links is underlined, with a multi-disciplinary approach, bridging the vision of a creative artist who has a fasciapulsology expertise and the approach of an expert in linguistics open to neuroscientific researches and of those engaged by artists of the liveliness.
