Humanities and Arts
Reflection: Affect and Interdisciplinarity – Got Rhythm?
Abstract
Summary
This article, titled "Reflection: Affect and Interdisciplinarity - Got Rhythm?" by Fraser Riddell, explores the intersection of affect theory, interdisciplinary research, and embodied practices in the context of literary studies and medical humanities. The author reflects on his experience organizing a Dalcroze Eurythmics workshop as part of an interdisciplinary symposium on "Rhythm and the Body." Through this exploration, Riddell examines the challenges and opportunities of interdisciplinary collaboration, particularly in understanding emotional and sensory experiences in health and wellbeing[1].Key Questions and Answers
Q1: What is the main focus of the article?
A1: The article focuses on the intersection of affect theory, interdisciplinary research, and embodied practices, particularly in the context of literary studies and medical humanities.
Q2: What is Dalcroze Eurythmics?
A2: Dalcroze Eurythmics is a body-based approach to music education developed by Swiss musician Émile Jaques-Dalcroze (1865-1950). It aims to develop students' awareness of rhythm, structure, and musical expression through movement.
Q3: What was the purpose of incorporating a Dalcroze Eurythmics workshop in the symposium?
A3: The workshop was incorporated to explore methodological experimentation in medical humanities and to investigate how scholars from different disciplines would respond to thinking rhythmically through bodily engagement[1].
Q4: How did participants react to the Dalcroze Eurythmics workshop?
A4: Participants had mixed reactions, with some noting the tension between individual and communal rhythms, while others experienced feelings of awkwardness and being out of their comfort zone. However, many found it thought-provoking for reflecting on the affective dynamics of interdisciplinary work.
Q5: What challenges of interdisciplinary collaboration does the article highlight?
A5: The article highlights the psychological, practical, and emotional challenges of interdisciplinary collaboration, including feelings of awkwardness, isolation, and being "out of step" with scholars from different disciplines.
Q6: How does the author relate the Dalcroze experience to interdisciplinary research?
A6: The author uses the physical experience of the Dalcroze workshop as a metaphor for the challenges and discomfort of engaging in interdisciplinary research, emphasizing how both require stepping out of one's comfort zone and adjusting to unfamiliar rhythms.
Q7: What is the Affective Experience Lab mentioned in the article?
A7: The Affective Experience Lab at Durham University is an interdisciplinary collaborative space for medical humanities research that investigates the significance of emotional and sensory experiences in health and wellbeing.
Q8: How does the article view the role of creative arts in exploring health and illness?
A8: The article suggests that creative arts, particularly nonrepresentational forms like music and dance, are valuable for articulating emotional states that resist verbal articulation and are often illegible to conventional biomedicine.
Q9: What does the author conclude about the impact of the Dalcroze workshop on participants' disciplinary perspectives?
A9: The author concludes that a single two-hour workshop likely did little to reshape participants' pre-existing investments in their own disciplinary methodologies, but it provided a thought-provoking occasion for reflecting on the affective dynamics of working across disciplines.
Q10: How does the article relate to broader discussions in affect theory?
A10: The article engages with affect theory's discussions on sociality emerging through bodily movement, while also considering recent arguments for reclaiming rhythm, repetition, and routine in addressing complex challenges like global climate crises.
