Final Reflections
I have often said that more writers should practice dance. Writing is arguably one of the most disembodied forms of art, as it doesn’t involve any kind of tactile interaction with the physical world—it all happens inside your head. On the other hand, dance exists at the complete opposite end of the creative spectrum—all in your body. To me, practicing both keeps me balanced, and allows each form of creative expression to enhance the other. When I need a break from writing, I turn to dance and other forms of movement, and this helps stoke my inspiration. I’m continually curious about how these two disciplines can intertwine and inform each other to an even greater extent. This was a curiosity I carried with me over the course of the semester.
I have spent the last few years focused on learning salsa and bachata, but it had been over 10 years since I had taken any other kind of dance class. It was so refreshing to get back to my roots and refresh some of the concepts I had forgotten, and to introduce me to new ideas and movement practices as well. I feel like I gained a lot of perspective into a wide range of movement styles and theories, many of which have a lot of potential for cross-disciplinary applications. A few concepts that especially stood out to me were: inner rhythm, bound vs free flow, focus to establish stage presence, and inside-out vs outside-in. What seemed to be common to all of them was a sense of full-body commitment to the movement, no matter what the movement was—big or small, fast or slow, etc.
Showing up to class early in the morning was definitely a practice that took discipline. Some days I felt very alert and engaged with the material, and other days I felt a bit lost in the fog of sleepiness or distraction. I often felt like my mood and energy had shifted or enhanced by the end of class, and I left feeling inspired or mulling over some new curiosity. As is the case with every movement practice, occasionally I left class feeling like little or nothing had shifted, but I was still grateful for the opportunity to show up and invite the potential for inspiration anyway. I also felt like having a regular movement class helped keep me balanced—I really struggle to stay sitting down for multiple hours on end, so “normal” classes can sometimes negatively impact my mental and physical state. I get restless from so much stillness! I feel like this class helped mitigate some of that effect. I learn best when I am playing and moving, so I loved having a class so fitting for my own energy and learning style.
Over the semester, I’ve been considering how I might incorporate more elements of performance, dance, and embodiment into the performance of poetry. So often, poetry readings follow a set of baseline conventions—the poet stands up, briefly introduces each poem, and reads it while staring at the poem on a paper/book/phone. While the genre of spoken word poetry allows for a bit more expression, “literary” poetry is usually presented in a much duller manner. I feel like I have a lot I could potentially experiment with, but I want to start by memorizing poems instead of reading them. I think this will help me make the shift from thinking of it as a “poetry reading” to thinking of it as a “poetry performance.” It will certainly free me up and allow me to invite more authentic embodiment into the experience.
While there are certainly possibilities for actual genre-bending in the performance of poetry—such as “choreopoetry,” I think there is a lot of potential for the more subtle incorporation of embodiment and movement practices to enhance even a more “traditional” poetry reading. Even in the speaking of a poem without any intentional addition of other performance elements, I feel like the concepts of dance and embodiment can help give me a more natural presence on stage. For example, even just using focus and an inside-out approach to gestures could help add a sense of flow and stage presence. I’m really excited about the possibilities!
2
Congcong Wang
Taking this class for the second time has honestly been one of the most meaningful choices I’ve made in grad school. As a soprano, movement has always been deeply tied to my singing. But this course helped me see how much more it really is how dance, gesture, posture, and body awareness all shape not just performance, but identity.
I’ve loved dance even before I truly knew what singing meant to me. I’ve danced almost all my life, from traditional Chinese dance as a child (my mom used to drop me off at art school just to help build my body foundation) to Latin styles like rumba and cha-cha during my teen years. I still remember the school heartthrob who danced Latin like a god, he was honestly the reason I first dove so hard into dance. I just wanted to dance like him, or even better, with him. And even though he never liked me back, that drive turned into a real passion. I practiced like crazy, and the next thing I knew, I wasn’t just “that quiet girl in the back row.” I became someone people paid attention to. I became confident.
Dance, for me, has never just been about movement. It healed my self-doubt, it helped me connect with others, and it gave me power in moments when words or even music couldn’t. When I performed Latin dance at school, I suddenly had this light around me. I saw how people looked at me differently, not just because I could move, but because I was owning my body for the first time.
That’s why this course, especially with Professor Morejón’s structure and vision, has been a true return to self. I took it again not just to get better at movement, but to remind myself of the roots of my artistry. These classes, whether we were focusing on balance, substructure, body relationships, or Afro-Caribbean movement, pushed me to re-evaluate what movement really means in my vocal performance. And I mean that in the deepest way. I’ve always felt that singing and movement are connected, but this time I was able to live it. Fully.
Some of my favorite classes were the ones on shape and space. I learned how posture alone can communicate a full story, joy, tension, stillness, chaos, all without a single sound. And as a singer, especially one who performs operatic roles full of heightened drama, this changed everything. When I sang my arias in rehearsal, I started noticing how much my breath and vocal support were tied to how grounded I was, how aligned my spine was, how my weight shifted across the floor. Even just releasing unnecessary tension in my shoulders gave me more space to resonate. These weren’t just abstract ideas anymore. They were tools.
One particularly emotional discovery came during our unit on subtext and super-structure. We talked about how body movement can contradict the text, like saying “I love you” while your body screams the opposite. This made me think about opera recitative and arioso sections, where meaning shifts constantly. It’s not enough to just sing well. If your body doesn’t match the emotional truth, the audience feels the disconnect, even if they don’t know why. It reminded me to stop thinking of technique and movement as separate. The drama has to live in both.
Also, this course gave me something I really needed this semester: release. I’ve been writing my final doctoral thesis, rehearsing for opera scenes, preparing my defense, and just… sitting all day. These classes were my only moments to breathe, to stretch, to move and shake off stress. I’d come in tense and overwhelmed, and I’d leave dripping sweat but smiling. Every time we danced, especially in those big, expressive sessions, I could feel the pressure disappear from my chest. I even caught myself humming through some combos, feeling the rhythm in my ribs, like the voice and body were finally dancing together.
Looking back, I realize this class helped me reconnect not only with my art, but with myself. It made me remember why I love movement in the first place. It reminded me that I don’t want to be just a singer who “can move”, I want to be an artist whose body sings with the voice. Whether it’s opera, Broadway, or even pop crossover work, that integration is what makes the difference. That’s what makes a performance feel alive.
So, what did I really gain from this class? A new awareness of how my body is my first instrument. A deeper respect for the structure beneath the sound. And most of all, a promise to myself, to keep moving, to keep dancing, to never separate my voice from my body again. Movement is no longer something I do outside of singing. It is my singing.
Thank you, Professor Morejón, for holding space for all of us to explore this. I’ll carry what I’ve learned into every performance I give from now on.
3
Not Just About Vocal Technique
Julia Woodring
Taking Embodied Movement Practices in the Performing Arts was a powerful and eye-opening experience that shifted the way I relate to my body as a singer. One of my biggest takeaways from the course was learning how deeply connected physical intentionality is to vocal performance. Through intentionality, structure for movements, and mindfulness, I discovered how unnecessary tension can limit both sound and expression. This course emphasized the body as an instrument in itself, teaching me that vocal freedom begins with grounded, intentional movement. I also learned that embodied presence on stage can enhance communication with an audience and deepen musical interpretation.
During the learning process, I felt both challenged and inspired. At first, I was surprised by how unfamiliar some of the movements felt—despite being a singer, I realized I had been largely disconnected from my body in singing. As the course went on, I grew more comfortable exploring movement and allowing my body to move freely. There were moments of vulnerability, especially in partner and group exercises, but these were balanced by a supportive, non-judgmental environment. I began to feel more liberated as a performer through physical sensations and self-expression. It was a freeing experience to discover how much more naturally I could express when my body was engaged and centered.
As a singer, I plan to carry these lessons into both practice and performance. I now incorporate more stretches into my vocal warmups as it helps to ground and center me. I’ve also started dancing through repertoire and arias to have another outlet to find the expression that needs to occur in the piece. On stage, I feel more confident allowing natural gestures to emerge, rather than relying on rigid or artificial presentation. Embodied movement has given me a set of tools to support vocal health, reduce anxiety, and enhance emotional authenticity in performance—skills that are essential for a sustainable and expressive singing career.
In conclusion, Embodied Movement Practices in the Performing Arts reminded me that being a singer is not just about vocal technique, but about the whole self—body, mind, and soul. This class helped me reconnect with the physicality of singing in a way that feels empowering and transformative. I leave the course with a deeper sense of embodiment that I know will enrich my musicianship for years to come.
4
Dance Can Express Surface and Deeper Meanings
Qianxi Sun
The Embodied Movement Practices in the Performing Arts course offered me a valuable opportunity to connect culture, body, and personal expression. Throughout the semester, I gained important knowledge about movement elements, dance styles, and emotional expression through the body. This class challenged me both physically and mentally and benefited my personal growth. This reflection will include my main takeaways, feelings, and how these takeaways will benefit my work and study in music therapy.
This class provided me with a new perspective on exploring culture and the body. To begin with, I learned not only various movements and dance elements but also about the culture of these dances. For example, during the first half of this semester, I mainly learned different movement elements such as space, levels, directions, focus, and time. In the last half of this semester, my learning focused more on specific dance styles like Danza, Son, and Salsa. After that, by participating in this class, I realized that dance is a body’s narrative language . Additionally, by learning about structure and substructure, I understood that dance can express surface and deeper meanings. Finally, the content related to communicating with my instrument also helped me overcome shyness. Specifically, when I first tried to add phrases into my movements, I felt very shy, although Professor Morejón encouraged me to bravely express myself. Through continuous practice, I eventually overcame my shyness and could confidently speak my phrases during performances, especially in my final solo project.
In the first few weeks of the class, I experienced some challenges because I focused excessively on standardizing movements rather than exploring my true intentions and bodily feelings. Specifically, I noticed my movements were very uncoordinated when practicing in front of a mirror. However, as the course progressed, especially after learning Son, Salsa, and ABA dance knowledge, my movements became better. Additionally, I began to pay more attention to expressing my inner self rather than only concentrating on whether movements are standard. During the process of creating my solo project, I realized that what was most important was to listen to my inner thoughts.
Furthermore, cooperating with various partners left me with impressive memories. In this process, I felt that dance is not only a performance but also a language that facilitates communication with others. Through frequent practice in dancing with partners, I learned how to understand, respond to, and support partners by movement.
As a music therapy major, this class was very helpful for me. First, some knowledge of dance elements, including direction, time, space, levels, focus, energy, and weight, directly benefits my thesis research. Specifically, my thesis involves using Patterned Sensory Enhancement (PSE) to improve functional movements in people with Parkinson’s disease. PSE is a neurological music therapy technique that uses various musical elements, such as meter, beat, rhythm, pitch, and harmony, to cue directions, timing, space, energy and intensity, and the tempo of rehabilitative movements. Therefore, the knowledge I learned from this class not only helps me better understand how these elements (e.g., direction, time, and space) influence movement quality, but also allows me to experience their role in guiding movements and organizing rhythm in practical settings. This knowledge also provides an essential support for promoting my thesis research and will be beneficial when applying PSE in clinical settings in the future.
Moreover, realizing dance as a body’s narrative language also benefits my work in music therapy. In my opinion, the method of the body’s narrative can be integrated with musical stimuli to help emotional expression. For example, I can utilize the ABA structure to create some movement-sound exercises, which guides participants’ experience of emotional flow between stability and variation. Finally, overcoming shyness by communicating with my instrument provides the most important change for me. Shyness is a shortcoming for a music therapist. I believe shyness can be a significant obstacle for a music therapist because effective therapy requires being socially engaged and courageous enough to express real thoughts and emotions. Through this class, especially by adding verbal phrases into dance performances, I learned to express myself more confidently.
This course played a meaningful role in my graduate learning process. It helped to better understand movements, body language, and expression. This class not only improved my physical skills but also enhanced my confidence. Additionally, the connections between movement elements and music therapy techniques, such as PSE, will benefit my future studies and career. Overall, I am grateful for the opportunity to take this class and for Professor Morejón’s teaching.
5
Creating Movement that Felt Authentic
Nicole Mangione
I am so happy that I decided to take this course again! I was able to acknowledge my take-aways from last semester and apply them to this semester so that I could continue to learn and grow. Based off this entire experience, one of my biggest takeaways was that I should continue to move in ways that are out of my comfort zone. I noticed throughout the course of last semester and this semester that I tend to gravitate towards movements that are familiar to me whether it is something that I made up, saw another dancer do on social media, or from previous choreography that I was taught. This semester I really tried to push my boundaries so that I could create movement that felt authentic to my story. I was able to find these movements through multiple exercises that were conducted in class. To name a few, I really benefited from the following classes: “Relationships: Proximity, Directions & Performance,” “Space & Relationships: Laban’s Cube,” “Relationships: Body Relationships,” and “Elements of Dance: Shapes.”
During the learning process of this course, I felt comfortable to explore new ways in which I can move my body. I tend to be very judgmental of the way I dance because I want things to look a certain way but being encouraged to avoid the mirror has felt extremely freeing. This allowed me to find movements that felt good on my body no matter what they looked like in the mirror. I also felt so much joy and happiness during this class! As a person who began dancing at 7 and danced her entire life until she came to graduate school, it was very hard for me to “drop” dancing to focus on school and my career of music therapy. Feeling that joy, happiness and motivation during this class helped me realize that I can continue to enjoy dance as a hobby! For the past year, I have been taking ballet classes at Miami City Ballet in South Beach which has been one of the best investments and decisions I could have ever made for myself here in Miami.
There are so many aspects of this class that are extremely useful for music therapy. The majority of the sessions that I run as a student music therapist include body movements, whether that is playing an instrument or moving to the music. Since the body is engaged during music therapy, it is imperative to take time in the beginning of a session to wake the body up so that it is ready to engage in the activities that are prepared for that day. Warming up the body is also essential if the clients will be using their singing voice. I can also use what I learned in class to combined music therapy with aspects of dance therapy allowing the clients to explore their emotions through a variety of art mediums.
6
My Phrasing and Stage Presence
Marki Lukyniuk
Embarking on this semester's journey into the realm of space and the intricacies of movement has shifted my perception of my everyday life. Initially, I approached the subject with a purely academic curiosity, yet I discovered a deep interconnectedness between the principles we explored and my own physical being. I began to observe a newfound expressiveness in my movements, becoming acutely aware of the subtle engagement of various muscle groups as I navigated the simplest of tasks. It was fascinating to recognize recurring movement patterns in seemingly disparate activities, such as the shared motions between washing dishes, brushing my hair, and playing the violin. This course illuminated the often-overlooked nuances of human motion, for example even to the subtle cues revealed in observing how others walk – a silent testament to their spinal health. Beyond the mechanics, I became captivated by the power of body language and its pervasive influence on our decisions, moods, and overall well-being. Perhaps the most impactful takeaway, one that I anticipate will resonate throughout my life, is the profound significance of where one directs their gaze. This simple act, I learned, profoundly impacts confidence, intentionality, and how others perceive our presence and performance. The power of eye contact as a conduit for emotional and psychic connection, capable of intensifying any message, is a lesson I deeply internalized.
Stepping into this course marked a departure from my typical academic pursuits, and I found myself thoroughly engaged by its unique structure and format. The thoughtful organization of the curriculum allowed for a comprehensive exploration of diverse topics throughout the semester. While certain exercises pushed me beyond my familiar boundaries, the classroom environment fostered a sense of safety and encouragement, making experimentation and exploration feel natural and even exciting. I genuinely appreciated the connection I forged with my peers, and the instructors' supportive approach cultivated a comfortable learning atmosphere where curiosity was nurtured and vulnerability was embraced. This experience underscored the value of interdisciplinary learning and the unexpected ways in which seemingly disparate fields can enrich one's understanding of the world and oneself.
As a student deeply immersed in the world of musical performance, particularly as a violinist, the insights gained from this course offer a variety of applications. The emphasis on focus and intentionality directly translates to my phrasing and stage presence. By consciously directing my gaze, I can cultivate a stronger connection with the audience and imbue my performance with greater confidence and purpose. Furthermore, the exploration of weight transfer, tension, and release techniques provides invaluable tools for enhancing the dynamic and expressive qualities of my playing. Embracing varied characters and embodying the emotional landscape of each piece will be enriched by a deeper understanding of movement and body language, allowing me to more authentically convey the composer's intentions and maintain the captivating spell of the performance until the final note. Finally, the importance of maintaining healthy muscles and joints, underscored throughout the course, has reinforced the necessity of a consistent exercise routine to prevent injuries and ensure the longevity and vitality of my artistic expression.
7
A Conscious Relationship With My Body
Jisu Oh
Although I conduct music by expressing it through my body, I had never truly explored my body as my own instrument beyond conducting itself. Embodied Movement Practices in the Performing Arts turned out to be more than I expected—it provided a valuable opportunity to delve more deeply into my body and movement, and it helped me foster a closer, more intimate relationship with myself.
Engaging in movements I don’t typically use and expanding into that unfamiliar realm was a real challenge. It required courage not only to stretch the range of my physical movement but also to break through my own limitations in order to express myself in new ways. At first, I felt awkward, showing my movement to my classmates didn’t come easily. As a person more accustomed to working in private with music or leading a choir as a conductor, it also took a lot of courage for me to engage closely with a partner and create movement together.
These processes didn’t feel comfortable at first. But thanks to the warm, supportive atmosphere created by our professor and the openness and courage shown by my classmates, I was gradually able to push beyond my boundaries. Once I stepped past those limits, I found myself exploring a broader world—deepening my connection not only with my own body but also with my partners. I began to feel greater freedom in my movement, and it made me reflect not just on my conducting gestures, but on how I move in everyday life as well. As I became more comfortable expressing movement in front of others, I noticed the tension in my body easing and my expressive range expanding.
Throughout the course, we explored a wide spectrum of movement from external, visible gestures to internal, emotional and imaginative impulses. I learned various ways to move m body by exploring my kinetic square, playing with speed, flow, and accents, and engaging with dances and movement traditions from different cultures and their histories. It was a joyful experience to create new movements and expand my expressive vocabulary. At the same time, this journey invited me to turn inward—reflecting on my motivations, emotions, and imagination. These are essential elements for any musician, and I felt that this process helped me grow stronger as an artist.
As a musician and conductor, I intend to keep cultivating what I’ve learned in this course, so I can maintain a conscious relationship with my body and express with greater freedom and authenticity through my conducting gestures. By staying attentive to my body and mind, and by continually revisiting the insights from this class, I hope to sustain a musical journey where my physical expression and imagination remain open and alive.
8
The Value of Nonverbal Expression
Gabriela Ocon
One of my biggest takeaways from this class is that I genuinely enjoy dancing alone, without pressure, rules, or expectations. I had a complicated relationship with dance in the past because I believed there was always a “right” and “wrong” way to do it. However, this course shifted that perspective.
Throughout my experience, I never felt judged or restricted. Every movement I made felt authentic to who I was in that moment, and I appreciated the freedom to express myself in whatever way felt natural. I also enjoyed exploring different types of movement and learning to move independently of music, rather than letting the rhythm or tempo dictate my choices.
I felt open, curious, and more connected to myself during the learning process than expected. Sometimes, I felt vulnerable stepping outside my comfort zone, especially when improvising or exploring unfamiliar movements. But this vulnerability became a strength, allowing me to grow more confident in trusting my instincts and bodily intuition. I appreciated the supportive environment of the class, which encouraged exploration without fear of doing something “wrong.” That sense of safety helped me stay present and genuinely engage in the experience.
As a music therapist, I see clear connections between what I learned in this course and the therapeutic work I aim to do. The freedom of movement and emphasis on self-expression are potent tools that can support emotional release, identity exploration, and body awareness, especially for children and adolescents with developmental or emotional challenges. This course reminded me of the value of nonverbal expression and how movement can be an essential part of healing. I hope to incorporate more embodied practices in my future clinical work, encouraging clients to use their whole selves—mind, body, and spirit—to communicate and grow.
9
Creating More Complete Therapeutic Experience
Alexandra Blankenship
As a music therapy student with piano training, I found myself challenged in our embodied movement class. The dance professor pushed us beyond our comfort zones, teaching us to translate musical concepts into physical expression. I had to learn how to use my entire body instead of just my hands, connecting my piano background with movement in ways I hadn't considered before.
This class changed how I approach music therapy sessions. I began noticing physical responses in clients that I previously missed - tension releases, rhythmic swaying, and subtle gestures that showed how they processed music. These observations helped me develop better therapeutic strategies, especially for clients who struggled with verbal communication but responded physically to musical elements.
My experience in the movement class has made me a more effective music therapist. I now understand that music therapy isn't just about playing instruments or singing - it's about engaging the whole person. The piano remains my primary tool, but I've learned to incorporate movement concepts into my practice, creating more complete therapeutic experiences that address both physical and emotional needs.
10
A New Perspective on Physicality
Elizabeth Stamerra
Throughout this class, I have learned that patience and drive are the keys to success. This course allowed me the opportunity to freely express myself while exploring new and familiar movements. I intend to use creative restrictions in my future personal and professional endeavors to incorporate movement. That is, limiting myself to specific speeds, sizes, levels, shapes, or other characteristics. This strategy is a great way to focus on new skills and reduce feelings of overwhelm– a common phenomenon in artists.
During the learning process of this course, I felt joy and
nervousness. Putting myself out there in front of the class was nerve wracking,
but did wonders for my self esteem. In part, this was due to the new concepts
we were constantly exploring in class. I felt accomplished each time I took a
risk, even when there was no reward. There was something quite refreshing in
taking chances in a safe environment that fostered learning and creativity.
Lastly, I see the work from this class doing wonders for my career as a music therapist. Helping clients express themselves or work on motor planning and control is crucial in the field. Understanding the human body through this class has revolutionized how I relate to this concept. Music therapy incorporates creative and technical ideas which are applied to human health. In my therapeutic practice, I look forward to using these ideas to help clients grow their sense of self, autonomy, and rehabilitate movement. This class has provided a new perspective on physicality as a client and therapist.
Sources
Comments
Post a Comment