From the precepts of civility and physical deportment in the early modern era to modern gestural routines found in physical therapy and gymnastics, cultural historians of the body have studied the physical practices of hygiene, sports, and medicine. The history of dance is marked by these dance-related practices, which are peripheral to dance itself. One set of contemporary peripheral practices sought out by dancers themselves has been called “somatics,” a term Thomas Hanna proposed in the 1970s (1995). Somatics has since made its way into the dance world, where by now it has achieved widespread recognition as a form of bodily knowledge. This article is concerned with the epistemological status of somatics and, therefore, with the discursive production characteristic of its methods and practices.

The first value that we usually attribute to these practices is prophylactic: they serve to prevent professional accidents or provide functional rehabilitation following injuries. Although increasingly integrated into dancer training and dance pedagogy, somatics first found its way into dance as a means to limit accidents. Somatics is also often a resource for the improvement of virtuosity in dance. But it has nevertheless transformed pedagogy into a more “active” and exploratory experience for the student, in which physical sensations are more important than the mirroring and reproduction of forms (Fortin 1996, 2005; Fortin, Long, and Lord 2002). We often see it presented as a “counter power,” an antidote to dominant dance practices. This point of view is poorly documented—possibly because it would not hold up against a strong argument—but it is common knowledge that somatics stands opposed to virtuosity and the “perfect” body image, as seen, for example, in the role these techniques played in the early part of Trisha Brown's choreographic career.