ABSTRACT

The body in organisations has received considerable scholarly attention, whilst the moving body and the ‘flesh’ has largely been overlooked. ‘Flesh’ for Merleau-Ponty connects the body and the world and supposes not an immobile, but moving body. We explore flesh as a movement-related, kinaesthetic phenomenon through a movement/dance-based method and interviews with professionals from a hospitality/service organisation. We apply the notion of ‘choreography’ from dance studies, composed of the elements of ‘writing’ (graphós) and ‘movement’ (chorós). Our findings show that fleshly movement interaction creates invisible structures, or choreographies, that are inscribed into bodies and tacitly confine organisational interaction (‘writing’). Bodies learn to relate to each other through perceptual interpenetration and kinaesthetic empathy and co-create the choreography (‘moving’). Fleshly movement interaction is a submission to choreographies fulfilling the organisational need to reproduce bodies capable of carrying out certain movement imperatives, which however provides momentary openings through the use of kinaesthetic empathy.

摘要

在组织的身体已经得到相当的学术关注，而移动身体和“肉”在很大程度上被忽略了。Merleau-Ponty的“肉体”将身体与世界联系在一起，并假设不是静止的，而是运动的身体。我们通过基于运动/舞蹈的方法并与酒店/服务组织的专业人员进行访谈，将肉作为运动相关的动觉现象进行探索。我们运用舞蹈研究中的“舞蹈”概念，由“写作”（graphós）和“运动”（chorós）的元素组成。我们的研究结果表明，肉体的动作互动会创建不可见的结构或编排，这些结构或动作被刻入人体并默认限制组织互动（“写作”）。身体通过知觉互穿和动觉共鸣来学习相互联系，并共同创造舞蹈（“运动”）。