Хореографія як простір невербальної комунікації в умовах соціальних криз: когнітивно-комунікативний та терапевтичний потенціал

The purpose of the present study is to analyse bodily interaction and contact improvisation as contemporary choreographic practices in today’s context, encompassing aesthetic, cognitive, communicative, and therapeutic aspects, particularly within crisis-related sociocultural situations such as war – with an emphasis on somatic synchronisation, improvisation, and dance movement therapy. Research methodology. A cognitive method was applied, focusing on the study of cognitive processes related to somatic synchronisation, shared cognition within a group of performers, as well as bodily interaction as a specific form of embodied thinking within the realm of nonverbal communication. The praxeological method was used to analyse choreographic interaction as an integrated process of purposeful activity, and to assess the effectiveness of contact improvisation and dance movement therapy within the context of contemporary sociocultural realities. The art history method was employed to analyse contemporary choreographic practices and their significance within the system of psychosocial rehabilitation. The scientific novelty. This research offers an analysis and rethinking of bodily interaction and contact improvisation not only as choreographic techniques but also as forms of corporeal thinking and tools for affective communication capable of reflecting and transforming social, cultural, and traumatic experiences. For the first time, contact improvisation is examined as a tool of critical embodiment in the wartime and postwar context, revealing the therapeutic potential of bodily interaction under martial law, particularly its ability to promote emotional relief, restore psychophysical balance, and create a safe space through dance movement therapy. Conclusions. In the contemporary setting, bodily interaction in choreography emerges as a multidimensional phenomenon that integrates aesthetic, cognitive, communicative, and therapeutic functions. It serves not only as a means of nonverbal communication but also as a form of profound interpersonal dialogue, a tool for cognition and recovery. Somatic synchronisation and contact improvisation gain particular importance in the context of war, contributing to psycho-emotional stabilisation, the development of trust, and the strengthening of social bonds. Thus, choreography becomes a space of holistic interaction between the body, emotions, meanings, and society – capable of responding to the challenges of the present day.