ABSTRACT
In ethnographic fieldwork the researcher's 'body' is an important 'tool' in the process. As methodological praxis it can illuminate and animate the sensory and corporeal aspects of knowledge production. In this chapter the author details the significance of such 'bodiment' as an imperative means to convey non-conscious and non-cognitive affectivity and creativity through mimesis. This affective and visual vocabulary is termed 'enactive kinesthetic empathy'. Through the 'mirroring' function and diffractive mimesis of ethnographer 'etudes' these are presented as sketches and rhythmic modalities. Through becoming a rhythmanalyst the author was sensitised to new ways of understanding the transitional space of the classroom between Ted and the children. In doing so, the finer nuances and mechanisms of child-dog interactions are revealed.
