THEORIES AND FRAMEWORKS/SUNDAY DISCUSSION GROUP/ MARCH 7, 2021

Theories and Frameworks/ Sunday Discussion group/March 7, 2021

Yesterday we had a very profound conversation led by Angela Woodhouse and she opened some pathways and understanding to seeing my practice and framework differently, from female, artist either movement researcher perspective. As an visual artist, choreographer, researcher she scratched the surface of interesting themes such as dialogue on the lights, obligation/decision making, questions about simplicity, emptiness, sharing experience through the different materials, testing the patience of time, bodily-spatial relationship through a framework of collaborative making, ...We were also talking about democracy, inclusivity, participation...and again brought me to my thought about the way how i am understanding the world, environment as a creative artist and movement researcher and how i embody those things in my practice and research inquiry.  I have noticed that Angela spoke about Covid situation and how she was interested in her latest research in NOW, and how NOW started to be very interesting there and how we are all actually dealing with the nowness, because this is the only time we have and this identify a lot of things in our further perception. What we can do now is the question? Actually a very good question to start with this would be how to achieve more space in the body according to quarantine life? more breath, intimacy, movement, stepping line? 

Helen also added how is important for M2 to think about what resonate with us? what is our approach to artistic practice, and how we are connected to the world, how we do into practice approach in order to understand using philosophical approaches such as phenomenology, pragmatism...

Regarding democracy in performance i wrote in my 4 AOL something about participation in Performance and how performance could be guided by the active observers, participants, audience. This is just a part of my thoughts in 4 AOL. 

In this matching up of ourselves with the others and with the world the audience wants to see, feel, participate emotionally, resonate performer’s aesthetic correct doing, right form, seek for qualitative action, according to Freleigh similar to the “state of nowness” (Freileigh, 2015, 173) and me as performer constantly searching for that right doing and correct responsiveness to the manipulative insight of the observer. That communication is constant, interrelated, complex, changeable and seducing. That performance is known only by me and only I can “become dynamically interrelated in a communicative process through the object which mediates what can be known” (Fraleigh, 1987, 36).

I reconnect, cultivate, put in question, participate, perceive with the others in the surroundings and bring my lived body to existence while performing. My dancing need to be worth in their eyes, even in the corner of the eye. I transform my images so I can be closer to the seekers, my truly observers. I am actively and intelligently choosing my way of reflection about my next moves while performing and being fully open to the self. Through trustful cooperation of the (in)sight I am making sense of previous experiences in nonverbal language by doing movement, sharing power of imagination, sometimes doing chaotic entry to seduce or confuse and emerge in my own way (Bound, Keogh and Walker, 1985, 135). For me as a performer too, I am very connected to the breath, so I am convinced that movement without fluid breath and space does not exist. Space is essential for the movement. Allan Deleuze see this spacing through Heidegger.

Actually this subject would be really interested to discuss especially from the point of view where people do not live in democracy at all or so-called democracy, where people live in cultures and societies who does not encourage the critical thinking and open mind or articulated public opinion, either evoking the consciousness... Somatic work, perception, reflection, phenomenology could evoke in those societies negative connotations because there are very interrelated with the talk about the consciousness and freedom of thoughts and if you live in a part of the world where this is not very distinctive, where it is difficult to cultivate those tools for experiential learning and critical thinking,  than for me (an the others) as an artist(s) or even simple person, that task could be very challenging.