Process Contact Potency
Process, Contact, Potency: A workshop/talk on embodiment and the creative process
with an introduction by Lydia Hamann
Tuesday, 14. Octobre 2014 7 pm
In this workshop/talk we will explore how embodiment practices can be translated and applied in creative, artistic and collective processes, to facilitate greater attention to receptivity, attunement, and responsiveness in collaboration. We will engage these practices both theoretically, by exploring what theoretical inroads and roadblocks mediate an engagement with the body, as well as practically, by experiencing some of the practices together.
What kinds of repertoires are available to us for engaging the body in collective creative and political processes? How can embodiment facilitate a process of disclosing a space of receptivity and attunement between collaborators? How might the use of therapeutic somatic techniques be applied to political sceneries, art practices, and collective processes, and where do we land if we follow this possibility further? How does a focus on the embodied and sensate levels of experience translate politically, particularly in the context of what we might describe as affective capitalism? And what exactly are the ideological/discursive parameters or constraints upon engaging with the body in our critical practices?
In this talk/workshop, I focus on embodiment practices that I have found useful in both artistic, intellectual, and political creative processes. I will present the work of the somatic pioneer, Emilie Conrad (1934-2014), who developed a movement practice called Continuum movement. Continuum is a movement practice that dwells in the creativity of embodied sensation, and which uses fluid movement, sound, breath, and writing practices to disengage patterned responses, whether they be psychological, intellectual, physical, or, potentially, political. Conrad used Continuum as a way of opening up the creative process for individuals and groups working in diverse media, including writing, visual arts, dance, theater and music. By focusing on embodied presence, the practices of Continuum can facilitate responsiveness and attunement to self and other, and can disclose deeper levels of collaboration among collectives. In this workshop/talk I will discuss Conrad’s practices, as well as the work of other somatic theorists/practitioners, and their significance for aesthetics, politics, and creative process. We will have the opportunity to do some of the practices together, as well as to watch an excerpt of Em Moves (2012), a film by Hanna Heiting that documents Conrad’s work. This talk/workshop is intended for those interested in embodiment creatively, politically, and theoretically.
Anita Chari is a writer, musician, and political theorist based in Eugene, Oregon. Chari teaches courses in social and political theory at the University of Oregon. Her current work focuses on the relationship between embodiment and critique. As part of this research, she is devoted to the study of Biodynamic Craniosacral Therapy, Continuum Movement, as well as other somatic practices.
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