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Moving the Nomadic Body
How do I structure the map of my ephemeral physical space-time?
Movement and language create space. They create time.
The entanglement of imagination and language in our bodies creates kinetic representations.
‘Moving the nomadic body’ applies movement and choreography as tools of critical thinking, awareness, and political action.
It it a workshop of kinetic composition in which the body moves in the real and the imaginary, while choosing to influence and get influenced.
The body is characterized as a complex entity. The body creates spaces and this is expressed by its performativity in space.
Following the feminist geographer Massey, the workshop activates the three notions of space: discursive - imaginary - corporeal and aims to build new maps.
The workshop offers a different way of interacting with the written words and the reasoning space. How our body, by choosing to reject the hierarchy of the mind in understanding language, can perceive and move language differently?
The more sensitive the body is in its ‘ relational representations’, the more power has to act and inform space as a practice of possibilities, shaped by continuous representations and effects of self and other material relations.
The term ‘nomadic body’ has been influenced by the theory of nomadic subjectivity (Deleuze, Guattari, 1985) by stating free thought that travels away from domination and categorization. A nomadic body that perceives the ‘worn standard notions of hegemony’ and moves away from passivity and stagnation.
| Dance Practitioner |
Choreography
Being a technical dancer, and continuing as a choreographer and teacher later, last years I understood that the previous terms were not fulfilling my understanding of what I was perceiving as choreography.
In my thesis in the MFA: Dance and Participation, I have tried to contextualize what was my understanding of choreography and different scholars came to fill my perspective.
‘Expanded’ choreography' as a term has been introduced in the Conference: “Expanded Choreography. Situations, Movements, Objects ” Barcelona, Spain| 2012 leaving behind the body as a subject of emotional expression and the body as an object of expressing its physical capacities (Cvejić, 2015: 6).
‘Expanded’ choreography became a creative imaginary milieu of the articulation of concepts, questions, actions, aesthetics and philosophical thinking. Different compositional methods fuse to activate movement and non-movement, human and non-human manifested contingent performative ideas and critical thinking.
It helped me include and activate relationality and conjunctions. It helped me introduce a more open understanding of choreography and movement, and opened up possibilities to where and with whom choreography can exist.
Expanded choreography became a method of an open-ended choreo-thinking and attention to critical pedagogical aspects.
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