top of page
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 |
 |  |
|---|---|
 |  |
 |  |
 |  |
 |  |
Let your boring self die
My focus was to apply participant- involving choreography theory rather than a concept. After an open call, 4 participants were interested in participating in 6 hours of co-creation. I’ve decided to facilitate a very condensed workshop, which would end up to an instant composition, where all together we would decide what to bring to the final process.
Considering identity as a socio-political structure and giving weight to the embodiment of its singular experience and the need to reveal thoughts/feelings, my project had the vision to place the participants in the occasion of reimagining their identity(physical and mentally spatiality) within an overlap of time. Embodied places, memories, and material, using the imagination in space and time created an instant composition. My research focus was on " How imagination can reshape cognition and transform the process of the present events by fantasizing a past/ future connection with the material, through the senses?
Within this participatory project, I used the Inside/ Outside process; the idea came from inside of me, interacted with the people's ideas (influenza creativity), transformed into something new. Participatory projects become journeys of connections and influences of teachers, theories, circumstances, dance facilitator's identity, and of course time and space.
Participants created: Drawings, Absurd Audio tracks, Audio Journey, Movement material, Compositions.
* The movement of the crane has been a constant companion within the process, and has been considered an equal participant.
Participants: Vipul Nandaniya, Robin Burnosky, Raveena Chauhan, Dipti Neupane, the crane, traffic lights and environment of Flintholm station(DK), the Sun.
bottom of page