Choreographic archive #1
Following the path of ‘r e t u r n i n g’ as it unveils
r e t u r n i n g, in collaboration with the cellist Steuart Pincombe and the artist Manuela Benaim. Premiered at Frankfurt LAB, commissioned by Dresden Frankfurt Dance Company in cooperation with the Jewish Community Frankfurt am Main.
Notes on an attempt to embody a time traveler and inspired by the drawing that I received from Steuart and his few words-
“Here's the little score draft. Three layers- emptiness/silence, temporal, eternal. Of course it's just something to keep me in line and I'm happy to be pulled in other directions!”.
I imagine my body as a rapture and a bridge between myself and my perception of time, that surrounds me and is outside of me.
Leading words- glimpses, anchor points, body as a vehicle, body as a self drawn, beyond my reach, confrontation with the audience as a pause- back to zero point, attacks from within, anonymity, carried by?, circle, ripples and breath as continuity versus straight lines, confrontation with the audience and pauses as discontinuity or pause, revealing/unveiling.
* Where and how do I exist with the eternal?
* How silent is the silence? * What is the temporal if it's not everything that I do??
Following with patience (a path, time, non-linearity, invisible sense, parts of myself)
Multiple beginning points, after forgetting dance, the ways to come back to the ‘so called’ loop are multiple...
Following the reading of Nicolas Bourriaud’s- Hybridization Coactivity, Non-human and otherness- where in the last page of the article he writes about “the major political issue of the twenty first century is precisely the return of humanity”
How can one physically and conceptually return to oneself if one “lost” oneself?
He talks about returning to activities that are no longer human in name.
I am thinking about senses and sensations about invisibilities, making up, beliefs, following a myth.. A treasure map… undiscovered planets..
Showing and reflection with VK and Esther The concept of Éorché skin.. (skinless anatomy)“An écorché (French pronunciation: [ekɔʁʃe]) is a figure drawn, painted, or sculpted showing the muscles of the body without skin, normally as a figure study for another work or as an exercise for a student artist. The Renaissance-era architect, theorist and all-around Renaissance man, Leon Battista Alberti, recommended that when painters intend to depict a nude, they should first arrange the muscles and bones, then depict the overlying skin. Some of the first well known studies of this kind were performed by Leonardo da Vinci, who dissected cadavers and created detailed drawings of them. However, there are some accounts of this same practice taking place as far back as ancient Greece, though the specifics are not known.” Peeling for hallucination
Getting rId of..
Bones and breath
Skin
Vibration
What is a body without a skin in relation to verticality?
Can I even be vertical without my skin?
Who am I without my skin?
How do I exist after peeling layers of self?
“With flight u are not gaining or losing time”
How can we become that flight/ travel vehicle
Cars could go fast enough to hurt humans because of the speed
“Indy 500 speed town”
Steu- “ everything I see, the moment I see it, I know it’s going away.”
events that occur, hinting the traces of sound
Suspension- realizing my skin
Slowness- affective
Repetitions
Echos
Multiple beg. points
Skin. hands. Call and response (RESPONSE WITH NO CALL?)
Insisting. Intimacy
Organising the space
Moving energies
Manuela was working on the skin sculpture,
The back and the front of the mold when the silicone was still sticking to it, receiving its (my) shape
![]()
Today for the first time I tried on the skin, such a weird/ special/ interesting experience
Chelsea’s thoughts- the piece has elements of short story telling, the invisible- unnameable imagery that I work on to create the texture of the movement, the work as some kind of version to the dying swan., which makes me think of a visitor in one of the days with steuart relating to the taking off of the skin as an action of a butterfly leaving its cocoon.
-skin
-returning
-playing
-putting on the silicone skin
-materiality
envelope/skin/intimacy/loops/actions
Steuart’s score
Manuela’s drawing from a short visit in the studio to fit the color of my skin to the silicone and compare it to her color in order to help her get the exact tone.
Steu fixes and rewrite the score before the open rehearsal in Springfield Missouri
To create a present you have to lose the before an after a closer look at the human’s skin
![]()
When is a body finished? is it always undone?
Passing by Manuela's studio, the skin sculpture is developing… niples took color, now few stitches would take place, soon I would be able to wear my second skin...
Perhaps sliparry and suspension possibilities are more key elements than I treated them so far
![]()
time->skin->attunement
home-> seeking/ belonging-> nomadism, body as home->inventing->roots..
Water & electricity as crucial elements for any building or just water
Jumping between, randoms ones- ❅“what is a living document like within you?”
❅the paradox in unmastery (practices or made up practices that do not follow previous training in a comfort zone) is as if shooting in one's leg, losing one’s strength or knowledge and applying them into a whole different field with rules, history, methodologies, structures etc.
This to me seem exciting, generative and at times renewing and canceling my judgement that is so built in me with every movement that I do when I tend to hear myself in my head self criticizing me.
It’s almost like a methodologie for empowerment or innovation or going out of my area of expertise.
❅archeology of utopia (link)
❅this artist -Bettina Oppenheimer was born in between the years 1919 - 1972/3 and worked in photographing eye balls for a doctor and photographing as a side hobby, she never studies photography but she really inspires me because of her details her sensitivity and poetic imagery in this collage in particularly.
This photomontage was presented in 1973
❅this work by Hadar Dolan Sheffer, made me think of the multiple layers that consist of skin... It does great work in encapsulating multiple layers, (pretty straightforward) with a single image..
I repeat, I repair, I repeat, I repair, I repeat,
Following the path of ‘r e t u r n i n g’ as it unveils
r e t u r n i n g, in collaboration with the cellist Steuart Pincombe and the artist Manuela Benaim. Premiered at Frankfurt LAB, commissioned by Dresden Frankfurt Dance Company in cooperation with the Jewish Community Frankfurt am Main.
Notes on an attempt to embody a time traveler and inspired by the drawing that I received from Steuart and his few words-
“Here's the little score draft. Three layers- emptiness/silence, temporal, eternal. Of course it's just something to keep me in line and I'm happy to be pulled in other directions!”.
I imagine my body as a rapture and a bridge between myself and my perception of time, that surrounds me and is outside of me.
Leading words- glimpses, anchor points, body as a vehicle, body as a self drawn, beyond my reach, confrontation with the audience as a pause- back to zero point, attacks from within, anonymity, carried by?, circle, ripples and breath as continuity versus straight lines, confrontation with the audience and pauses as discontinuity or pause, revealing/unveiling.
* Where and how do I exist with the eternal?
* How silent is the silence? * What is the temporal if it's not everything that I do??
Following with patience (a path, time, non-linearity, invisible sense, parts of myself)
Multiple beginning points, after forgetting dance, the ways to come back to the ‘so called’ loop are multiple...
Following the reading of Nicolas Bourriaud’s- Hybridization Coactivity, Non-human and otherness- where in the last page of the article he writes about “the major political issue of the twenty first century is precisely the return of humanity”
How can one physically and conceptually return to oneself if one “lost” oneself?
He talks about returning to activities that are no longer human in name.
I am thinking about senses and sensations about invisibilities, making up, beliefs, following a myth.. A treasure map… undiscovered planets..
Showing and reflection with VK and Esther The concept of Éorché skin.. (skinless anatomy)“An écorché (French pronunciation: [ekɔʁʃe]) is a figure drawn, painted, or sculpted showing the muscles of the body without skin, normally as a figure study for another work or as an exercise for a student artist. The Renaissance-era architect, theorist and all-around Renaissance man, Leon Battista Alberti, recommended that when painters intend to depict a nude, they should first arrange the muscles and bones, then depict the overlying skin. Some of the first well known studies of this kind were performed by Leonardo da Vinci, who dissected cadavers and created detailed drawings of them. However, there are some accounts of this same practice taking place as far back as ancient Greece, though the specifics are not known.” Peeling for hallucination
Getting rId of..
Bones and breath
Skin
Vibration
What is a body without a skin in relation to verticality?
Can I even be vertical without my skin?
Who am I without my skin?
How do I exist after peeling layers of self?
“With flight u are not gaining or losing time”
How can we become that flight/ travel vehicle
Cars could go fast enough to hurt humans because of the speed
“Indy 500 speed town”
Steu- “ everything I see, the moment I see it, I know it’s going away.”
events that occur, hinting the traces of sound
Suspension- realizing my skin
Slowness- affective
Repetitions
Echos
Multiple beg. points
Skin. hands. Call and response (RESPONSE WITH NO CALL?)
Insisting. Intimacy
Organising the space
Moving energies
Manuela was working on the skin sculpture,The back and the front of the mold when the silicone was still sticking to it, receiving its (my) shape
Today for the first time I tried on the skin, such a weird/ special/ interesting experience
Chelsea’s thoughts- the piece has elements of short story telling, the invisible- unnameable imagery that I work on to create the texture of the movement, the work as some kind of version to the dying swan., which makes me think of a visitor in one of the days with steuart relating to the taking off of the skin as an action of a butterfly leaving its cocoon.-skin
-returning
-playing
-putting on the silicone skin
-materiality
envelope/skin/intimacy/loops/actions
Steuart’s score
Manuela’s drawing from a short visit in the studio to fit the color of my skin to the silicone and compare it to her color in order to help her get the exact tone.
Steu fixes and rewrite the score before the open rehearsal in Springfield Missouri
To create a present you have to lose the before an after a closer look at the human’s skin
When is a body finished? is it always undone?
Passing by Manuela's studio, the skin sculpture is developing… niples took color, now few stitches would take place, soon I would be able to wear my second skin...
Perhaps sliparry and suspension possibilities are more key elements than I treated them so far
time->skin->attunementhome-> seeking/ belonging-> nomadism, body as home->inventing->roots..
Water & electricity as crucial elements for any building or just water
Jumping between, randoms ones- ❅“what is a living document like within you?”
❅the paradox in unmastery (practices or made up practices that do not follow previous training in a comfort zone) is as if shooting in one's leg, losing one’s strength or knowledge and applying them into a whole different field with rules, history, methodologies, structures etc.
This to me seem exciting, generative and at times renewing and canceling my judgement that is so built in me with every movement that I do when I tend to hear myself in my head self criticizing me.
It’s almost like a methodologie for empowerment or innovation or going out of my area of expertise.
❅archeology of utopia (link)
❅this artist -Bettina Oppenheimer was born in between the years 1919 - 1972/3 and worked in photographing eye balls for a doctor and photographing as a side hobby, she never studies photography but she really inspires me because of her details her sensitivity and poetic imagery in this collage in particularly.
This photomontage was presented in 1973
❅this work by Hadar Dolan Sheffer, made me think of the multiple layers that consist of skin... It does great work in encapsulating multiple layers, (pretty straightforward) with a single image..
I repeat, I repair, I repeat, I repair, I repeat,
Choreographic archive #2
Pas de deux #2 – Second Skin Second Sky / Solistenensemble Kaleidoskop
Creation by Mari Sawada and Nitsan Margaliot as part of the New Empathies program series at Radialsystem, Berlin
Yet to be premiered due to COVID
Leading words-
Clouds, beginnings, multiple narratives, many ways to start telling same story, flood, tenderness
variations of beginnings drawing attention
scores, fog
neverending feeling
ink spreading out of the body how do I shift toward what it is about following a path with the head, as if it was constructed already, floor, skin, gliding, the skin as a floor
narratives - thought about a story, about a child- something that has to do with dreams, about the color transformation of the skin- shining, sparkling…
(thoughts about telling a secret)- under and above the skin
tracing remembrance
when playing second skin
when dancing second skin
thinking about the intersection of poetics and dance, how the two mediums influence one another..
words movement abstraction radical thinking making absurd and path to life and death..
the current music piece that mari suggested for the work- 'Three High Places' - John Luther Adams
Text- It starts in the middle of nowhere, it continues right here what color it got u ask me, I truly don't know It is like a foggy rainbow u can barely capture in this moment of forgetting its cruel and beautiful dusty little treasure, you were following me until here,
then u gave up the excitement of meeting, witnessing, recognizing and bearing witness
My eyes stopped functioning a while ago
you little bright light Any connection seem obscure unforgiving re-revealing I knew that meeting allowed a scratch in my memories, an entrance, strange realization yes I can allow, not- not to you, to me it is too sudden, uncanny manner of courage off the shore of my capacity u and it resemble what I would never be able to formulate a rest within my breath a beam of stars starting to discover my becoming blind becoming sharp
becoming not u nor I
fundaments, molecules, atoms
naked truth
leading back to my teeth and taste
our first encounter our
--
Around the corner
Around the yard
You were staring I was blinking We thought and reconsidered until we noticed There was no reason there was a thought, projection you may call it understanding, I saw a circle, a hole to pass through, a jar, a yard, two pigeons,
a soup, few trees and a road to climb after the rain, another wash another option surrender suspend suggest me or leave leave behind
--
I open my eyes to see u
I open my eyes to see u there I open my eyes to see u there lying restless
Opening the night with ur song Opening the night with ur taste
--
Our joined attempt
Our wish
Our joined will
to know for once if this why and how collide If my image and ur fantastic story conversate if the making sense captures senseless realisations a breeze of air on that unfamiliar mount of glass of ruins of waste of blinking memories from you to me and onwards from you to me and onwards
--
Land untouched another star
Discovered by discovered for discovered with
uhh it changed before u noticed
Wish u could tell me wish you could language my
Or your or ours or the moment in which
We blinked with our throats with our thoughts without..
--
To each forgiveness, flow and ur momentum
Fragile whisper, north across
The ease of east is tickling
yet
Telling my rumor, hell oh
--
In the box
In a sack
In that sock
We knew better
We thought, we discussed, we maintained until no longer
You jammed, things that start with J, jelatin, jetlag, giraffe, jambo and else
Feeling apart feeling
Elements: * text - mine and maybe mari’s
* DIY made up instrument
* Music + repetition
* Closed eyes
* Map of happenings
* Beginnings and materials and a map Movements on skin like words on paper
Postcards
Closed eyes
Ceiling piece from fabrics
29.2.20
Received on an email from mari-
John Luther Adams Three High Places (in memory of Gordon Wright) (2007) About the music piece-
Gordon Wright was the friend of a lifetime. For thirty years Gordon and I shared our two greatest passions: music and Alaska. Gordon was my musical collaborator, my next-door neighbour, my fellow environmentalist and my camping buddy. These miniatures are musical sketches of three moments and places in our friendship. Like Alaska, Gordon was larger than life. He always lived his own way. And he died just as he would have wanted. We found him lying on the deck of his cabin in the Chugach Mountains, curled up against his favourite birch tree, looking across the waters of Turnagain Arm toward the Resurrection Valley and the tiny settlement of Hope. This music contains no normal stopped tones. All the sounds are produced as natural harmonics or on open strings. There are no harmonics higher than the sixth. So these sounds should be clear and resonant. Even so, balancing the harmonics with the open strings requires careful attention. The durations of the individual pieces are given at the end of each. The total duration of the set is about ten minutes.
durational closed eyes practices
words that interest me to research with mari:
Softness
Caress
Gathering
Spirals
Parallel actions Questions
Diving under the water
Walking on clouds, how clouds move, form and deform
Inventing the future
Writing and drawing and exchanging maps
Happenings
My words (unequal) my actions
Growth of trees
Before walking
Before knowing
Expanding like a balloon and like other things
Wind
Walking backwards
To make exercises in writing on words and what interest us and raise in us
More ways for both of us to play this music; or sounds that comes with it that are between the notes; maybe playing all what we don't hear at first
Tendencies (of movement, of playing)
What makes me happy, excited
Blossoms
Rhythm- how it changes.
Preferred colors
talk with Duli and Mari-
Sea side
Mountains
Fire place
How does one get to make dance
Home slippers
Pillows
Something that is not a dance phrase, is a situation, accurance, set of conditions, temperature, maybe gentle vibration, maybe atmosphere
Starting the two first days in the studio, what a crazy time to create in, yet necessary
The first day was a real tryout of all of the ideas that I had before, hearing the music and trying to make it as a normal planned creation, the second day was a clear restart where we sat on the floor and understood that this specific time demand a different perspective, we need more- concrete material, process based work, environment, assemblage, friction, vibration, messi encounters, and durational states to relate to.
We started by calling it PRACTICE ENVIRONMENT. I wanted to feel that I can write and draw between searching physically, so I made a few drawings and writing portraits.
mari is searching different floor positions to play in, as well as different music pieces
Poetry Is Not a Luxury (1985) Audre Lorde
“Where language does not yet exist...
Poetry... is the skeleton architecture of our lives...
our dreams point the way to freedom. They are made realizable through our poems that give us the strength and courage to see, to feel, to speak, and to dare...
For there are no new ideas. There are only new ways of making them felt, of examining what our ideas really mean (feel like)... while we suffer the old longings, battle the old warnings and fears of being silent and impotent and alone, while tasting our new possibilities and strengths.”
EYES LIGHT SKIN REFLECTION SIGHTS VISIONS IMAGES
The search for paths in which we create light, escape images, position and positioned by more eyes around and on our skin
Friction in order to feel, to rub, to change, to acknowledge
What is our relation
Smirring in and outer space, how? Inhale & exhale tuning- vibration
Ripples, IS THIS PIECE IS FINALLY ABOUT BEING SKINLESS
When looking at each other, opening the eyes- mirroring the movements
Light approach, snoring, playing, making up
Losing the shape
Returning to the materiality
Strange Encounters: Embodied Others in Post-Coloniality - Sarah Ahmed
“The body materialises – takes shape a strange encounters, pages 40, 43-44
My concern with the embodied nature of strange encounters requires that we first ask the question, ‘what is the body?’ I will argue that there is no body as such that is given in the world: bodies materialise in a complex set of temporal and spatial relations to other bodies, including bodies that are recognised as familiar, familial and friendly, and those that are considered Strange. Page 42
Judith Butler’s consideration of ‘bodies that matter’ defines ‘materialisation’, as the production of an ‘effect of boundary, fixity and surface’ (1993: 9). To examine the function of cultural difference and social antagonism in the constitution of bodily matters is not to read differences on the surface of the body (the body as text), but to account for the very effect of the surface, and to account for how bodies come to take certain shapes over others, and in relation to others.
through phantasy (flesh and image are here mutually implicated).
If we address the role of skin in marking out bodily spaces, then we can refuse to accept that the contours or boundaries of bodies are given. A consideration of the subject as ‘skinned’ is not then a question of thinking about bodies as having inherent ends or limits (bodies do not necessarily end at their skins). The skin is not simply invested with meaning as a visual signifier of difference (the skin as coloured, the skin as wrinkled, and so on). It is not simply implicated in the (scopophilic) logic of fetishism where the visual object, the object which can be seen, becomes the scene of the play of differences. The skin is also a border or boundary, supposedly holding or containing the subject within a certain contour, keeping the subject inside, and the other outside; But, as a border or a frame, the skin performs that peculiar destabilising logic, calling Into question the exclusion of the other from the subject and risking the subject’s becoming (or falling into) the other.
Hence, Jean-Luc Nancy discusses the skin as an exposure to the other, as always passing from one to the other (1994: 30). The skin may open out a moment of undecidability which is at once a rupture or breakage, where the subject risks its interiority, where it meets and leaks into the world at large.
...For if the skin is a border, then it is a border that feels. In the work of Jennifer Biddle, for example, the skin, ‘as the outer covering of the material body’, is where the intensity of emotions such as shame are registered (1997: 228). So while the skin appears to be the matter which separates the body, it rather allows us to think of how the materialisation of bodies involves, not containment, but an effective opening out of bodies to other bodies, in the sense that the skin registers how bodies are touched by others.”
Pas de deux #2 – Second Skin Second Sky / Solistenensemble Kaleidoskop
Creation by Mari Sawada and Nitsan Margaliot as part of the New Empathies program series at Radialsystem, Berlin
Yet to be premiered due to COVID
Leading words-
Clouds, beginnings, multiple narratives, many ways to start telling same story, flood, tenderness
variations of beginnings drawing attention
scores, fog
neverending feeling
ink spreading out of the body how do I shift toward what it is about following a path with the head, as if it was constructed already, floor, skin, gliding, the skin as a floor
narratives - thought about a story, about a child- something that has to do with dreams, about the color transformation of the skin- shining, sparkling…
(thoughts about telling a secret)- under and above the skin
tracing remembrance
when playing second skin
when dancing second skin
thinking about the intersection of poetics and dance, how the two mediums influence one another..
words movement abstraction radical thinking making absurd and path to life and death..
the current music piece that mari suggested for the work- 'Three High Places' - John Luther Adams
Text- It starts in the middle of nowhere, it continues right here what color it got u ask me, I truly don't know It is like a foggy rainbow u can barely capture in this moment of forgetting its cruel and beautiful dusty little treasure, you were following me until here,
then u gave up the excitement of meeting, witnessing, recognizing and bearing witness
My eyes stopped functioning a while ago
you little bright light Any connection seem obscure unforgiving re-revealing I knew that meeting allowed a scratch in my memories, an entrance, strange realization yes I can allow, not- not to you, to me it is too sudden, uncanny manner of courage off the shore of my capacity u and it resemble what I would never be able to formulate a rest within my breath a beam of stars starting to discover my becoming blind becoming sharp
becoming not u nor I
fundaments, molecules, atoms
naked truth
leading back to my teeth and taste
our first encounter our
--
Around the corner
Around the yard
You were staring I was blinking We thought and reconsidered until we noticed There was no reason there was a thought, projection you may call it understanding, I saw a circle, a hole to pass through, a jar, a yard, two pigeons,
a soup, few trees and a road to climb after the rain, another wash another option surrender suspend suggest me or leave leave behind
--
I open my eyes to see u
I open my eyes to see u there I open my eyes to see u there lying restless
Opening the night with ur song Opening the night with ur taste
--
Our joined attempt
Our wish
Our joined will
to know for once if this why and how collide If my image and ur fantastic story conversate if the making sense captures senseless realisations a breeze of air on that unfamiliar mount of glass of ruins of waste of blinking memories from you to me and onwards from you to me and onwards
--
Land untouched another star
Discovered by discovered for discovered with
uhh it changed before u noticed
Wish u could tell me wish you could language my
Or your or ours or the moment in which
We blinked with our throats with our thoughts without..
--
To each forgiveness, flow and ur momentum
Fragile whisper, north across
The ease of east is tickling
yet
Telling my rumor, hell oh
--
In the box
In a sack
In that sock
We knew better
We thought, we discussed, we maintained until no longer
You jammed, things that start with J, jelatin, jetlag, giraffe, jambo and else
Feeling apart feeling
Elements: * text - mine and maybe mari’s
* DIY made up instrument
* Music + repetition
* Closed eyes
* Map of happenings
* Beginnings and materials and a map Movements on skin like words on paper
Postcards
Closed eyes
Ceiling piece from fabrics
29.2.20
Received on an email from mari-
John Luther Adams Three High Places (in memory of Gordon Wright) (2007) About the music piece-
Gordon Wright was the friend of a lifetime. For thirty years Gordon and I shared our two greatest passions: music and Alaska. Gordon was my musical collaborator, my next-door neighbour, my fellow environmentalist and my camping buddy. These miniatures are musical sketches of three moments and places in our friendship. Like Alaska, Gordon was larger than life. He always lived his own way. And he died just as he would have wanted. We found him lying on the deck of his cabin in the Chugach Mountains, curled up against his favourite birch tree, looking across the waters of Turnagain Arm toward the Resurrection Valley and the tiny settlement of Hope. This music contains no normal stopped tones. All the sounds are produced as natural harmonics or on open strings. There are no harmonics higher than the sixth. So these sounds should be clear and resonant. Even so, balancing the harmonics with the open strings requires careful attention. The durations of the individual pieces are given at the end of each. The total duration of the set is about ten minutes.
durational closed eyes practices
words that interest me to research with mari:
Softness
Caress
Gathering
Spirals
Parallel actions Questions
Diving under the water
Walking on clouds, how clouds move, form and deform
Inventing the future
Writing and drawing and exchanging maps
Happenings
My words (unequal) my actions
Growth of trees
Before walking
Before knowing
Expanding like a balloon and like other things
Wind
Walking backwards
To make exercises in writing on words and what interest us and raise in us
More ways for both of us to play this music; or sounds that comes with it that are between the notes; maybe playing all what we don't hear at first
Tendencies (of movement, of playing)
What makes me happy, excited
Blossoms
Rhythm- how it changes.
Preferred colors
talk with Duli and Mari-
Sea side
Mountains
Fire place
How does one get to make dance
Home slippers
Pillows
Something that is not a dance phrase, is a situation, accurance, set of conditions, temperature, maybe gentle vibration, maybe atmosphere
Starting the two first days in the studio, what a crazy time to create in, yet necessary
The first day was a real tryout of all of the ideas that I had before, hearing the music and trying to make it as a normal planned creation, the second day was a clear restart where we sat on the floor and understood that this specific time demand a different perspective, we need more- concrete material, process based work, environment, assemblage, friction, vibration, messi encounters, and durational states to relate to.
We started by calling it PRACTICE ENVIRONMENT. I wanted to feel that I can write and draw between searching physically, so I made a few drawings and writing portraits.
mari is searching different floor positions to play in, as well as different music pieces
Poetry Is Not a Luxury (1985) Audre Lorde
“Where language does not yet exist...
Poetry... is the skeleton architecture of our lives...
our dreams point the way to freedom. They are made realizable through our poems that give us the strength and courage to see, to feel, to speak, and to dare...
For there are no new ideas. There are only new ways of making them felt, of examining what our ideas really mean (feel like)... while we suffer the old longings, battle the old warnings and fears of being silent and impotent and alone, while tasting our new possibilities and strengths.”
EYES LIGHT SKIN REFLECTION SIGHTS VISIONS IMAGES
The search for paths in which we create light, escape images, position and positioned by more eyes around and on our skin
Friction in order to feel, to rub, to change, to acknowledge
What is our relation
Smirring in and outer space, how? Inhale & exhale tuning- vibration
Ripples, IS THIS PIECE IS FINALLY ABOUT BEING SKINLESS
When looking at each other, opening the eyes- mirroring the movements
Light approach, snoring, playing, making up
Losing the shape
Returning to the materiality
Strange Encounters: Embodied Others in Post-Coloniality - Sarah Ahmed
“The body materialises – takes shape a strange encounters, pages 40, 43-44
My concern with the embodied nature of strange encounters requires that we first ask the question, ‘what is the body?’ I will argue that there is no body as such that is given in the world: bodies materialise in a complex set of temporal and spatial relations to other bodies, including bodies that are recognised as familiar, familial and friendly, and those that are considered Strange. Page 42
Judith Butler’s consideration of ‘bodies that matter’ defines ‘materialisation’, as the production of an ‘effect of boundary, fixity and surface’ (1993: 9). To examine the function of cultural difference and social antagonism in the constitution of bodily matters is not to read differences on the surface of the body (the body as text), but to account for the very effect of the surface, and to account for how bodies come to take certain shapes over others, and in relation to others.
through phantasy (flesh and image are here mutually implicated).
If we address the role of skin in marking out bodily spaces, then we can refuse to accept that the contours or boundaries of bodies are given. A consideration of the subject as ‘skinned’ is not then a question of thinking about bodies as having inherent ends or limits (bodies do not necessarily end at their skins). The skin is not simply invested with meaning as a visual signifier of difference (the skin as coloured, the skin as wrinkled, and so on). It is not simply implicated in the (scopophilic) logic of fetishism where the visual object, the object which can be seen, becomes the scene of the play of differences. The skin is also a border or boundary, supposedly holding or containing the subject within a certain contour, keeping the subject inside, and the other outside; But, as a border or a frame, the skin performs that peculiar destabilising logic, calling Into question the exclusion of the other from the subject and risking the subject’s becoming (or falling into) the other.
Hence, Jean-Luc Nancy discusses the skin as an exposure to the other, as always passing from one to the other (1994: 30). The skin may open out a moment of undecidability which is at once a rupture or breakage, where the subject risks its interiority, where it meets and leaks into the world at large.
...For if the skin is a border, then it is a border that feels. In the work of Jennifer Biddle, for example, the skin, ‘as the outer covering of the material body’, is where the intensity of emotions such as shame are registered (1997: 228). So while the skin appears to be the matter which separates the body, it rather allows us to think of how the materialisation of bodies involves, not containment, but an effective opening out of bodies to other bodies, in the sense that the skin registers how bodies are touched by others.”