Call for Papers: In his life and art of nothing ...
The workshop I am proposing is to open new areas of listening, observation, exploration and creativity. The area of the body is a space of imagination, and we seek to explore larger spaces, the space of movement that expands the space of expression and freedom, space, fun and the meeting, my goal is to aestheticize and everyday life by showing how everything is dancing for who knows how to see ...
This workshop is therefore to question the relationship between art and education. Where? What sign?
Will I propose a dance workshop and a workshop on education?
I would question the relationship between the practice we'll experiment and educational issues that it raises, and from this experience explore some basic questions:
Dance is what? It starts where?
what is it for education?
The dance begins with movement with the awareness that the act may be moved by this very conscience, for some work on the gesture that he seeks and becomes movement, "Less gesture more movement, "said Ingeborg Liptay, dancer and German choreographer with whom I dance for 10 years.
I said right away that I'll work on issues of contemporary dance, not ballet that is based on a certain academic forms, some very coded language and some classical conception of "the beauty "movement, it seems that contemporary art has this specific it reopens questions about art: where it starts, which specifies what?
In "Poetics of the Contemporary Dance" (quadrille editions, 1997) Laurence Louppe
explains how the emergence of contemporary dance was born of a movement of rupture and inversion techniques of perspective with "hard": higher and higher, louder, and how she came to evacuate the pure look spectacular to open questions fundamental awareness of the subject in the world: the dance becomes an existential quest, "a bottomless desire" as Nietzsche says.
For me dancing is a search, it's a dynamic that is going to be either to manufacture but to seek the state of motion at the close of intimate body is some form of presence acuity and extreme sensitivity is sought.
Contemporary dance adheres to certain core values: the exploration of a singular movement, single, never created, it looks spontaneous, vital, and not to be, the personal and the pulse vital, especially to the exploration of the world, the concept of a "back-world" (Nietzsche), the codes explored to date: the purity of form and privilege image (more posture "correct" image or "correctly" with the work in front of the mirror) is cleared to make way for the personal search of a dance that involves sensations, the center of the body is valued as a home, as an engine to the quick of the living, contact with his back and his feet is important, the bias of silence, the awareness of breath and breathing, rhythm, spacious, the sense of weight, the heaviness of the ground (instead of soaring into the starry skies thanks to spikes in classical dance. "The gravity of the world sees you travel, it is a joy," said Ingeborg )) are explored constantly ...
body reinvents itself, it is to discover, invent, "the body schema is beyond the power of direct and deadly scopic cues" (L. Louppe "p.64), the whole body is engaged in a reversal of values, an abandonment of self-empowerment, or it is less about control than being attentive to what comes, becomes , occurs, occurs in a dance experience. It is "open the floodgates" to explore new states of the body, its anatomy revisit, change the point of view, open field of possibilities.
values flexibility in trade, listening, observation is reopened, we use the Kaïro s when he passes, he better not wait for it to pass something, you coward his usual head to feel deeply the emotions that run through us, we open ourselves to new, towards plural identities, diverse, more calm, peaceful, what is valued is the dialogue with oneself and with others, the availability at the discovery and the acuteness sensitive. One emerges from performance art to go to a questioning of its presence.
"Dancing is a state of being. "Ingeborg says. A certain self-consciousness that lets go, let out a certain state of inner turmoil to explore the new in itself.
This drop some tensions, and especially certain habits "you t'enroules in habits like a spider's web" Ingeborg says.
This is to undo, remove everything that was taught to be open to something new. At the same time fingerprints, traces the personal stories will give body to the movement, will allow better living (in the sense of Heidegger)
What is sought is the abundant wealth of sensory experiences and the enrichment of the experience seems to be about an education when one considers that we explore here all the potential of a and we're looking person with it new ways of life. This is done through the highlighting of all that seems trivial or can not even aware the usual, small, the latent, the imperceptible are highlighted. Everything that the body is not about evidence or habit is explored.
I will begin the workshop by working on the observation, to learn to sharpen your senses and open the field of perceptions. "Watching it begin to dance" said choreographer Teshigawara that I love.
I will propose a gesture, and I will try to do movement, I ask participants if they see the difference between the 2! ("Work your Drive, the arm he has a great destination" here does not matter what you do, but how do you "do not you stay on a mechanism, put your soul in there "" you do not, you experience something "" you must go to the pleintitude "said Ingeborg)
Then we will try to expand our movements through certain techniques (in particular, Feldenkrais) to explore the powers of the body and wonder at its deployment and its changes potential.
Then I will send participants to stroll, gather and pick up in everyday actions of people walking out on the premises of EFPP, and they will bring these things they have noted to try to make movements in a small personal choreography. It will then try to crawl but really, let him come, laissre happen, what has emerged moving, to open, polysemic, in the interstices, in these fragments identified in the world. We'll see how "the slightest gesture" can become movement, how we look also shapes the quality of what we perceive as "Beautiful" or rather moving, and it seems that the educational work every day gives us the opportunity to showcase the same way as in people in difficulty may appear as a "failure" to make a quality personal, unique beauty, a quality of being!
Sometimes the stress that will allow the exploration of new paths; instructions incongruous can open amazing research (eg / explore what you can discover with your elbow, or paste your forearms and see how you can dance together ...)
This workshop is conceived as a project, a workshop where we will find, where the process is more important than the result, the work in progress interests us ...
We finally try to enjoy what can be shared with others in the momentum of what comes in the meeting, reports of bodies, body moments can arise by random processes that use the body as Unscheduled partition arises in another unexpected state through gradual relaxation of control, he lets himself take through the game and appears full of murmurs, elk unpublished.
I will move the participants with a drawing of Adam Nidzgorski representing a flying bird to the left and that reminds me of another great formula Ingeborg "be like birds in a single airstream"
I like the idea that dance brings us to education, against the current of air!
Patricia Vallet, instructor in social work, IWH Montpellier Lecturer in Science Education, University Paul-Valéry Montpellier 3; CERFEE researcher, host team LIRDEF 3749.
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