The Box of Charity

Author(s):

Gabriela Barros(presenting / submitting)David Ramalho(presenting)Cristina Mendanha(presenting)

Conference:

ECER 2015

Network:

29. Research on Arts Education

Format:

Research Workshop

Session Information

29 SES 09 B, The Box of Charity

Research Workshop

Time:

2015-09-10

11:00-12:30

Room:

326.Oktatóterem [C]

Chair:

Gabriela Barros

Contribution

The Box of Charity is a workshop focused on writting and movement in the context of improvisation.
It is a textual event but also a gear mechanism of apparently non-related characteristics that give birth to arbitrary connections. It’s also a textual experiment in which overlapping becomes a mechanism that produces it’s own connections. The mechanism that emerged from this experience drew unexpected directions and surprising sensations.
The workshop offers a possibility to work in a group led by three artists who, have reached a similar point in their research and practices. Their collective disciplines include: dance, contemporary performance, improvisation, installation, and music.

Method

The workshop is like a map. It shows us important places that we should visit. But it also shows the corner where we find what changed our life. And everything only lasts for sometime. It starts then it ends. The head quickly tears the space. we’ll try to match him a body. we’ll force the body to be fast. And to write. Then we’ll gather all the writings. we’ll select, cut and put back together. we’ll set up a new map. we’ll repeat roads. we’ll repeat lots of times. we’ll sit and we’ll rest. we’ll talk about what has happened to us. we’ll write down the differences and get back to work. The work proposal consisted on the construction of a choreographical interpretation of writing invisibilities and its transcreation to the space, using writing as a creation tool. During the workshop process, the main focus will be choreography, body and writing. Having as a starting point the workshop-based and craftmanship method developed by the sociologist Richard Sennett (2008), as a manner of incubating ideas, we will guid questions related to space, having in view the use of a box- and its shift to artistic intervention areas. To build skills of assessment, both internal and external, participants will alternate between doing and watching/listening. (Please wear comfortable clothes and bring a pen and a book for notes.)

Expected Outcomes

What would happen if you practiced improvisation and carried out the consequences of the practice in all your thoughts and actions through dance? Would your view of the creative process change? What about your perspective in writting process? In this project we tried to describe the results of a dialectic between body and words and pointed out the ways of answers to our initial questions. The body is able to capture the complex network of relationships in the here and the now of performance and to respond to it due to kinesthetic empathy. It is that empathy, that body experience that is required for the radical immediacy of improvisational expression. Set a writing process based on the practice of choreographed bodies and, thus, the body is assumed as writing space. The goal of the workshop is to experiment, and to cultivate material which extends each participant's solo and collaborative performance palette. The aim is to bring the dancer to become more aware of his/her own body lightness, power and creativity.

References

Adorno, T.W. (1958). O ensaio como forma, in Notas de Leitura I. (pp. 15-45). Livraria Duas Cidades, Editora 34. Bakhtin, M. M. (2006). (Volochinov). Marxismo e filosofia da linguagem. (M. Lahud & Y. F. Vieira, Trans.). (12th ed.). São Paulo: Hucitec. (Original work published 1929) Damásio, A. (2010). O livro da consciência- a construção do cérebro consciente. (L. O. Santos, Trans.). (1st ed.). Círculo de Leitores: Temas e Debates.Deleuze, G. (2000) Diferença e Repetição. Relógio D'Água Editores. (Original work published 1968)Deleuze, G. (1987). O Acto de Criação. (J. M. Macedo, Trans.). In Folha de São Paulo, 27/06/1999. Acedido 13 Julho, 2013, em http://historiacultural.mpbnet.com.br/pos-modernismo/Rizoma Deleuze_Guattari.pdf Dunn, Judith (1974) We don't talk about it, we engage in it, Eddy, no.2 (1974) pp. 10-14. Foucault, M. (1967). De Outros Espaços. (Conferência proferida por Michel Foucault no Cercle d'Études Architecturales, em 14 de Março de 1967). (P. Moura, Trans.). Retrieved from http://www.virose.pt/vector/periferia/foucault_pt.htmlGil, J. ( 2001). Movimento total – O Corpo e a Dança. (M. S. Pereira, Trans.). Lisboa: Relógio D’Água Editores. Larrosa, J. (2003) O Ensaio e a Escrita Académica , in revista Educação e Realidade, Jul/dez 2003, 28 (2), pp. 101-115. Pipher, M. (2002) Writing to Change the World. New York: Riverhead, 2007. Schon, D.A. (1983) The Reflective Practitioner: How Professionals Think in Action. United States of America: Basic Books. Sennett R. (2008). The Craftman. London: Penguin Books

Author Information

Gabriela Barros (presenting / submitting)

Arte Total

Braga

David Ramalho (presenting)

Arte Total Portugal

Braga

Cristina Mendanha (presenting)

i2ADS, Faculdade de Belas Artes da Universidade do Porto, Portugal

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