Attending to Movement: Somatic Perspectives on Living in this World by Sarah Whatley Natalie Garrett Brown Kirsty Alexander
Author:Sarah Whatley, Natalie Garrett Brown, Kirsty Alexander
Language: fra
Format: epub
Tags: PER003000
Publisher: Triarchy Press
Published: 2015-05-04T16:00:00+00:00
Fig. 1: ‘Pointy Hats’ worn by Kate Pyper, Carolina Rieckhof, Shantala Melody Sacco, and Rachel Gildea. Still from You’re Not Supposed To Be Here 2, filmed and edited by Sergio M. Villar, directed by Sally E. Dean, with idea and concept in collaboration with Sandra Arróniz Lacunza and Carolina Rieckhof.
Over the past three years, the Somatic Movement and Costume Project has included a series of workshops, performances, lecture/demonstrations, a film and published articles. Twelve prototype costumes were created and performances have often been site-specific with the audience becoming active participants through wearing the costumes themselves.
Significance of the Research
Although costume has been incorporated in performance for centuries, this research argues for a critical social-cultural ‘paradigm shift’: the aesthetic and movement of the performance work comes from the somatic experiences (haptic and sensorial) of the costume, rather than the costumes being designed to enhance an aesthetic already established in advance. The visually dominated performance approach to costume is replaced by an experience of costume as a multi-sensorial experience. My research aims to shift Western ocular-centrism and re-balance our ‘sensorial hierarchy’ (Classen 1993) by starting with the multi-sensorial experiences and the haptic sense – the experience that the costume generates while wearing it. In doing so, I aim to shift the value of costume beyond the ‘aesthetic’ to utilise its resource for body-mind awareness and social-cultural understanding – reprogramming our body schema5 and body image6. Somatic costumes have the potential to change our relationships to ourselves, others and to the world around us – our environment.
Costume has been underutilised as a resource for somatic practices, performance making, performance training, fashion and therapeutic/health research. My research aims to create bridges and new knowledge in all of these fields. I aim to create new methodological approaches for somatic movement education and performance making; to shed new light on socio-culturally informed psycho-physical habits; and to offer new ways of moving, being and performing.
Somatic Movement and Costume Project: Background
The initial impetus for this project came from my experience of living in Java in 2007-08, practising Amerta Movement and witnessing and learning traditional Javanese dance forms. I noticed a quality of ‘containment’ in the movement of many Javanese people, both in daily life and in dancing and performing, which I could clearly see and sense, but found I was unable to embody for myself – until I tried on the traditional Javanese dance costume. The costume itself created a kinaesthetic experience of ‘containment’ in the mid to lower body: a kain, a long cloth tightly wrapped around the lower body, held in place by a stagen, a cloth wrapped around the lower half of the torso. The costume helped me to find an experiential understanding of the feeling state of ‘containment’ inherent in the movement I was seeing around me (Dean 2011).
Suprapto also uses the term ‘Clothing’ as part of his movement practice – as both a functional and symbolic element in his work. This planted seeds, in my own practice, of how one’s clothing affects one’s movement.
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