Pub Date : 2023-04-03DOI: 10.1080/19443927.2023.2191987
Èmil Haarhoff, Kate Lush
This article sets out to argue that purposefully consenting to touch constructs a metaphorical ‘consent-bubble’ in which only those invited into its parameters (often not including the IC, facilitator or teacher) may engage in touch, considering they comply with its uniquely constructed rules and boundaries. To do so, emphasis is laid on the intricacies, processes and importance of communication and consent within the scope of touch and performing arts training. In addition, it is argued that the lack of such consent results in embodied self-preservation and tension activation strategies that halter effective learning. Finally, practical strategies (from an IC perspective) are devised to construct and maintain the consent-bubble, ensuring that touch can be utilised safely, efficiently and consensually in training.
{"title":"Maintaining the consent-bubble: an intimacy coordinator’s perspective on touch in performance training","authors":"Èmil Haarhoff, Kate Lush","doi":"10.1080/19443927.2023.2191987","DOIUrl":"https://doi.org/10.1080/19443927.2023.2191987","url":null,"abstract":"This article sets out to argue that purposefully consenting to touch constructs a metaphorical ‘consent-bubble’ in which only those invited into its parameters (often not including the IC, facilitator or teacher) may engage in touch, considering they comply with its uniquely constructed rules and boundaries. To do so, emphasis is laid on the intricacies, processes and importance of communication and consent within the scope of touch and performing arts training. In addition, it is argued that the lack of such consent results in embodied self-preservation and tension activation strategies that halter effective learning. Finally, practical strategies (from an IC perspective) are devised to construct and maintain the consent-bubble, ensuring that touch can be utilised safely, efficiently and consensually in training.","PeriodicalId":42843,"journal":{"name":"Theatre Dance and Performance Training","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47719954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/19443927.2023.2189880
Saranya Devan
With the above quote ringing in my mind, I ventured out to work with the children at the Bhai Rambharos Children’s Home at the Aryan Benevolent Home (ABH), in Chatsworth, Durban, South Africa, to conceptualize, produce and direct a play titled The Little Acorns. The play premiered as a Facebook live event on 18 July 2020, declared as Mandela Day in South Africa when the production was staged at the Pattundeen Theatre at the ABH. When working at the Bhai Rambharos Children’s Home at the height of the COVID-19 pandemic from April–July 2020, I was aware that 96 destitute children ranging in age from 3 to 18 years were being cared for at the welfare facility. South Africa was under a strict government-imposed Level 5 lockdown and the children who were being taken care of by the welfare workers and house mothers would not be able to receive visitors or leave the premises. Touch starvation was a consequence of COVID-19's physical distancing. The pandemic took away the human touch. Handshakes were abruptly stopped and replaced by the rubbing of elbows. Every form of human touch triggered suspicion. I chose to work in the space knowing that the children were going through a lot more stress and trauma due to the pandemic and that they needed something to distract them. Having previously worked with the children for few weeks using applied theatre and dance techniques, I decided to work on a play– and thus the seed for The Little Acorns was planted. It was my intention to showcase the immense talent that we have among children who may not have been blessed with social and material privileges. The Little Acorns was to be a theatre production that traces the life of Nelson Mandela, from a village herd boy, to a Robben Island prisoner and eventually to becoming the first president of democratic South Africa.
{"title":"The Little Acorns – it was a touch and go experience","authors":"Saranya Devan","doi":"10.1080/19443927.2023.2189880","DOIUrl":"https://doi.org/10.1080/19443927.2023.2189880","url":null,"abstract":"With the above quote ringing in my mind, I ventured out to work with the children at the Bhai Rambharos Children’s Home at the Aryan Benevolent Home (ABH), in Chatsworth, Durban, South Africa, to conceptualize, produce and direct a play titled The Little Acorns. The play premiered as a Facebook live event on 18 July 2020, declared as Mandela Day in South Africa when the production was staged at the Pattundeen Theatre at the ABH. When working at the Bhai Rambharos Children’s Home at the height of the COVID-19 pandemic from April–July 2020, I was aware that 96 destitute children ranging in age from 3 to 18 years were being cared for at the welfare facility. South Africa was under a strict government-imposed Level 5 lockdown and the children who were being taken care of by the welfare workers and house mothers would not be able to receive visitors or leave the premises. Touch starvation was a consequence of COVID-19's physical distancing. The pandemic took away the human touch. Handshakes were abruptly stopped and replaced by the rubbing of elbows. Every form of human touch triggered suspicion. I chose to work in the space knowing that the children were going through a lot more stress and trauma due to the pandemic and that they needed something to distract them. Having previously worked with the children for few weeks using applied theatre and dance techniques, I decided to work on a play– and thus the seed for The Little Acorns was planted. It was my intention to showcase the immense talent that we have among children who may not have been blessed with social and material privileges. The Little Acorns was to be a theatre production that traces the life of Nelson Mandela, from a village herd boy, to a Robben Island prisoner and eventually to becoming the first president of democratic South Africa.","PeriodicalId":42843,"journal":{"name":"Theatre Dance and Performance Training","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49255892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/19443927.2023.2189879
Gayatri Aich
The queer body in its everyday performativity challenges the notions of the ‘normative everyday’. The intersection of race, gender, and sexuality as reflected upon within the spaces for rehearsals of the works of Toronto-based queer indigenous interdisciplinary artist Aria Evans speaks of identities and human relationships that defy the definition of the ‘normative’. heart2heart is a documentary archive of the work’s creative process that was halted due to the global pandemic. In the process that spanned over two years amidst the Covid-19 pandemic, the chosen applicants communicated through the medium of verbal and movement based expression to create art. The movements portrayed in its archive represent a sense of belonging, reflect upon how the lack of touch due to the pandemic has affected the mental health of the artists within the frames. The location of The Ladder Project is significant of the coming out of cramped rectangular boxes of digital screens, and of experimenting with how the human body moves on getting an opportunity to get out of a forced confinement and sensing the presence of touch after a prolonged lack of it. The word ‘isolation’ is important to understand how a dancer or a movement artist uses different parts of their bodies one at a time to reflect upon a varied range of emotions, both within a confined virtual space and a free wide physical natural landscape. The notion of ‘restricted’ or ‘closeted’ spaces frequently comes to our minds when we try to define queer spaces. Since the outbreak of the Covid-19 coronavirus pandemic, our understanding of ‘restricted’ or ‘closeted’ spaces has shifted. Queering the mundane happens
{"title":"Queer performance in times of the pandemic: movement, identity, and hope in heart2heart and The Ladder Project","authors":"Gayatri Aich","doi":"10.1080/19443927.2023.2189879","DOIUrl":"https://doi.org/10.1080/19443927.2023.2189879","url":null,"abstract":"The queer body in its everyday performativity challenges the notions of the ‘normative everyday’. The intersection of race, gender, and sexuality as reflected upon within the spaces for rehearsals of the works of Toronto-based queer indigenous interdisciplinary artist Aria Evans speaks of identities and human relationships that defy the definition of the ‘normative’. heart2heart is a documentary archive of the work’s creative process that was halted due to the global pandemic. In the process that spanned over two years amidst the Covid-19 pandemic, the chosen applicants communicated through the medium of verbal and movement based expression to create art. The movements portrayed in its archive represent a sense of belonging, reflect upon how the lack of touch due to the pandemic has affected the mental health of the artists within the frames. The location of The Ladder Project is significant of the coming out of cramped rectangular boxes of digital screens, and of experimenting with how the human body moves on getting an opportunity to get out of a forced confinement and sensing the presence of touch after a prolonged lack of it. The word ‘isolation’ is important to understand how a dancer or a movement artist uses different parts of their bodies one at a time to reflect upon a varied range of emotions, both within a confined virtual space and a free wide physical natural landscape. The notion of ‘restricted’ or ‘closeted’ spaces frequently comes to our minds when we try to define queer spaces. Since the outbreak of the Covid-19 coronavirus pandemic, our understanding of ‘restricted’ or ‘closeted’ spaces has shifted. Queering the mundane happens","PeriodicalId":42843,"journal":{"name":"Theatre Dance and Performance Training","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44797727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/19443927.2023.2189883
Elvira Crois
Scenario one: The audience experiences choreography by watching. Touch is performed at the audience. Dancers touch their own bodies the bodies of fellow dancers the audience’s inner world via visual reception. Scenario two: The audience experiences choreography by moving their own body. Touch is performed with the audience. Dancers touch their own bodies the bodies of fellow dancers the audience’s inner world via physical proximity.
{"title":"A repertoire of touch in participatory choreography","authors":"Elvira Crois","doi":"10.1080/19443927.2023.2189883","DOIUrl":"https://doi.org/10.1080/19443927.2023.2189883","url":null,"abstract":"Scenario one: The audience experiences choreography by watching. Touch is performed at the audience. Dancers touch their own bodies the bodies of fellow dancers the audience’s inner world via visual reception. Scenario two: The audience experiences choreography by moving their own body. Touch is performed with the audience. Dancers touch their own bodies the bodies of fellow dancers the audience’s inner world via physical proximity.","PeriodicalId":42843,"journal":{"name":"Theatre Dance and Performance Training","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47419740","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/19443927.2023.2187873
Kristina Johnstone
This article critically reflects on the facilitation of embodied practice in virtual spaces of teaching, learning and creation, specifically looking at ways of facilitating touch within the broader context of decolonising dance and movement practices in South Africa. When working without the touch of another (human)being, I explore how the affordances of environment and surfaces can offer a feedback loop for the sounding body in motion. The article draws from experiences of facilitating movement and physical theatre courses at the University of Pretoria to suggest how touch may become an embodied technique that structures practice in spaces of isolation and inertia and in times where notions of continuity and discontinuity are ruptured. I explore how walls, surfaces and objects become secondary affordances that offer an external force onto the body through tactility. Reading discourses of embodiment and decoloniality through one another, I further argue that using touch to re-initiate motion offers political possibilities to exercise the leap from inertia to activation, and trouble the colonially formed category of human.
{"title":"Touch as a feedback loop: exercising the leap from inertia to activation","authors":"Kristina Johnstone","doi":"10.1080/19443927.2023.2187873","DOIUrl":"https://doi.org/10.1080/19443927.2023.2187873","url":null,"abstract":"This article critically reflects on the facilitation of embodied practice in virtual spaces of teaching, learning and creation, specifically looking at ways of facilitating touch within the broader context of decolonising dance and movement practices in South Africa. When working without the touch of another (human)being, I explore how the affordances of environment and surfaces can offer a feedback loop for the sounding body in motion. The article draws from experiences of facilitating movement and physical theatre courses at the University of Pretoria to suggest how touch may become an embodied technique that structures practice in spaces of isolation and inertia and in times where notions of continuity and discontinuity are ruptured. I explore how walls, surfaces and objects become secondary affordances that offer an external force onto the body through tactility. Reading discourses of embodiment and decoloniality through one another, I further argue that using touch to re-initiate motion offers political possibilities to exercise the leap from inertia to activation, and trouble the colonially formed category of human.","PeriodicalId":42843,"journal":{"name":"Theatre Dance and Performance Training","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41948382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/19443927.2023.2189877
Carla Trim-Vamben, J. Read
{"title":"What a touchy subject! Discussions, reflections and thoughts about touch on the UEL BA (Hons) Dance: Urban Practice course","authors":"Carla Trim-Vamben, J. Read","doi":"10.1080/19443927.2023.2189877","DOIUrl":"https://doi.org/10.1080/19443927.2023.2189877","url":null,"abstract":"","PeriodicalId":42843,"journal":{"name":"Theatre Dance and Performance Training","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45475183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/19443927.2023.2189882
M. Sarco-Thomas
{"title":"Our contact improvisation partners during lockdown for dancers in training","authors":"M. Sarco-Thomas","doi":"10.1080/19443927.2023.2189882","DOIUrl":"https://doi.org/10.1080/19443927.2023.2189882","url":null,"abstract":"","PeriodicalId":42843,"journal":{"name":"Theatre Dance and Performance Training","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42929193","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/19443927.2023.2189874
Lu Wang
Perhaps: “In museums, the touching of objects is not a traditional form of interaction”. Similarly, audience cannot touch performers but they communicate through invisible rays of linking by what Constantin Stanislavski called ‘irradiation’. In this sense, touch is not only about being physically connected but more about building up inner communication with empathy. Inspired by this, we innovatively used theatre as a method to explore museums. One method is to ask participants to create a tableau of what they have seen in paintings, and then make a story based on it and perform it. Through this experience, participants can not touch the Theatre training for teachers at JiaDing Musuem, Shanghai, 18/06/2021. Photo Credit: Stella Wang.
{"title":"Theatre in museums: ‘touch it without a touch’","authors":"Lu Wang","doi":"10.1080/19443927.2023.2189874","DOIUrl":"https://doi.org/10.1080/19443927.2023.2189874","url":null,"abstract":"Perhaps: “In museums, the touching of objects is not a traditional form of interaction”. Similarly, audience cannot touch performers but they communicate through invisible rays of linking by what Constantin Stanislavski called ‘irradiation’. In this sense, touch is not only about being physically connected but more about building up inner communication with empathy. Inspired by this, we innovatively used theatre as a method to explore museums. One method is to ask participants to create a tableau of what they have seen in paintings, and then make a story based on it and perform it. Through this experience, participants can not touch the Theatre training for teachers at JiaDing Musuem, Shanghai, 18/06/2021. Photo Credit: Stella Wang.","PeriodicalId":42843,"journal":{"name":"Theatre Dance and Performance Training","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49631864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/19443927.2023.2184855
M. Coetzee, Kaitlin Groves
Our personal experiences as women working in the performing arts and entertainment sector indicate to us that there is a need for actron-training that includes articulated pedagogical framework and methodological approaches that engage with the performance of intimate content and professional touch. Women’s behaviour and communicative acts are often gendered through socialisation and gender hegemony that at times, are covertly upheld by the culture of a work context. Gender hegemony and perceptions about gender uphold and legitimize practices that do harm, impacting women’s physical, mental and emotional safety. For women actrons, this is exacerbated by expectations of what they should consent to in service of their work, including touch and intimacy. We argue that using a feminist ethic of care as pedagogical framework together with intimacy coordination as resonant methodological approach might offer an approach to actron-training that might further women actrons’ agency in giving meaningful consent with regards to professional touch, whist cultivating a broader imperative of care.
{"title":"Touch and consent: towards an ethics of care in intimate performance","authors":"M. Coetzee, Kaitlin Groves","doi":"10.1080/19443927.2023.2184855","DOIUrl":"https://doi.org/10.1080/19443927.2023.2184855","url":null,"abstract":"Our personal experiences as women working in the performing arts and entertainment sector indicate to us that there is a need for actron-training that includes articulated pedagogical framework and methodological approaches that engage with the performance of intimate content and professional touch. Women’s behaviour and communicative acts are often gendered through socialisation and gender hegemony that at times, are covertly upheld by the culture of a work context. Gender hegemony and perceptions about gender uphold and legitimize practices that do harm, impacting women’s physical, mental and emotional safety. For women actrons, this is exacerbated by expectations of what they should consent to in service of their work, including touch and intimacy. We argue that using a feminist ethic of care as pedagogical framework together with intimacy coordination as resonant methodological approach might offer an approach to actron-training that might further women actrons’ agency in giving meaningful consent with regards to professional touch, whist cultivating a broader imperative of care.","PeriodicalId":42843,"journal":{"name":"Theatre Dance and Performance Training","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49226873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/19443927.2023.2184854
Juliet Chambers-Coe
This article explores the practice of Rudolf Laban’s Flow Effort as a form of touch which is perceived in the energetic, subtle body of the mover. Central to the discussion is a series of reflections on studio practices undertaken during the Covid-19 pandemic, in Laban for Actors classes, at Rose Bruford College in 2020. In these sessions students and teachers returned to studios wearing masks and maintained a two-meter distance: through studio practice we considered energetic touch without physical touch. In this article, I explore how Flow Effort can be perceived as vibration in the subtle somatic body of the mover, and how the interplay of intensive-extensive vibrational rhythms in body movement may constitute a kind of energetic touch. This field of ‘energetic touch’ radiates from the mover and is emphatically relational reflecting Laban’s perception of touch as not simply proximal contact between people or things but as deeply regenerative and socially significant.
{"title":"Exploring Rudolf Laban’s flow effort: new parameters of touch","authors":"Juliet Chambers-Coe","doi":"10.1080/19443927.2023.2184854","DOIUrl":"https://doi.org/10.1080/19443927.2023.2184854","url":null,"abstract":"This article explores the practice of Rudolf Laban’s Flow Effort as a form of touch which is perceived in the energetic, subtle body of the mover. Central to the discussion is a series of reflections on studio practices undertaken during the Covid-19 pandemic, in Laban for Actors classes, at Rose Bruford College in 2020. In these sessions students and teachers returned to studios wearing masks and maintained a two-meter distance: through studio practice we considered energetic touch without physical touch. In this article, I explore how Flow Effort can be perceived as vibration in the subtle somatic body of the mover, and how the interplay of intensive-extensive vibrational rhythms in body movement may constitute a kind of energetic touch. This field of ‘energetic touch’ radiates from the mover and is emphatically relational reflecting Laban’s perception of touch as not simply proximal contact between people or things but as deeply regenerative and socially significant.","PeriodicalId":42843,"journal":{"name":"Theatre Dance and Performance Training","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44742637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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