Articulating Disorientation – A Workshop (Improvisation/Exploration) by Jeremy Wadeon Dec 30 in Community Partner Program, KUNST STOFF Arts Building Consortia, Slider, Slides, Special Presentation, WORKSHOP by admin
Mon-Fri January 28th- February 1st – 10am-1pm and 2pm-4pm $225.
It is preferred that folks to sign up for the entire workshop as information is absolutely accumulative. Please Contact Kunst-Stoff to Register! Email Kunst-Stoff Staff .
If questions about the workshop send Jeremy an Jeremy Wade’s website.. For more information visit
About the Workshop: Articulating Disorientation.
“Articulating Disorientation” is a workshop that investigates the performative paradox of simultaneous abandon and command. We navigate multiple means to surrender control of the physical, emotional and behavioral body while scanning, directing and further deconstructing our experience. The day will consist of a three-hour morning warm up, lunch break and then a two-hour afternoon session.
Morning Session – Scanning – We start this process with a thorough warm up of Yoga or Pilates to stretch and strengthen our bodies. We then delve into experiential anatomy work based on Ideokinesis. I will break out lots of anatomical images and we can visualize these parts and most interestingly, their directions, with a combo of hands on work and guided movement explorations. Then I like to lead the group through a series of somatic visualizations using gentle verbal cues and inspiring music. The visualizations can be esoteric, psychedelic, punk rock, ridiculous and even Sci Fi in nature. The intent of this hypnotic practice is to cultivate our awareness and conscious participation with the holographic body by actively scanning through multiple points and groups of points as we move. While guiding the group through their anatomy I begin to introduce a sensual and shifting pallet of imagined environments. The combination of inspiring music, gentle suggestive verbal cues and working with eyes closed serves as a generative framework for a very nice and sweaty trip!!
Afternoon Session – Impulse – We continue the second part of “Articulating Disorientation” by practicing and eventually deconstructing a classic form of somatic exploration called Authentic Movement. Authentic Movement is a reflexive partnership in which one person moves with their eyes closed and the other person serves as the witness for the mover. The sessions are always timed evolving by increments of five minutes all the way up to one-hour. Partners give constructive and always supportive feedback to one another following each session. The primary focus of the form is to listen for and identify ones inner impulse and move as specifically as possible from one impulse to the next to the next. I will continually ask the group, “If you loose track of the impulse please stop and wait until the next impulse arrives.” Thus the work centers heavily on the subjective question of “What is an impulse?” Once we become more comfortable with what an impulse is for us, we begin to pass these core impulses through a highly structured maze of deconstructive filters. We begin to take ourselves apart impulse by impulse.
The goal of “Articulating Disorientation” as a whole is to practice navigating and simultaneously rewriting our habits/techniques in order to get a glimpse of becoming other. We look at performing otherness as a way to sublimate our habitual intention and access a kind of queer phenomenology. The sensation of otherness is an overture for a performer, as well as any trained technician, since discipline often renders the body over coded with patterns and habits. The feeling of otherness opens up new thresholds and strange terrains of sense. This process of mining foreign sensation is generative and this can reciprocate deliciously precarious responses. We construct queer impossible scores for our selves that bring us closer to strange and allow us to grapple with impossible/untenable space. Finally when articulating the realms of disorientation we are forced to address a classic performative paradox. Is it possible for a trained performer who is taught a virtuosic means of physical control, to actually surrender and perform failure on stage? The ways in which to engage this alluring paradox are endless. I believe that the sublime states found through the practice of deconstructive somatic’s offer perspective towards presence that few other artistic fields can touch upon. “Let’s go further still, we haven’t found our Body without Organs yet, we haven’t sufficiently dismantled our self.” Gilles Deleuze.