The role of touch in the participatory sense-making process of both play and dance improvisation
Workshop by Carolien Hermans
March 2019, Chester University, Dance Department
Participants: Hannah Kelly, Malaika Sarco-Thomas, Richard Sarco-Thomas, Ha Young, Eva Bru, Pierre Alexandre Bouvery, Annika Lübbert, Sean Fitton, Sofie Hub, Bettina Carpi
This project is part of an artistic research that explores the relationship between (group) dance improvisation and the aesthetics of play through an embodied analysis of De Jaegher’s and Di Paoli’s concept of participatory sense-making (2007). In this project we explore the notion of touch and its constitutive role in the participatory sense-making process of dance improvisation.
Starting point are concepts uch as the touch field, intercorporality, co-agency and Paxton’s third entity (in Pallant, 2006), also referred to as the rolling point of contact between two or more movers(Dey and Sarco-Thomas, 2014). The third space in contact improvisation is a space where materiality is contested. It is a place of negotiation, in which selfness and otherness are explored through the sharing of weight, energy, strength and balance. The third space is a zone of proximity, a moving point of contact, a vitalizing site.
In this project we intermingle the dancing, with the writing and reflecting. There are two stages: First, we explore the notion of touch individually by making contact with the floor, the walls, ceilings and other things or materials that can be found in the studio. Then we work in small groups and shift to the notion of touch as a form of intercorporality (Fuchs, 2016) and co-agency.
- Be aware of the micro adjustments in the touching.
- Stick to one touch, repeat it, over and again and find something new in the repetition.
- Absorb proximity. Take it in, spit it out.
- Shift from a continuous touch to a sudden or unexpected touch. And the other way around.
- How much weight can you take in?
- What is a fugitive touch?
- Shift from local to global touch, and from global to local touch.
- Can you be in a tactile nowhere? Try it.
- How does touch travel through you?
- How many layers or textures can you distinguish in the touch?
- Return together to the first touch. And the second touch. Revisit it.
- Use the river as a metaphor for touch. Remember: you never step in the same river twice.
- Find gaps and holes in the bodies or in the space. Fill it with touch.
- Touch without touching.
- Decompose the touch: bring it back to its essence or to its most basic ‘form’.
- Shift awareness from surface to depth in the touching (and the other way around).
- Sense the elasticity of the touch.
- What is the absolute minimum of touch (where you can hardly sense it anymore)?
- What is the absolute maximum of touch (where you can hardly sense it anymore or take in)?
- Draw the contours of touch. Stay vague.
- Give the floor a big hug. Alone.
- Try to touch as much of the floor as possible. Cover the floor with your touch. Work together. Do it systematically: start from the left corner behind and end up in the right corner in the front.
- Make a pile of bodies. Move into a pile and move out it again. Repeat.
- Work together in a whole group. Bring one person to the other side without him/her touching the floor. No-one is allowed to stand on his feet.
- Pushing and pulling game: wrestle with another partner.
- Whisper-game: some-one starts with a touch, and hands it over to the person next to him, who hands it over to the person next to him/her – so that a chain of touch starts to evolve. In a circle or a line.
- In-between the other scores: Try to touch some-one without the person noticing it.
- Return tot the floor. Alone. Let the floor hug you.
Also read:Traces of touch
Solo: Stem (1999)
Choreography and performance: Carolien Hermans
Photography: Jo Grabowski
Go Solo festival, Amsterdam; Internationales Solo Tanz Theater Festival Stuttgart
Warner & Consorten (1996-2001)
Photography: Peer Reede
Touring in Europe (Denmark, England, France, Spain, The Netherlands) and South America (Colombia)
Plastic Torso and Artificial Limb Project (2002)
Choreography: Carolien Hermans
Dancers: Ailed Izurieta, Jane van Fraasen. Stefania Ammirata and Nicola Hepp
International Dance Festival, Caracas, Venezuela, July 2002
Photography: Martijn Gallenkamp
Photography: Miguel Gracia
Choreography: Carolien Hermans
Dancers: Ailed Izurieta, Manuel Perez
International Dance Festival, Terpsichore, Belgium
Concours Chorégraphique, Sense, France
Festival voor Nieuwe Dans, Provadja, Alkmaar, The Netherlands
International Dance Festival, Caracas, Venezuela
Photography: Miguel Gracia
Photography: Claus Langer
Traces of Touch 1
In this experiment I try to capture traces of touch; how the fingers knead the clay, how they press themselves into matter. As Sarah Christie (a sculptural artist) writes: ‘to explore the traces and expressions of touch, recording and materializing imprints and passages formed by touch in movement'( http://www.sarahchristie.net/touch-skin-movement-expression/).
‘To touch is to ‘encounter a surface, a contour. To touch is to feel the perceived limits of my contours, my surfaces, my body in relation to yours. To touch is to expand these contours, creating new perimeters’ (Manning, 2007, p.13).
‘Touch is a relational movement that includes both ‘potential and actual physical points of contacts’ (Manning, in Pethybridge, 2014, p.183).
‘Touch is not graspable as a stable concept. The only thing we can grasp, momentarily, are touch’s inventions’ (Manning, 2007, p.xiv).
Lisa Scheers and Lotte van der Valk, playing with clay, 9th of February 2019, Amsterdam
I am playing with clay, 12th of February 2019, Amsterdam
7th of February 2019, The Hague, The Netherlands
Thousands of kids and teenagers in the Netherlands skipped school on Thursday to protest in The Hague for more action to be taken against climate change. They carried banners and signs with slogans like “If the climate were a bank, it would already have been saved”.
The kids and teenagers marched from the Malieveld, through the Mauritskade and back to the field. The police estimate that between four and five thousand young people participated. According to organizer Youth For Climate, around 8 thousand pupils took part in the demonstration.
Also Lisa took part in the protest:
Saturday 26th of January 2019, Amsterdam
Indoor Hockey: Hurley, boys B5, Luuk Scheers and team
The hockey stick
In hockey, the stick becomes an extension of the self. The stick has “ceased to be an object for the player, and is no longer perceived for itself; its point has become an area of sensitivity, extending the scope and active radius of touch” (Merleau-Ponty, 1968, 143). Rather than thinking about the stick , “it is more accurate to suggest that the players think from the point of view of the stick, and consequently also perceive our environment in a different way” (Reynolds 2004, 17).
Look at the next quote of Gregory Bateson (who used the example of a blind man’s stick) in Steps to an Ecology of Mind, how this is as much true for the hockey player:
‘ Consider a man with a stick. Where does the self begin? At the tip of the stick? At the handle of the stick? Or at some point halfway up the stick? These questions are nonsense, because the stick is a pathway along which differences are transmitted under transformation, so that to draw a delimiting line across this pathway is to cut off a part of the systemic circuit which determines the blind man’s locomotion’.
Malafouris adds to this: ‘I believe this example provides one of the best diachronic exemplars of what I call the gray zone of material engagement, i.e., the zone in which brains, bodies, and things conflate, mutually catalyzing and constituting one another. Mind, as the anthropologist Gregory Bateson pointed out, “is not limited by the skin,” and that is why Bateson was able to recognize the stick as a “pathway” instead of a boundary’ (http://text-patterns.thenewatlantis.com/2015/07/the-blind-mans-stick.html)
- the players ‘on the bench’ are physically engaged in the game, see their shared attention
- synchronisation of body movements – specifically in duo’s (attacker and defender)- sometimes mirrored, sometimes not. At some moments an almost perfect synchronisation is reached, at other moments it is more chaotic and less synchronised.
- mirrored synchronisation: this specifically happens when the ball is in-between two players
- point of attention is located at the ball (as a moving target); the players adapt their bodies accordingly (an example of triadic attention)
- even the referee is synchronising his movements with the hockey players
Volleyball: KvA, boys A1, Jochem van der Valk and team
- synchronisation of blocking the ball in duo’s;
- full bodily engagement;
- ball is the locus of attention;
- preparatory movements (anticipation of the body, bring ing the body in the right position with respect to the moving ball and the other players in the field);
- example of smashing: body is completely aligned with the ball;
- expression of faces (controlled or non-controlled?);
- the local participatory sense-making is dynamically created;
- team coordination depends on the team’s collective attunement to shared affordances (Araújo and Bourbousson, 2016)
‘Through practice, players become perceptually attuned to affordances of others and affordances for others during competitive performance, and re ne their actions by adjusting behaviours to functionally adapt to those of other teammates and opponents.This process enables them to act synergistically with respect to specific teamgoals. An important feature of a synergy is the ability of one of its components (e.g. a player) to lead changes in others. The decisions and actions of players forming a synergy should not be viewed as independent, and can explain how multiple players act in accordance with dynamic performance environments in fractions of a second’ (Araújo and Bourbousson, 2016, p.134).
Volleyball: KvA, girls KVA7, Lisa Scheers and team
This for me is more of a dramatic performance. It reminds me of theatre, not only in the expressiveness of the body, but also in its messiness and chaos. Every-one is engaged, in their own way, and independently of one another. However, they still form a group, they belong together, they share the same goal.
Playing with Snow II
16th of December 2018
Luuk Scheers, Lisa Scheers, Lotte van der Valk, Jona Claveaux
WG terrein, Amsterdam
A snowball fight is a physical game in which balls of snow are thrown with the intention of hitting somebody else. The game is similar to dodgeball in its major factors, though typically less organized. This activity is primarily played during winter when there is sufficient snowfall.
A snowball fight played for fun often has the following characteristics (Wikipedia, n.d.):
- There is crude formation of “teams”, usually two groups of opponents throwing at each other.
- Those in a fight often do not behave malevolently; a target is usually not viciously assaulted by snowballs.
- There is minimal physical contact, aside from perhaps wrestling.
- In contrast to other forms of fighting, there is usually no intention of bodily harm.
- Construction and use of snow forts is usually permitted.
Luuk, Lisa, Jona and Lotte have additional rules: you should not throw the snowball too close to the other person and you should not unexpectedly attack someone else from behind. The boys behave more aggressively towards each other then to the girls and the oldest guy is not using all his force/power (in other words, he takes the others into account
Sometimes they play individually, sometimes in pairs (boys against girls). The game consists of: making good snowballs, hiding behind a tree, bush or car, tracking the other, dodging when a snowball is coming at you and attacking at the right moment. Thus: attack, retreat and prepare for another attack. .
Making a Snowman
How to make a snowman:
1. Pack a snowball with your hands for te bottom section.
2. Roll the ball along the ground
3. Form the middle section.
4. Lift the middle section onto the bottom section.
5. Make the head.
6. Pack some snow between the different sections.
7. Find materials such as twigs, leafs and berries to make arms, nose, eyes, mouth and buttons of the imaginary jacket (for some strange reason snow men do have buttons on their belly).
Interesting enough, the four teenagers want to destroy the snow man as soon as it is finished. In fact, the destroying of the snowman is as much fun as the making of it.
Making a snowman is a good example of participatory sense-making. In many ways it reminds me of dance improvisation: every-one is involved in the task but not in an identical way. Every body contributes to the making of the snowman, however each in a slightly different role. Solo’s, duets and group work interchange with each other.
I notice the following things:
- coordination of movements;
- rhythmically adjusting the movements to each other and the objects (snow balls): synchronising body postures and movements;
- sharing same momentum;
- clear compositional structures (working for example with distance and proximity;
- individual acts that contribute to the group;
- shared attention and shared focus;
- serious attention to having fun;
- physical problem-solving (the four teenagers hardly speak to each other);
- an opening of attention: both to the work space/environment and the others
- ‘each person is at once responsive to others and independent of them, ready to be changed by, but not absorbed into, another person’s activity. The skill lies in being able to include what another person is doing while not losing one’s own momentum of though’ (Tufnell and Crickmay, 1990, p.72)
- each participant is an autonomous agent
- the movements are attuned to the making of the snowman: the bodies unfold and shape themselves around this third entity (the snowman)
- it’s a self-structuring process.
Drawing In Three
The players all have a piece of drawing paper in front of them. At the top of the paper everyone draws a head with eyes, nose, mouth and everything that one likes about it. The more the better. A neck is drawn underneath. Now the paper is folded so that there is just a piece of neck to see, but nothing more of the head. The paper is then passed on to the neighbour. Everyone has drawn a paper with a head of someone else on it, but the others don’t know what it looks like. Only the small piece of neck indicates where the body should be drawn. It is now time to draw the torso. This can be the torso a man, a woman or a child, an animal or even an alien. There must be indicated with a few lines where the legs should come. After this the player folds the paper so that the only the outer lines are visible. Now the paper is passed on again and on the last piece finally comes the bottom, the legs or whatever supports the creature. Everyone who is ready folds his paper and passes it on for the last time. Now it is time to open up the papers.
Creativity test: Incomplete Figure
You have three minutes to add lines to the figures below to make pictures out of them. Try to tell a story with your pictures.
Self-made objects: the Post Box
You can put small messages in it. I posted two messages:
Message 1: Dear Lisa, how are you? I’m doing well. I would like to tell you something special, a secret or something, but unfortunately I do not have secrets. Are you coming to eat an apple pie? Love, Carolien
Message 2: Did you know that if you eat two or more pink cakes a day, your teeth turn pink? This is probably something you like to know. Love, Carolien
Self-made objects: the Golden Egg
The object has no function, it is not eatable.
Lisa Scheers, Luuk Scheers
Bushcraft is about thriving in the natural environment, and the acquisition of the skills and knowledge to do so. Bushcraft skills include firecraft, tracking, hunting, fishing, shelter-building, navigation by natural means, the use of tools such as knives and axes, foraging, water sourcing, hand-carving wood, container construction from natural materials, and rope and twine-making, among others.
Wildcraft (also known as foraging) is the practice of harvesting plants from their natural, or ‘wild’ habitat, primarily for food or medicinal purposes. It applies to uncultivated plants wherever they may be found, and is not necessarily limited to wilderness areas.
Totem: A totem is a natural or supernatural object, being or animal that has personal symbolic meaning to an individual and with whose phenomena and energy one feels strongly connected.
Playing with sand
Playing with sand I
Lisa Scheers, 9 of April 2017, Wijk aan Zee
Playing with sand II
Bayonne, France, 10th of August, 2018
Philippine Voskuil, Olivier Voskuil, Lisa Scheers
Jumping of a sand dune
Basque Country, August 2018, Luuk Scheers
Blowing bubbles is a child’s play.
Bowing bubbles is a question of how a liquid film—typically soapy water—interacts with an imposed flow of an external fluid, which is air in the case of bubble blowing.The shape of the bubbles is determined by surface tension. This is what holds the bubble together. It’s also what allows you to fill a cup with water over the brim without spilling. The bubble always tries to make the shape with the minimal surface area. In the free air, this is always a sphere.
Lisa Scheers, Lotte van der Valk
1st of December 2018, Amsterdam
And on 29th of December 2018:
Blowing bubbles is a question of how a liquid film—typically soapy water—interacts with an imposed flow of an external fluid, which is air in the case of bubble blowing.The shape of the bubbles is determined by surface tension. This is what holds the bubble together. It’s also what allows you to fill a cup with water over the brim without spilling. The bubble always tries to make the shape with the minimal surface area. In the free air, this is always a sphere.
Saturday, first of December 2018, Amsterdam
Transformations with a blanket: Lisa uses two blankets to transform in different animals.
The first transformation is a bird. ‘Birds are free’ she says, ‘so I can do what I want’.
Question: What happens when I touch the water (= the blue carpet in our living room)?
Answer: I become a fish
Question: What happens when I touch the earth (= the floor of our living room)?
Answer: I become a mole
Question: What happens when I touch wood (= the wood the small table)?
Answer: I become a beaver
Lisa Scheers, 18 November 2018, Amsterdam
New habitat of storks: refuse dump in Oss
17 November 2018, Oss
Habitat: the natural home or environment of an animal, plant, or other organism.In ecology, a habitat is the type of natural environment in which a particular species of organism lives. It is characterized by both physical and biological features. A species’ habitat is those places where it can find food, shelter, protection and mates for reproduction.
The storks live already for years at the garbage dump, they don’t migrate to West-Afrika but they hibernate in Oss, at the refuse dump (huge hills of sands), a strange place since no insects, snails,earthworms or frogs can be found there. However, the sand hills are quite high, they provide a good vantage point and youngsters are save from predators.
Not only storks, but also other birds live at this garbage dump.
Theatricality, drama and performativity
Performers: Lisa Scheers and Lotte van der Valk
26 October 2018, Amsterdam
Pretending to be spies
Performers: Lisa Scheers and Lotte van der Valk
27 November 2018, Amsterdam
Lisa and Lotte are on a secret mission. They carry walkie talkies with them as well as a pink mobile phone. Their mission is to secretly spie on other people. The rule is that they have to remain invisible to others.
Shaving a Moustache
Post-Modern Fashion Show
Lisa Scheers and Lotte van der Valk
15th of December, 2018
10 November 2018, Amsterdam
Making your own paper: by using old news papers and water (Lisa first used milk but that wasn’t a good idea) and some patience. The idea behind this experiment is that we should all recycle our own paper.
Week 45: 5-11 November 2018
Resting Places for Potential Body Parts
It was a strange experience to be in a dance studio again (it has been a while). My first idea was to explore the notion of touch while being alone. So how the floor and walls make contact with my body: how they support my body. How I can rest in the floor, in the walls, to find comfort. So after I installed myself in the studio, the first thing I did was to lie on the floor. This was in fact too comfortable since I relaxed entirely and felt no need to move any more. The comfort of the floor resulted in my body entirely surrending to stillness.
I forced myself out of this comfortable stillness (it felt as if I was not spending my time in fruitful way). But maybe it would have been good to sustain and nurture the stillness a bit more. To completely surrender to the floor, giving over entirely, for as long as possible. Would it be possible to surrender to the floor for a couple of hours? For a day? For a week? In between I would probably fall asleep, or move between different states of consciousness. A few hours, yes, but a whole day would already become problematic. First because too much stillness would create discomfort too. Second, because all kind of other bodily needs would come to my attention too (feeling hungry, thirsty, needing to go the toilet). And most importantly, the stillness would require a great deal of mental effort and I guess I am too restless and impatient for that.
Another strategy: to remove myself as much as possible from the floor by using objects that support my weight and guide me into gravity. The studio was full of chairs so I decided to use them. First, very comfortably. Using different chairs for different body parts; which was still an easy job to do. Then I slowly started to remove chairs and I ended up with two chairs: one to support my head, the other one to support my feet. I put the chairs closely to each other and then I slowly created more distance between the chairs by using my arms and legs, until I reached the point where only my head and my feet (and a bit of my legs) were supported by chairs. It was no longer comfortable. My feet were still providing me quite some support since I used the friction between the back of the chair and my feet to keep my body stable. I felt a growing pain in my upper back and also I was afraid that the chairs would be pushed outside by my weight and I would collapse to the floor.
I used the resistance between the chair and my feet as a way to stabilize my point. Contact point = (also) a point through which one can resist forces (such as gravity and weight).
Also here I had the idea that I could have pushed it a bit more. To remain longer in the pose: to feel which body parts were craving for support the most. If I would have to say it now, I would say that my upper body needed the most support.
Week 46 (12-18 November 2018) and Week 47 (19-25 november 2018)
Every time I am in the studio I feel so restless, due to the felt necessity to produce something. Even in the studio I am a slave of my own machine, movements should always produce something…a new movement, an idea, an insight, so that I can go home and say ‘I really had a fruitful day’.
It is difficult to enjoy. I find it difficult to surrender myself over to time.
Okay, so what did I do? I worked on some material that I collected last week, specifically on the assignment to remove myself as much as possible from the floor by using objects that support my weight and guide me into gravity. Again I used chairs. This time I felt a bit more control, I was able to suspend the movements, to hold myself longer in positions where I felt hardly any support from the chairs. At some point (when my feet was supported by one chair and my head by another chair) I felt that I could go on for ages. Different from last week was also my attention. I was much more aware of my focus, first on the wall, then on my feet, then the ceiling and eventually the floor. Was it because the touch with the chairs felt more comfortable? Did I have more ‘space’ to guide my attention outside, to the environment?
After a few rounds, I was quite satisfied with this experiment and I felt no need to explore it any further.
At home I already thought of other things to work on – in relation to touch. One is to explore the notion of ‘leaving traces of touch’. I realized that I had been working in the studio, but no traces of my body-in-touch (well except on a microscopic level) would be found there. I touch the floor, the walls, with my whole body, with parts of my body, but all of that remains invisible. There are no traces. I want to think of a strategy where the traces of my body touching the space become visible. The work of Nancy Spero might be a source here. Using paint or another substance that make the movements of touch visible. (I am not interested in something static, but something that can capture the dynamics of touch, to build up layers of touch, preferably whole body touch, not only using the hands because that seems the most obvious thing to do). I don’t yet have a solution, so I will do some small experiments at home. To be continued.
I have the idea to make a short ‘touch lecture’, a studio performance and talk on touch.
Another idea: to make a connection map between my body and the space (to visualize possible contact points). For example, to attach a rope to different body parts and to connect them to the space. I am not sure yet about this idea.
Finally, I worked on ‘the floor is lava’, this game where you are not allowed to touch the floor. I placed all kinds of objects in space and then I moved through space without touching the floor. I felt clumsy and old to be honest, and stupid too. Maybe you also need the excitement of other people, in outside/daily environments, doing it alone seemed a bit awkward.
Week 50 (10-16th of December 2018)
In the Theatre of the Conservatory of Amsterdam
A slight change of plan, because of several reasons but mainly time pressure and the fact that I am working alone, I put ‘the touch experiment’ aside for a moment and concentrate on intensity and vitality affects.
So I want to work on transformations, I specifically want to re-enact three dance play events of my daughter: the hotel dance, the dance with a blanket, and the spontaneous dance in our living room. The aim is to return to the initially felt intensities/affects that were once present in these three dance play events, in a few improvisational sessions. I want to examine concepts such as energy, affects, intensities and aliveness that I find evident in the three play dance events. I believe these affects and intensities give rise to transformative powers, ways of becoming that create openings and passages through which I re-engage and re-connect with once felt intensities. The photographs serve as an entrance point. I take the material to the studio and try to re-enact the playful dance event. The aim is to capture the intensities/forces/energies/affects that were once produced and felt by my daughter.
This week I take the dance with blankets as a starting point. In this dance, Lisa uses two blankets to transform in different animals: a bird, a fish, a beaver and a mole (see the post on blanket). I use these different animals as a framework.
The blankets help me in becoming animal. I guess the space works too. I am not in a studio but in a theatre space and the light, black curtains help me to create a black box in which the animal can be released. As a result, I am more expressive, at some point I even feel that I return to dance pioneers such as Isobar Duncan, Martha Graham and Kurt Jooss through this expressive powers – so that I do not only re-enact the play dance of Lisa but also some part of history. I exaggerate my gestures, sometimes even ritual movements take over, so that energy fills the space and the animal
I notice that it is important that my head (read: face) is covered by the blanket. It makes me less human, less of a personality, and more an organism.
Steve Paxton refers to the animal body as the presence being underlying the socialised self. “Ones animal” is a physical intelligence composed of movement patterns and reflexes, both inherited and learned, that form our ability to energetically meet the environment (in Lepkoff, 1998).
To become, writes Deleuze, ―is not to attain a form (identification, imitation, mimesis) but to find the zone of proximity, indiscernibility, or indifferentiation where one can no longer be distinguished from the animal (Beaulieu, 2011, p.74). he becoming animal is a process that is fueled by desire, by a longing for proximity and sharing (Brown, 2007). It’s the ability to participate in the other. In otherness. Becoming animal is a bodily experience: we sense the presence of the animal, we use our embodied sensitivity to creatively engage with the animal. We enter into a relationship that consists of movements and rests. Becoming animal is not a thinking of the animal, but a sensing of the animal.
On the 20th of October we have a dinner with our neighbours. Our children spontaneously start to engage with a game in the hallway: they sit on the ripstiks, using it as a vehicle instead of an object you can skate with. One of the rules is that they have to move around obstacles that are placed in the hallway (such as a blanket). They also try to push each other off the ripstik.
Amsterdam, 20th of October 2018
Lotte van der Valk (13 years), Lisa Scheers (12 years), Luuk Scheers (14 years), Jona Claveaux (17 years).
Shapeshifting in between land and sea: the butterfly-man and the gorilla- girl
Shapeshifting is the ability of a being or creature to transform its physical form or shape.
The most common form of shapeshifting is that of therianthropy, which is the transformation of a human being into an animal or conversely, of an animal into human form.
Strange things happen in the space where land meets sea. This tiny in-between space is a transformative space. New organisms are born in this in-between space. And not only that. Human bodies need to adapt in order to survive in this zone that is no longer land but not yet water either.
First example: the butter fly man
Here below you will find examples of transitionary states: wings are not yet closely attached to the body, they are still separated. The pictures provide clear examples of bodies that are in an early stage of transformation.
Second example: the gorilla girl
I also discovered another type of transformation, that again takes place in the space in between land and sea. This time, the hair of the girls starts to grow over the face, as a form of protection against the strong wind and the salty water.
On the 24th of October 2018 I went with Lisa to the beach of Ijmuiden. It was a windy day, and as a result many kitesurfers were challenging the sea. It was a beautiful day, with a bit of sun shining through the dark clouds.
Lisa performed several sea dances, all improvised.
Photography/video: Carolien Hermans
Performer: Lisa Scheers
Fog is a visible aerosol consisting of minute water droplets or ice crystals suspended in the air at or near the Earth’s surface. Although it has no Latin name, fog can be considered a type of low-lying cloud, usually resembling stratus, and is heavily influenced by nearby bodies of water, topography, and wind conditions.
Velp, 8-13 of October 2018, The Netherlands
Oceanic Feeling (with reference to Roman Rolland and Freud): a feeling of limitlessness and oneness, becoming aquatic.
‘Like a sheet of water which I feel flushing under the bark’ (Rolland, in Parsons, 1999, p.16-17).
‘I feel very much protected when I’m underwater. . . . I feel as though the sea is on my side.’ (free diver Tanya Streeter in The Guardian).
‘A flood; a torrent of waves; a delicious immersion; a feeling of drowning; arriving in a liquid that rolls, shakes, exhausts and draw one up’ (Clement, 1994, p.201).
Bayonne, France, 9-10 of August 2018
For more reading:
Bosanquet, A. (2005). Luce Irigaray’s Sensible Transcendental: Becoming Divine in the Body. Transformations, 11, Edges & Centres. http://www.transformationsjournal.org/wp-content/uploads/2017/01/Bosanquet_Transformations11.pdf
The girl that lived under water….(and that was later joined by an underwater boy).
(The pictures below provide preliminary evidence for the existence of under water people.)
(I spotted the underwater girl somewhere far away from here, in crystal blue water, in an undiscovered area in the Atlantic Ocean. First she seemed a bit shy, but then I triggered her curiosity (I guess because of my camera). The underwater girl swam towards me. Some interesting details: she had arms and legs, no sharp features in the face except for eye brows and a thin vertical line that might possibly be a nose, long hair and strangely enough she wore a bikini (I expected her to be naked). After a while a boy joined her.)
Imitative play: an intentional, communicative act in which one person copies the act or movement of another person.
For more reading: Imiterend leren ENG
Photographs have been taken at different locations (Gorliz, Bilbao, Leeds) in 2017-2018.
Performers: Luuk and Lisa Scheers
Photography: Carolien Hermans
Light: electromagnetic radiation within a certain portion of the electromagnetic spectrum. The word usually refers to visible light, which is the visible spectrum that is visible to the human eye and is responsible for the sense of sight.
Bayonne, France, 9th of August 2018
Photography: Carolien Hermans
Gorliz, Basque Country, Spain, 8th of August 2018
Photography: Carolien Hermans
Amsterdam, 12th September 2018
Photography: Carolien Hermans
Velp, 9 October 2018, The Netherlands
Ijmuiden, 24 October 2018, The Netherlands
Climbing: the activity of using one’s hands, feet, or any other part of the body to ascend a steep object.It is done for locomotion, recreation and competition, in trades that rely on it, and in emergency rescue and military operations. It is done indoors and out, on natural and man-made structures.
Aubazine, France, 15th of August 2018
Performers: Luuk Scheers and Lisa Scheers
Photography: Carolien Hermans
Diving: the sport of jumping into water, especially with your head and arms going in first, or of swimming underwater
Diving in Zarautz, Basque Country, Spain, 7th of August 2018
Photography: Carolien Hermans
Jumping in the water
Dordogne, August 2018
Diving and Cannonballs, Aubazine, France, 16th of August 2018
Performers: Luuk and Lisa Scheers
Photography: Carolien Hermans