Both physical play and dance improvisation are considered activities that take place in dialogue with the environment. Play and dance improvisation are culturally organized experiences in which we try to make sense of the world. In this artistic research we will use De Jaegher and Di Paoli’s notion of participatory sense-making (2017) as a way to understand meaning giving processes in dance improvisation and physical play. Participatory sense-making is “the coordination of intentional activity in interaction, whereby individual sense-making processes are affected and new domains of social sense-making can be generated that were not available to each individual on her own” (p.13).
In this research study we use dance and play experiences to generate a deeper awareness of and connection with the environment. We are interested in collective agency: how we move with and are moved by others, not knowing anymore who is following and who is leading in a shared sensibility. Gregory Bateson’s notion of the ecological mind with its underlying assumption that everyone and everything is connected will be used to understand how dancers/children are connected with their environment.
In October 2018 I did an intensive yin yoga teacher’s course at Arhanta Yoga Ashram in Velp. I completed the course, passed the exams (theory as wel as practice) and now I am officially a yin yoga teacher.
Invited Lecture, Akademie Berlin-Schmöckwitz, 5-6 July 2018, ENCODS The 21st century has been named the “Century of the Mind”. With two feet in the new millennium, the next generation of neuroscientists experiences exciting times. ENCODS 2018 is a pioneer conference, which creates a space for young doctoral researchers to engage with the use of technologies […]
Research intensives for artistic researchers and doctoral candidates in dance and body based performance. June 25-29, 2018 Hosted by the University of Chichester What are the feedback processes that might best support and/ or propel our personal research practices? How do we create the contexts/cohorts/conditions needed in order to contribute critically to the research practices […]
Together with my daughter Lisa Scheers we participated in the conference ‘With Children: The Child as Collaborator and Performer’ Leeds Beckett University, 28thOf January 2017 with the provocation “Why do you think that you but not me should be on stage?” Performed by: Lisa Scheers (10 years old) and Carolien Hermans (47 years old) The […]
Performance lecture ‘Participatory sense-making: rhythm, repetition and affective resonance in dance’, Conference ‘Worlding the Brain’, Universiteit van Amsterdam, 19 maart, 2016, Compagnietheater. During this conference I gave a performance lecture ‘Participatory sense-making: rhythm, repetition and affective resonance in dance’, together with Sarah Abicht and Maxine van Lishout (students Modern Theatre Dance). For the lecture: RhythmNarrativeRepetitionDef1 […]
Embodiment in Arts Education – Teaching and learning with the body in the Arts Amsterdam University of the Arts, December 2015 Together with Melissa Bremmer, I organised a symposium 12 december 2015 at the Conservatory of Amsterdam. Central theme of the symposium was embodied teaching practices in dance and music. From left to right: Shaun Gallager, […]
Dance and Somatic Practice Conference, Coventry University, 6-9 July, 2017 Performance lecture: Carolien Hermans and Lisa Scheers Where do the child and the animal meet in dance improvisation? Abstract ‘Take care of your animal body’ are the famous words of Steve Paxton. The concept of the animal body “refers to the presence of a being […]
Artistic Doctorates in Europe: RESEARCHING (IN/AS) MOTION Research intensives for artistic researchers and doctoral candidates in dance and body based performance. March 19-23, 2018. Hosted by Stockholm University of the Arts at DOCH and Weld I took part in this research intensive that consisted each day of a morning practice circle, walking/talking, practice session, research practice and […]