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The UnseenKnown: A class in active Presencing

The UnseenKnown: A class in active Presencing This class will engage with the physicality of presence as an aspect of the embodied mind, the theories and practices derived by Nita’s thirty years of active research in this area as applied to both Contact Improvisation and (Post Judson) dance improvisation, as well as with Tim O'Donnell’s movement and performance practices. We will situate these materials within the context of other conversations on the subject in order to broaden the scope of our knowledge base and possibility. Both a practical and a theoretical class, we will engage with the materials of cognitive and neuro scientists, philosophers, and people from multiple disciplines including those whose knowledge base is primarily empathetic, in order to grasp our place in this emerging area of interest and its performativity within the practice of movement arts. Alva Noe (Out of our Heads), James J Gibson (An Ecological Approach to Visual Perception), Lisa Nelson, (Tuning Scores), Deborah Hay (My Body the Buddhist), Tom Brown Jr. (The Search) and others will be referenced in our discussions. A partial book list and journal articles will be handed out for those who would like to read in preparation for the class, however this is not a necessary condition for having a deep engagement with the materials of our discussions. The core of our work will be framed by Nita Little’s materials, furthered by Tim O'Donnell’s technical, creative and insightful practices, and impacted reciprocally by you. Our interest is in disturbing the boundaries of present conceptualizations and practices of embodied states in order to shift creative practices, recharge physical dialogue, educate perceptual access and enhance individual and ensemble performance potential.

We will initiate the workshop on Sunday afternoon with a three-hour introduction to the physical and theoretical materials and methodologies of our week’s work, mapping the territory and setting our individual and mutual rudders on course. Through the next five days, class is built to optimize five hours of studio practice with an hour of daily pre-studio discussion around materials and theory, and a half hour of post-studio wrap-up and integration.

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