(..) a body that constantly re-invents itself (..), transforming its shape and surface, is a body in movement that resists ready-made categorizations.”

Politics of Touch: Sense, Movement, Sovereignty by Erin Manning

 

Pursuing Lygia Clark’s advice to always follow the question mark, my movement research through somatic explorations of our sensory awareness with emphasis on the audithory-tactile synesthesia, is an invitation to be open not to know  in the first place. Somatic touch as a form of research begins where the bodily intuition leads us to search beyond words on different occasions – with, within and through the unknown, and it should serve here as a modality for examination of our aesthetic, emotional and socio-political bodies always entangled in multiple agencies. 

As far as becoming a sensuous body is not a novelty in context of dance, the main objective is to explore the potentialities of somatic movement methods within a transdisciplinary space of practice-based research into the relationships between music and dance, asking to what extend can they (somatic skills) play a re-organizational (Noe, 2012) and re-compositional role inside and outside of the choreo-musical processes today.  

Affirming of our active agency in the world’s social - rhythmically structured choreo-musical composition, this proposition evolves as a physical space of shared sensuous collective practice seen as a  medium in power to re-compose our sensory scale of awareness by: 1.turning away from the ocularcentrism, 2. investigating the agency of senses usually depicted as passive, 

3. serving an antidote to the capitalization of somatic movement methods in service of economic productivity.