On the edge of undoing: Ecologies of agency in Body Weather

Pini, Sarah

doi:10.5040/9781350197725.ch-002

Collaborative Embodied Performance 2022

DOI: 10.5040/9781350197725.ch-002

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On the edge of undoing: Ecologies of agency in Body Weather

Sarah Pini¹

Abstract: This chapter explores the practice of Body Weather (BW), a postmodern dance methodology, addressing how BW performers experience and enact agency in this context of practice.Adopting a cognitive ecological, ethnographic, and phenomenological approach, this work focuses on the creation of AURA NOX ANIMA (2016)a short dance film directed by Sydney-based visual artist Lux Eterna and filmed on the sandy dunes in Anna Bay, New South Wales, Australiato underscore the role played by the physical and cultural environm… Show more

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Cited by 3 publications

References 9 publications

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Skilled performance in Contact Improvisation: the importance of interkinaesthetic sense of agency

Deans

Pini

2022

Synthese

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In exploring skilled performance in Contact Improvisation (CI), we utilize an enactive ethnographic methodology combined with an interdisciplinary approach to examine the question of how skill develops in CI. We suggest this involves the development of subtleties of awareness of intra- and interkinaesthetic attunement, and a capacity for interkinaesthetic negative capability—an embodied interpersonal ‘not knowing yet’—including an ease with being off balance and waiting for the next shift or movement to arise, literally a ‘playing with’ balance, falling, nearly falling, momentum and gravity. We draw on insights from an interdisciplinary approach, including from a developmental perspective concerning the experience of dyadic interpersonal embodied skill development in both infancy and CI. Building on Ravn and Høffding’s (2021) definition of expertise in improvisation as an “oscillatory process of assuming and relinquishing agency” we propose that a key aspect of expertise in CI involves oscillation between levels and processes of interkinaesthetic sense of agency. These interdisciplinary insights also elucidate limitations within current conceptualisations of sense of agency, including the relationship between sense of agency and sense of control.

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Skilled performance in Contact Improvisation: the importance of interkinaesthetic sense of agency

Deans

Pini

2022

Synthese

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How to Collaborate Well

Sweet

2023

Pacific Philosophical Qtr

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In this paper, I answer the question, how do we collaborate well with others? I first look at cases of good collaboration, contrasting them briefly with some cases of poor collaboration; I then describe the similarities between the good cases, such as shared aims, shared planning of projects, shared norms among collaborators. The conclusion is that collaborating well involves shared norms, derived both from societal norms and from a well-ordered relationship between participants; a shared vision derived from shared knowledge and open communication grounded in relationship; and open-mindedness and thoughtful disagreement, which depend on mutual respect and trust between participants. 1 For instance, Tencati and Zsolnai (2009) argue that businesses should prioritize a collaborative strategy over a competitive one.

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Cognitive Ecologies of Presence(S) in Three Different Dance Forms

Pini¹

2023

Nordic Journal of Dance

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Presence is a central yet controversial topic in the study of performing arts and theatrical traditions, where the notion of ‘stage presence’ is generally understood as the performer’s ability to enchant the audience’s attention. How do dancers relate to the idea of presence in performance, and how do they understand, enact, and perform presence in their artistic work and practices? In this article I offer an investigation into presence’s variations in three different dance practices and choreographic contexts: the case of the Ballet National de Marseille during the staging of Emio Greco’s piece Passione; Contact Improvisation in the case of independent groups of contacters in Italy and Australia; and Body Weather, a radical movement ideology developed by Japanese choreographer Min Tanaka in the context of the company Tess de Quincey and Co. in Sydney. To illustrate how presence in dance practices emerges in relation to a complex and dynamic environment, I propose a cognitive ecological approach to the notion of ‘stage presence’, which considers both the co-presence of audiences and performers and the socio-cultural context of the performance event. By exploring how dancers articulate their lived experiences of presence in relation to their different dance contexts and traditions, I suggest framing phenomena of presence in an embodied ecological sense.

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On the edge of undoing: Ecologies of agency in Body Weather

Cited by 3 publications

References 9 publications

Skilled performance in Contact Improvisation: the importance of interkinaesthetic sense of agency

Skilled performance in Contact Improvisation: the importance of interkinaesthetic sense of agency

How to Collaborate Well

Cognitive Ecologies of Presence(S) in Three Different Dance Forms

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