Corporealities: Dancing, Knowledge, Culture, and Power

Kozel, Susan; Foster, Susan Leigh

doi:10.2307/1146632

Cited by 33 publications

(4 citation statements)

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“…the specific versions of the past mobilised in the present) but also the relational processes of embodied remembering. In doing so we draw on the work of scholars in the related fields of dance and performance studies (Buckland, 2001(Buckland, , 2013Desmond, 1997;Foster, 2004;Mitra, 2009;Roach, 1996;Taylor, 2003) who have proposed ritualised, theatrical and participatory dance as carriers of communal identity and cultural memory. Rather than defining cultural memory as a storage system, they understand dance as an 'activity of remembering' that is generated through movements and relations (Ingold, 2002: 142).…”

Section: Dance Practice As a Methodological Approach To Studying Coll...mentioning

confidence: 99%

Dancing through time: A methodological exploration of embodied memories

Giese

Keightley

2022

Memory Studies

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This article responds to an absence of memory studies research methodologies for exploring embodied memories, including its form and content, the lived practices it involves, and its embeddedness in wider socio-political discourses. While conceptualisations of embodiment are central in the field of memory studies, its methodological consequences remain under-developed. We are proposing dance-based methods as having significant potential to address alternative ways of knowing and relating to the past. Drawing on empirical work on both professional and social dance among British Bangladeshi women in London, conducted as part of the 5-year research project Migrant Memory and the Postcolonial Imagination, we found embodied remembering to be a social form of doing that can serve to create, preserve and negotiate shared pasts.

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Section: Dance Practice As a Methodological Approach To Studying Coll...mentioning

confidence: 99%

Dancing through time: A methodological exploration of embodied memories

Giese

Keightley

2022

Memory Studies

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“…But I and my body understood that weaving for me (and knitting for them) was the tool to remake ourselves. Textile work helps me to stay in the moment, to embrace weaving by engaging with it (Mann 2018), to stay within the materiality of weaving and within a subjectivity that I remake through my corporeality (Foster 1996). From the materiality of my body and the fabric, from the pain of the past, it became possible to establish a connection and attunement (Davies 2021;Mora-Gámez and Davies 2023) with the stories of the women of Artesanías Choibá.…”

Section: Interweaving Materials Encountersmentioning

confidence: 99%

Affecting Infrastructures: Crafting and Weaving as Alternative Repairs

Claus,

Sánchez Aldana,

Papadapoulos

2023

Catalyst

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As two traditional practices performed by rural communities in Colombia, crafting and weaving can be reframed as ontologies that embody alternative material orders and forms of repair. In this context, we explore two specific initiatives: the Crafted Empathy Chair developed by members of campesino social movements in Cauca and Nariño, and Interweaving Material Encounters, a series of collaborative spaces involving women from textile collectives from Chocó, Antioquia, and Bolivar. In the process of exploring these initiatives, we reflect on the role of nonhumans as technologies that allow our interlocutors to share their affect. In addition to discussing strategies for engaging in affective relations when dealing with the aftermath of war violence, we describe how these arrangements affect us as a part of the audience. Thus, we propose the term affecting infrastructure to conceptualize how crafting and weaving can foster everyday spaces and shared grounds for the emergence of emotional engagements as alternative modes of repair.

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“…The idea that systems can be thought about as emergent and performative is by no means new and was already expressed in the 1930s by Norbert Elias in his theory of figuration sociology (Elias, 1978). One vivid conceptual example for emergent choreographic orders, which are always precarious and contingent, can be found e.g.…”

Section: What Is the Framework Of Critical Practice?mentioning

confidence: 99%

“…Pirkko Husemann's description of artistic methods of working as critical practice (Husemann, 2009), Susan Foster's theorem of embodied politics i.e. the politics of embodiment (Foster, 1996;2002), Randy Martin's theory of mobilisation (Martin, 1998) or André Lepecki's topos of kinaesthetic politics (Lepecki, 2006) are all prime examples of this tendency.…”

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confidence: 99%