Somatic Ways of Knowing: Fina Miralles’ earliest practices of sensorial perception

Vara, Celia

doi:10.1080/13528165.2021.1977508

Cited by 2 publications

(3 citation statements)

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“…She had to walk slowly because the shoes were delicate, and she wanted to have a clean imprint on the ground. However, this fact encourages a bodily movement that could be linked with the sensorial explorations of her previous works (Vara 2021a). What was specific about her work that provided a model for feminist emancipation in a different sphere from the arena of representational democracy?…”

Section: Introductionmentioning

confidence: 93%

“…She had to walk slowly because the shoes were delicate, and she wanted to have a clean imprint on the ground. However, this fact encourages a bodily movement that could be linked with the sensorial explorations of her previous works (Vara 2021a). Although this performance is driven toward the symbolic and the discursive (the imprint of the name, the trace) and proposes to reflect on patriarchal society and private property-highlighting women's situation in an explicit manner through her voice over-the marks made by Fina Miralles could be understood as governed by a different kind of exploratory movement.…”

Section: Introductionmentioning

confidence: 98%

“…However, it is important to note that the feminist movement which emerged in the context of Francoism was something parallel to and separate from artistic manifestations (Bassas 2013). 4 Translacions (Movements) (Vara 2021a) is a Catalonian word that means to move something or someone from one place to another. It is also the elliptical motion that describes the Earth's movement around the Sun.…”

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confidence: 99%

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Kinesthetic Experience: Emancipatory Corporeal Scores

Vara Martín

2023

Humanities

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This article investigates the corporeal practices by the Catalonian artist Fina Miralles (b.1950) in some of her performances during the 1970s. I specifically focus my analysis on the manner in which the artist verifies the existence of her body under the acute political restrictions on the body during the last years of Francoism (1939–1975). I argue that she does this by a process of sensorial investigations, which include painting, filming and touching natural elements, and moving them and leaving different types of tracks, which lead to generating corporeal scores and body mapping. I elaborate on the way that producing corporeal sensorial knowledge generated from her body mapping and kinaesthetic knowledge is a transgressive and emancipatory feminist intervention. My argument is that kinesthesia generates a process of body-mapping awareness within the body and its movement, which reinforces a sensorial way of knowledge that leads to a reconstitution of the body that function as corporeal agency. Based on feminist theories of embodiment and agency, taking the Carrie Noland concept of kinesthesia (2009) as a central analytical tool, and with a background as a psychologist, I approach this research with embodied methodologies (conversations with the artist, recreation of her actions, etc.) and draw mainly from research-creation methods and kinaesthetic empathy.

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“…She had to walk slowly because the shoes were delicate, and she wanted to have a clean imprint on the ground. However, this fact encourages a bodily movement that could be linked with the sensorial explorations of her previous works (Vara 2021a). What was specific about her work that provided a model for feminist emancipation in a different sphere from the arena of representational democracy?…”

Section: Introductionmentioning

confidence: 93%

“…She had to walk slowly because the shoes were delicate, and she wanted to have a clean imprint on the ground. However, this fact encourages a bodily movement that could be linked with the sensorial explorations of her previous works (Vara 2021a). Although this performance is driven toward the symbolic and the discursive (the imprint of the name, the trace) and proposes to reflect on patriarchal society and private property-highlighting women's situation in an explicit manner through her voice over-the marks made by Fina Miralles could be understood as governed by a different kind of exploratory movement.…”

Section: Introductionmentioning

confidence: 98%

mentioning

confidence: 99%

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Kinesthetic Experience: Emancipatory Corporeal Scores

Vara Martín

2023

Humanities

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Performer/audience experience, performer perception and audience immersion

Kirwan

2022

Virtual Creativity

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This article considers dance performances that utilize immersive technologies, in particular those that result in comparatively different experiences for the performer and the audience. The article proposes that with the incorporation of technology, creators and audiences may become so engrossed by the effects of technology and what can be achieved that we perhaps overlook what is omitted when technology takes centre stage. By analysing three aspects of technology-mediated dance performances, this article highlights how technology alters and extrapolates the dance experience for performers and audiences. The differing experiences of performer and audience, the dancer’s perception of their environment and the audience’s immersion are in some ways enhanced, but also arguably hindered, by the mediation of technology. The article aims to provoke questions about technology-mediated performances and proposes more theoretical discussions on the communication of dance through technology.

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Somatic Ways of Knowing: Fina Miralles’ earliest practices of sensorial perception

Cited by 2 publications

References 10 publications

Kinesthetic Experience: Emancipatory Corporeal Scores

Kinesthetic Experience: Emancipatory Corporeal Scores

Performer/audience experience, performer perception and audience immersion

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