The Process of Materialisation of Fiction

The Process of Materialisation of Fiction is: a developing answer to a continual questioning – and is: a self-reflective dance practice. This practice suggests a way in which to study the ability of the individual’s nervous system to translate information (back and forth) between the “felt,” “sensed,” “imagined,” “immaterial” and the “materialised,” “physicalised,” “moved,” “spoken,” “performed.”

In as much as the “felt” and “sensed” etc. is “inwardly oriented,” and so functioning in the realm of the invisible: the “intimate” or the realm of “internal dialogue;” so is the “materialised” and “physicalised” “outwardly oriented” i.e. “performed,” visible to the scrutinising gaze of the public eye. How these two worlds relate to one another is, in my experience, not always given. This practice is developing to look at the specific relationships formed between internal motivators and equivalent performatives in an attempt to understand the relation between: the intimate and the public; or between: the intended and the communicated – always within a specific context. Given consent, studied will be examples drawn from individual participant’s personal experiences.

The aim of this workshop is to tackle the following questions: 1. How does one affirm their internal monologue as real, as sane, and argue it as work within the context of object- and objectivity, prescribed-value-oriented western culture of contemporary and experimental dancing, choreography, and art? 2. How does one begin to articulate strategies for guiding attention and creating the circumstances within which to manage a precise exchange of meaning, successfully; especially when working with abstract or otherwise non-obvious mediums [such is dancing]?

This work is intended for those who have to work quickly, and transition frequently between aesthetic environments and organisational power structures. This work is intended to be rewarding for queers looking to articulate strategies that are to help maintain spaces of heightened or specific attention for as long as necessary; folk working to hold spaces of fluid but persistent non-violent resistance. It is also intended for those who love a good challenge or are interested in nuanced articulation and precise execution of movement, sound, dance, and word.

Some of the topics that will be encountered during the work week are: gender theory and theory of performativity / language, communication and the production of meaning / systems of valorisation (oppression + order/chaos) / relationality (history-present, reality-fiction) / the notion of scale, in psycho-somatic and socio-political terms / the importance of thinking contextually / psychology of responsibility and consequence / redefining the workings and the purpose of the inner judge / and reconstructing the mind-body split into a functioning body-mind; a thinking, feeling, and sensing organism capable of elemental transformation.

The Process of Materialisation of Fiction has been shared at

  • the ImPulsTanz Dance Festival; Vienna, AT;

  • AGORA; Berlin, DE;

  • Earthdance; Plainfield, MA, USA;

  • Toronto LOVEIN; Toronto, ON, CA;

  • Footnote; Wellington, NZ.