michael j. morris


list of thoughts

This morning my mind was spinning with ideas and questions. I needed to get them down somewhere. I put them here:

What are forms of analysis in dance studies that might function as methodologies for ecological analysis?

Synchronous Objects as an instance of analyzing the internal functionality (choreography?) of a dance(ed) system by way of aggregate data derived from interviews with dancers and choreographer, correlating the accounts to produce a description of the dance’s dependence on the dancers’ interdependence by way of the cueing system.

How else might choreographies demonstrate interdependence (an ecological structure)? And is this a description of the functional interdependence (how it actually works on the inside) only, or does it also include the perceived interdependence, the perceived gestalt of the work (something like the visual composition and the interdependence of formal elements to constitute the overall “effect” or “specular”(?) experience of the piece? In SO, I would classify the analysis of the cueing system as the former (the internal functionality) and the analysis of counterpoint and alignments (particularly those annotated in the project videos) as the latter (compositional devices/effects).
Partnering
. . . the entire spectrum of compositional devices/elements/effects could be analyzed for their interdependent potentials . . . how elements are put together and the effects of those compositions . . .
Props (object theatre)
Symbiotic relationship with the audience
Something about the relationship between the work and external cultural objects (I’m thinking about work that appropriates or cites or quotes other existing work—music, choreography, text, etc.)

Still the ongoing question, how might ecological analysis function as a methodology for choreographic analysis? Further, how might this “ecological analysis” be inflected by ecofeminist and queer ecofeminist critiques, producing a queer eco(feminist)logical analysis of choreographies?

Ecofeminism: correlating mutually reinforcing systems of oppression between feminism and ecological struggles

Queer ecofeminism (which may in fact be the starting point for what I have eventually considered ecosexuality/sexecology): extends the correlation to other master narratives and apparatuses by which “Others” (nature, female, queers, the erotic, etc.) are alienated in order to constitute the normative (the natural, male, heterosexual, logical, etc.); where this seeps into ecosexuality is the point at which all bodies become permeable and inter-penetrable

Can there be a Sexecological analysis of choreography (I believe sexecology, as I have theorized it, is necessarily queer)?

Questions about how different choreographers/dance practices (practitioners)/performance artists have constructed “nature” and their relationship to it. Right now Laban and his “nature cults,” his assertion of the correlation between natural forms and human movement as one potential object for analysis; Butoh suggests itself immediately as another. Karl Cronin, Love Art Lab, etc.

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brainstorming about research/dissertation

It never ceases to amaze me how just a little time and space (in this case, the first day of the Thanksgiving break) can allow so much development of thought.
I’m beginning (continuing?) to map through how some of these ideas, these various research pursuits, might cohere into concepts and theories, and eventually chapters and a possible dissertation.

The frame I’m beginning to construct (which will certainly go through the process of deconstruction and reconstruction, likely again and again and again) looks something like this:

It begins with the deconstruction of the discontinuous bounded individual/body, the body that stops at the flesh, the human subject that is discrete from the environment in which it occurs and the vast nexus of intersubjective forces by which the subject (and thus the body) comes into being. This could have its roots in phenomenology and the implication of the subject in the perceived life-world, reinforced by studies/philosophies of embodied cognition, perception, and maybe even psychology (I still feel like I need to educate myself on “continuum psychology” and “ecological psychology”). With this as a foundation, there is space to begin to incorporate (pun intended) Tantric philosophy (hopefully as a critical theory), queer theories, relationality, and most recently Georges Bataille (as of this week—this is still a very fresh connection), each one contributing to the destabilization of the fixed edges of the individual subject/body along trajectories of desire and the erotic (among other things). I feel like from there I could begin to establish a theory of ecosexuality, the mobilization of (queer) sexual epistemologies in the destabilization/expansion of the individual and the (anti-colonial) in-corporation of the perceived “other.” It might be necessary (I hope not) to address the subversion/mutation of the symbolic register (Lacan, I think?) as the affect of an ecosexual paradigm and performativity (in an effort to establish how/what things are changed by this altered sense of “self”/body).

This might constitute a first section, possibly with multiple chapters?

The second section is where this theoretical framework could begin to find application in dance practices. Right now (today) I’m framing these practices in three large groups:

1. The incorporation of space as the body: I feel like this is where Laban studies can come to bear, the body never functioning as a body in a vacuum, but a body-in-space whereby both the body and space take on (mobile) definition through their unity with one another. Other movement methodologies might also come into play, things like Viewpoints (of which I know almost nothing), architecture-based scoring systems, and space-based movement scoring. This might also include site-specific work and work that engages with the landscape as participant (like the Love Art Laboratory)

2. The incorporation of the “human-other” as the body-self: this is where I might look more directly at “traditional” body-to-body choreographic practices, whereby seemingly discrete bodies become intermingled and blurred in their clarity through their choreographic participation with one another. Here I am most interested in the intimate exchange between bodies, an intimacy that is based on interdependency and intersubjective corporeal construction, the movement exchange demonstrating the porousness, permeability, and mutability of bodies/selves.

3. The incorporation of the more-than-human “other” as the body-self: This could be the biggest section because is includes practices like Butoh (that involves the incorporation of the landscape, the environment, and imagery derived from that which is “other”) and Karl Cronin’s Somatic Natural History Archive, but also movement/dance/performance methodologies that incorporate artifacts/objects, such as the use of written scores, moving with props/objects (here I would love to look more at “object theater” as a practice), among other practices.

When I write things like this out, I begin to see where I need to focus my attention:

1. Fleshing out my foundation in phenomenology (yes, that means finishing Phenomenology of Perception)

2. Tackling “relationality”

3. Taking some time with continuum psychology and ecological ecology

4. Spend more time with Bataille

5. Go back to Laban’s early writings

6. Choreograph more (as research)

7. Write about Butoh; write about Karl Cronin



Dissertation musings: sexecology, somatic natural history archive, laban, butoh . . .

Here I am at the end of another quarter. I am about to embark on a summer of reading and writing for my second comprehensive exam. I hardly feel like writing at all right now . . . yesterday I turned in a real labor (full of great love), my first bit of writing on Sexecology and Eco-Sexuality in the work of the Love Art Laboratory. For this paper, I grounded my theorizations in the text from Green Wedding Four. The support for my theorizations came primarily out of the writings of David Abram, Judith Butler, Catriona Mortimer-Sandilands, Greta Gaard, William Cronon, Anne Carson, Chaia Heller, some Karen Warren, and a smattering of other writers in ecofeminism and ecology. It is not a refined paper, not yet, but it excites me to no end to have finally written some of the implications/situation of this work that means so much to me.

Perhaps the most relevant summaries come at the end of the paper:

“The formulation of an Eco-Sexual identity is a practice of an erotic eco-logic, deconstructing heteronormative constructions of gender, sex, sexuality, and nature in order to continually queer and destabilize identities, actively form and retain spaces of lack that necessitate interdependency, and engage a permeable sensuous self in perpetual sensorial reciprocity with the sensing and sensible more-than-human environment. It is an identity identified by desire rather than a stable essence or being, and it is a desire for the more-than-human environment in which the human subject is sensorially implicit.

“Similar to the queer ecofeminist and queer ecological project, Sexecology looks to this Eco-Sexual identity for fundamental qualities of its organization. It is a functional system of interdependency that discovers its functionality through this erotic eco-logic and its destabilized, permeable, and necessarily interdependent participants. Green Wedding Four functioned as both a performative enactment of this Eco-Sexual identity, reified in the queer lesbian wedding between Sprinkle, Stephens, and the Earth, and as a demonstration of this Sexecology, predicated on collaborative construction and a necessary interdependence between its seemingly disparate human and more-than-human participants.”

This summer I am going to be reading more queer theorists (more Butler, Luce Irigaray, Monique Wittig, Eve Sedgwick) and some phenomenology (namely Merleau-Ponty) in order for this research to find grounding and situation in those fields of inquiry. I have submitted an abstract of this research to two different conferences in the fall; we’ll see if those pan out.

And I finally feel as if some ideas are coalescing that may be a direction for a dissertation. It will definitely grow, transform, evaporate, condense, explode, and be re-built many, many times in the months to come, but I feel the need to sketch out some ideas/sources/etc.

I have spent the afternoon falling in love with the work of Karl Cronin. My dear friend CoCo has referenced this work to me several times, and today I finally found time to peruse it. This is Kronin’s description of the project:

“My name is Karl Cronin and I’m the creator of the Somatic Natural History Archive.

I am using movement sketches to document the life histories of 10,000 plants and animals. This work is similar to John James Audubon’s drawings of birds, only I’m using expressive movement.

Now, you may be wondering “what does dance have to do with ecology”?

The short answer is, at its core, dance involves researching and expressing our experiences. Ecology includes creating descriptions of how organisms interact with their ecosystems.

By placing my whole self as a sort of recording device in a given environment, I can use all my faculties to document how a species is interacting with its environment. What I see. What I hear. What I smell. What it feels like to be there. I use all these faculties to explore the individual expressions of particular plants and animals.

I then share all this information in public presentations across the country – a mixture of story-telling, movement, and film.

Kickstarter donations will be used to cover my field expedition travel costs for 2010.

Fore more information, please visit my website – http://naturalhistory.us

I appreciate your support!

Your dancing ecologist,

Karl Cronin”

You can see a great promotional video for this project here.

What a turn-on. Kronin’s work in experiential geography and this project of the Somatic Natural History Archive seem to be a really lovely additional hub in my constantly evolving constellation of ideas surrounding dance, the body, ecology, sexecology, eco-sexuality, the unity of body-and-environment, phenomenology, the situational construction of identity, etc. I look forward to reading, seeing, funding, and maybe even writing more about this work.

I have also long been interested in examining both Rudolf von Laban’s early writings (and the consequential systems of Labanotation and LMA) and the early Butoh movement for their perspectives of the body and its relationship (unity with) environment.

I’m interested in how these perspective inform creative practice, how they come back into the studio as methodologies within creative practice and as methodologies for analyzing creative practices. I am also interested in how creative practices in dance might function as sites of useful knowledge to other (related) fields of inquiry: if we might consider choreography as the formulation of unique micro-cosmic and performative human ecologies, how might analyses of these “choreographic eco-systems” inform ecological analyses in the fields of biology and anthropology, etc.? If we accept that all scientific formulations are emergent of specific historical, cultural, and social situations, then how might choreography function as a source of intentional methods of observation, analysis, and taxonomy? How might perspectives coming from areas of study/practice like Laban’s work, Butoh, Cronin’s work in experiential geography and somatic archive, and Love Art Lab’s work in Sexecology offer useful perspectives/information to other fields, as well as their own fields?

Somewhere in here there is still strands of questioning the ways in which movement(dance) and choreographic practices contribute to the construction of individual and ecological identities, the difference between different methodologies for movement generation in these constructions (direct methods such as body-to-body demonstration and coaching, indirect methods such as improvisational scores and notation-based movement generation, etc.), and the ways in which dance/movement practices functionally disrupt/subvert socially regulated physical normativity and bodily decorum in both training and presentation. There’s a lot about exchange and reciprocity between body and environment (which is not separate from culture/society), the conflation of the two . . .

And then my ideas run out of words. Those are my scribblings for today. I’ll be fascinated to see how this pans out.