“The Process and Praxis of Constructing the Self
as Medium”
a practical pedagogy for the practice of
Performance Art
“ … it is impossible to say where these ideas actually originated,
because they are timeless and belong to the natural principles of movement,
time and space.” – Anne Bogart.
INTRODUCTION
Enquiry:
Based on the
axiom that the body is the primary medium of performance art, my objective is
to employ my own methods of training, preparation and execution to develop a
structure that can be integrated into a pedagogical curriculum for the practice
of Performance Art.
Definitions:
Performance
Art:
Although Wikipedia is not necessarily
regarded as a reliable source, its definition of Performance Art is one that greatly
amuses me and successfully emphasizes the genre’s diversity to the point of
diametrically opposing features. I have been using it as a light-hearted
approach to engage students in discussion of the field:
Performance Art
Not to be confused with Performing arts.
In art, performance art is a performance presented to an audience,
traditionally interdisciplinary. Performance may be either scripted or
unscripted, random or carefully orchestrated; spontaneous or otherwise
carefully planned with or without audience participation. The performance can
be live or via media; the performer can be present or absent. It can be any
situation that involves four basic elements: time, space, the performer's body,
or presence in a medium, and a relationship between performer and audience.
Performance art can happen anywhere, in any venue or setting and for any length
of time. The actions of an individual or a group at a particular place and in a
particular time constitute the work.
In the context of my work, I define
performance art as being the meeting point of artistic genres, primarily of the
visual arts and the theatre arts, in performative action.
It is a platform that provides the artist
with an immediate and urgent voice – one that holds the power to pierce through
and demand attention.
It embraces artists of all backgrounds – from
painters, sculptors, video artists, sound artists and musicians, movement
artists, dancers, actors and poets, to philosophers and political activists. It
holds inexhaustible possibility for methods of audience engagement – from
intimate one-on-one encounters to massive spectacle.
As performance, the key element is a human
presence – utilizing the “Self” as artistic medium. “Therefore, unlike theatre, dance and music, much performance art was
and is the work of individual artists using their own selves – bodies, psyches,
notebooks, experiences – as material.” (Schechner 162)
I understand that the substance of exactly
what that entails to each artist is highly individualized – to me it implies
the body (with its own set of physical capabilities and limitations), the mind
(in relation to its capacity for imagination, intellect and responsiveness),
issues of identity (some arising from uncontrollable demographics, such as age,
race, gender, sexual orientation, class structure, cultural influences etc. and
others which are considered more “choice oriented” – professional, spiritual
and social associations). There is also the emotional aspect of “self” (on the
most part, shaped by experiences). Of course, the finer points of these
definitions of what constitutes the “self” in art are always debatable.
However, for my own artistic practice, a crucial aspect of “self” is the
ability to surrender self in order to become “other” – self as a channel,
vector, conduit, art-ery for artistic ideas to manifest.
Transformation, Metamorphosis, Transcendence:
These are concepts I have only recently
consciously identified as at the core of my artistic work, after being
challenged to do so by Transart faculty during the first Berlin Summer
Residency. This being the case, I am still in the process of defining and
articulating exactly how these concepts are integrated into my current enquiry
and am considering a shift of focus to concentrate on these themes next year.
For this paper, I will be presenting these
concepts as they apply to Butoh dance performance and the pedagogical lineage
of Tatsumi Hijikata. I will illustrate this application via two texts: “Becoming Nothing to Become Something:
Methods of Performer Training in Hijikata Tatsumi’s Buto Dance” – Tanya
Calamoneri, PhD dissertation; and “Artist
Interview – Akaji Maro” (Hijikata dancer and Butoh pioneer) – for The Japan
Foundation website magazine Performing Arts Network Japan.
Pedagogy:
“Really creative pedagogy can access the abstract, non-rational
world, in concrete, practical ways available to everyone.” – Brid Connolly.
“The main objective is to change people into actors, such that
they don’t delegate action to someone else, including the educators.” – Augusto Boal.
Within the context of my enquiry to create a
structure for a pedagogical practice in performance art, I consider my pedagogy
to be a method developed, defined and refined through a process of reflexive
teaching that serves to facilitate learning through exploration,
experimentation and discovery – with the objective of discoveries evolving into
the creation of new artistic work.
To illustrate this process of pedagogical
practice informing the creation of original new work I will be using two texts:
“Exercises For Rebel Artists: Radical
Performance Pedagogy” – Guillermo Gomez-Pena & Roberto Sifuentes; and “The Viewpoints Book” – Anne Bogart
& Tina Landau. Both of these books are presented specifically as a
pedagogical guide addressed directly to teacher/facilitators and to students,
giving step-by-step instructions on how to set up and progress through a series
of exercises and describing objectives as well as giving examples of potential
outcomes.
Why a Pedagogy?
In my professional experience as a body-based
performance artist, the arena that has demanded the most definition and articulation
of what would otherwise remain for me an abstract and intuitive art-form, is
that of the workshop or classroom.
My own creative capacity has been broadened
by being in the role of pedagogical facilitator, due to a series of events that
occur within this synergetic setting; first, there is the necessity to find a
vocabulary with which to communicate my artistic concepts with enough clarity
for others to be able to explore the ideas for themselves – this in itself
already has the effect of adding new layers of depth to the concepts, giving me
more to work with in my own explorations. Then there are the unique responses
of individual students/participants, which initially serve as a guide to judge
whether or not my intentions have been understood and then as inspiration for
further development as I see how I can continue to “sculpt” the process. This
ultimately informs the creation of new artistic work as part of what I consider
to be an incremental and organic process.
The journey leading me to this enquiry is
rooted in a traditional British performing arts background of Royal Academy of
Dance and Associated Board of Music examinations, plus American and European
staples of contemporary dance techniques as well as drama and musical theatre
training. Encounters with art history and art film studies, modern music
composition plus dance and music improvisation have all informed my artistic
processes. However, it was during the rite of passage, transitioning from
student into a professional career when taking on the role of “teacher” served
as a pivotal role in my creative process – for reasons described above.
Throughout my career as performance artist
and teacher I have never dared to stop and question or second-guess my
developing process, perhaps for fear it might all fall apart if I had to
examine it too closely and the flow was broken. This enquiry will introduce
critical examination into my process, to place my work in context with other
body-based performance pedagogies and to re-define my own practice.
Origins, Influences & References:
Before proceeding further with a scoping of
the field, I want to briefly address the specific ideas of origins, influences
and references in the context of my work and its process of development. First
of all, the idea of “original thought”.
As an artist and innovator, one’s imagination
is constantly engaged in pursuit of the unprecedented – the unique, the novel,
the original. Of course, nothing is ever created in a vacuum, but it is
sometimes impossible to identify exactly what the influences are. It is because this is such a primary
issue to me that I opened this paper with the quote from Anne Bogart. Speaking
of the universal concepts utilized in the Viewpoints and Composition methods of
training, she continues: “Over the years,
we have simply articulated a set of names for things that already exist, things
that we do naturally and have always done, with greater or lesser degrees of
consciousness and emphasis.”
(7)
Sometimes a movement arises as if growing out
of a rhizomatic underground (as presented by Deleuze and Guattari in “A Thousand Plateaus”) - no one can claim
to be ultimate originator of the movement and it’s even difficult to say who
influenced whom.
In fact, there may not be a direct human
influence at all; sometimes the most direct influence on a work might be a
shape or sensation from nature.
This is what Hijikata was referring to by
saying: “… my body trains itself as a
matter of course … when you come in touch with such things (these extreme
nature images and experiences) something is naturally forced out of your body.”
(Calamoneri 54)
Children are constantly creating by
imagination only, why should adults be so far removed from this?
“Imagination is more
important than knowledge. For knowledge is limited to all we now know and
understand, while imagination embraces the entire world, and all there ever
will be to know and understand.” – Albert Einstein.
These ideas of “unknown origin” and
“creation-by-imagination” relate directly to my current enquiry, as much of my
work has been formulated by very isolated and insular investigations of the “self-as-medium”
- of body and mind in relationship to time, space, motion, gravity and
subsequently in relationship to other - in creative response to environmental influences
and entities, also (as previously described) through the reflexive process of
the workshop environment. Therefore, it is very difficult to claim identifiable
“influences” in regards to specific names and methods of practice.
Hence, the rationale for my research has been
twofold:
1) Scoping the field by way of literature and
video review in order to find comprehensive references by which to compare and
contrast my work.
2) Practice-as-Research in the form of solo
investigations and refinements of body-based exercises, plus a series of
workshops for feedback and further development.
RESEARCH
Scoping the Field:
In order to contextualize my work within the
fields of performance art, performance studies, body-based movement methods,
performance and movement pedagogies and of pedagogy in general, I had a considerable
amount of ground to cover.
My research on the subject of pedagogy was
mostly via University and academic website articles and was focused on gaining
a fundamental understanding of academic structure, its components and the
vocabulary used to identify teaching methods.
On coming across an article “Curriculum Theory and Practice” by Mark
K Smith, I realized that I must belong in the category of educator he is
referring to when he says: “…when
informal educators take on the language of curriculum they are crossing the
boundary between their chosen specialism and the domain of formal education...
But we should not fall into the trap of thinking that to be educators we have
to adopt curriculum theory and practice.”
I discovered that, according to the
terminology given to describe teaching methods in the University of Central
Florida’s Teaching And Learning Resources website, I employ methods of: Active
Learning, Collaborative Learning, Demonstration, Discussion, Immersive
Environments, Multimedia Instruction, Portfolio and Student Presentations in my
pedagogy.
My initial scoping of the field for historic
and social context of performance art and performance studies was via the
broad, encompassing and comprehensive texts of RoseLee Goldberg’s “Performance Art: From Futurism to the
Present” and “Performance: Live Art
Since 1960”; and of Richard Schechner’s “Performance
Studies: An Introduction” – followed by several other texts viewing the
subject of performance through a range of lenses from artistic to
anthropological, including the writings of Victor Turner, Antonin Artaud and
Bertolt Brecht, as well as the archives from Black Mountain College (which are
available locally in Asheville NC at the Black Mountain College Museum + Art
Center). These texts provided substantial groundwork with which to pursue a
better-informed search.
Following this I turned my attention towards
the more specific and crucial search for other body-based performance
pedagogies. The theatre based training methods of Augusto Boal, Phillip
Zarrilli, Michael Chekhov and Tadaki Suzuki as well as dance based pedagogies
for movement exploration, such as those of Anna Halprin (and subsequently
Trisha Brown, Yvonne Rainer and others in the Judson Church movement), Nancy
Stark-Smith and also the voice and movement pedagogy Meredith Monk employs in
her workshops based on her unique performance methods.
However, the three body-based performance
pedagogies I have chosen to review in relation to my own developing work are
those of Guillermo Gomez-Pena and Roberto Sifuentes; of Anne Bogart and Tina
Landau’s Viewpoints and Composition; and of Tatsumi Hijikata’s pedagogical
lineage of Butoh dance.
Exercises For Rebel Artists:
The
purpose of this book by Guillermo Gomez-Pena and Roberto Sifuentes (of La Pocha Nostra) is to guide the reader through
their pedagogy step by step, with enough information and clarity for the reader
to conduct the exercises for themselves in a workshop setting. I see
connections in their work to Augusto Boal’s “Theatre of the Oppressed”, however
even though their artistic, social and political choices are so radical and
provocative, their pedagogy is one that does not necessarily dictate their
political platform or aesthetic results, but allows the individual to develop
their own artistic choices.
I
found many similarities in their pedagogy to mine – including their approach to
the body as “raw material” for making art and the use of objects and costume
pieces in their “Tableaux Vivants”. I
utilize these particular concepts and methods of execution in a Creative
Response exercise I call “Human Sculptures”, where human form merges with colours,
textures and shapes of costume and object – all aesthetically and symbolically
equal as potential art medium. Their “Hands-on physical and perceptual”
exercises are also methods I could very easily incorporate into my pedagogy. (39
– 74)
Viewpoints:
I began to read about Anne
Bogart’s work with Viewpoints and Composition as a result of investigating
Tadaki Suzuki’s movement method for actors (which I had found to be
incompatible with my own, as I felt there was not enough space for exploration
and discovery within the exercises).
Immediately I felt like I
was hearing my own creative language!
I followed the thread back
to post-modern dance choreographer Mary Overlie’s Six Viewpoints or SSTEMS of
Space, Shape, Time, Emotion, Movement and Story.
Bogart’s development of
this system in collaboration with director Tina Landau includes Nine Viewpoints
of Time and Space:
Time – Tempo, Duration,
Kinesthetic Response, Repetition.
Space – Shape, Gesture,
Architecture, Spatial Relationship, Topography.
Within these categories
there are also sub-categories – for example, within Architecture are the
subjects of Texture, Colour, Light and Sound.
Bogart and Landau have also
examined vocal sounds with this type of deconstructive method – using
categories of Pitch, Dynamic, Acceleration/Deceleration, Silence and Timbre.
Like “Exercises For Rebel Artists”, “The
Viewpoints Book” is an instructional guide for the reader to put into
practice. I can integrate elements of this method into my pedagogy, as much of
it is already there. I have been
isolating many of these key components for investigation in my own creative and
pedagogical practice, regarding them as “ingredients” with which to create experimental
recipes. Bogart and Landau most often use the “topography” of a grid structure
for performers to move on while adding the specific time and space
“ingredients” being suggested to explore. While I can see that a grid creates a
stable floor pattern on which to build, I would not choose it as a “default
setting” as I feel it creates a certain quality of regimentation. I don’t
usually create a set topographical structure unless there is a specific concept
that using one will help to evoke.
Tatsumi Hijikata / Butoh
Dance:
Since its beginnings in
Japan as an expressionist reaction to World War Two and its aftermath, this
dance form has branched out into a variety of modern hybrids. However, a link remains
to its original roots via the pedagogical approach originated by Tatsumi
Hijikata for the rigorous training of his company members.
Although regarded under
the terminology of “dance”, this extreme movement form with its defiant
political roots, subversive history and radical aesthetics of body-image,
certainly exists on the same platform as what I am defining as performance art.
As a body-based art form,
what is most distinctive in Butoh methodology is the use of imagery. And
although much of the imagery is nature-based, that certainly does not mean it
is pretty! Butoh fully confronts and embraces the horrific and grotesque or
perverse as well as the exquisitely beautiful or delicate – it is an art of
violent extremes. It grapples with archetypes of human, animal, nature and
spirit – forces seen and unseen.
Very early on, the
body-based methods of Michizo Noguchi with his “Noguchi Taiso” (or Noguchi
Gymnastics) were absorbed into Butoh training due to their image-based approach
to the body. Akaji Maro says of Noguchi Taiso: “It showed me a completely new image of gymnastics as something
flexible and formless rather than a set of strict movements and forms, and that
the body was also something flexible and formless.”
Although I would not
necessarily consider my own work and pedagogy as “Butoh-based”, it is certainly
a practice I identify with in its approach to the self as medium for art. Here,
I use the word “self” to describe the complete entity of body-mind-spirit that
Butoh demands the commitment of. It is here that I find the underlying themes
in my work of transformation, metamorphosis and transcendence are called into
play, as they are inherent in the Butoh philosophy itself. It is here that my
desire as an artist to feel the “voluptuous surrender” of the self into
something greater than the self – yet would not exist without the self – is
satisfied.
Imagery:
Before continuing on to describe my methods
of Practice-as-Research for this enquiry, I would like to discuss further the
use of imagery as it pertains to my body-based pedagogical practice and with my
developing awareness of the themes of transformation, metamorphosis and
transcendence in my work.
In her dissertation, Calamoneri speaks
extensively of the phenomenon of transformation and transcendence through the
use of imagery in Butoh dance. She says: “Expanding
the concept of human being through the metamorphosis of the flesh is one of the
basic skills in Buto. One works through the body to get beyond the body.” (25)
Continuing on in reference to Hijikata’s training she says: “… there was an emphasis on body as vehicle
for transformation, sacrificing the self in/for performance, and cultivating a
state of emptiness so that one could be fully present to the pure experience of
the image.” (26) She relates her
own experience of overcoming the extreme physical challenges of injury,
stating: “The exercises taught me how to
employ imagery to surpass perceived physical limitations …” (184)
I too have many of these “mind-over-body”
experiences. One example is the use of an image of an internal helium balloon to
defy the challenging effects of gravity.
Within the context of my own pedagogy, this
total surrender of the self to imagery that Hijikata holds as imperative is not
one I impose so completely on students, but it is something that is given space
and possibility for through suggested imagery and the explorative nature of the
exercises.
I concur with Calamoneri’s statement: “… the images act as a gateway to an
experience, which can then be interpreted and shaped by each individual
dancer.” (17)
Akaji Maro also implies a slightly softer
approach with his relationship to imagery in his version of the Hijikata
pedagogy: “… I will use words as long as
they get the body to move. But that doesn’t mean that the final movement is an
embodiment of the words. The meaning lies somewhere else. The body drinks in
the words and they completely dissolve there, leaving only the state of the
body, with its movements …”
Practice-As-Research:
In the context of this project, putting my
pedagogical exercises and theories into active practice in the workshop setting
has served as research to investigate them and discover outcomes and results,
to see where there are questions still remaining and begin to draw conclusions.
My objectives in using practice-as-research
this year have been:
1.
To define, refine and develop my
own distinctive body-based exercises (which I am calling Body Tuning)
2.
To conduct workshops for the
purpose of:
a)
Receiving critical feedback on my
Body Tuning exercises
b)
Developing Creative Response
exercises
c)
Encouraging the development of
New Work
3.
To use this information in context
with performance art history for creating a well-rounded performance art
pedagogy
I propose that in order to
use the self to create art, one must address the self as medium. Therefore, in
order to prepare this medium for optimum use in creation, the body and mind
need to be “tuned” – alert, responsive and open to possibility.
I argue that these
physical and creative exercises I am compiling and developing will help to
provide a universal, unbiased substructure for the body and the imagination
from which to explore, discover and create.
Body Tuning:
Using the analogy of
“tuning” a musical instrument or an engine in order for it to function smoothly
and efficiently, I have developed a series of physical preparation exercises.
Congruent with my opening quote, it is my philosophy that one cannot really
“invent” movement, only discover and utilize what is already inherent in the
body. Each of these exercises isolates one specific fundamental concept of self
in relationship to body, time, space, gravity, surface, form, body sound and
motion. For the nine exercises I created and then researched in the context of
the workshop setting, I have given the titles: Vibration, Joint Spirals, Floor Massage/Cat Stretch, Breath, Transfer
of Weight, Quality of Motion, Definition, Shape and Body Soundz.
Creative Response:
These are exercises to use interactive play
for the engagement of self with “other”. They explore responses to such
entities as: environment, sound, image, text, object, colour, texture, smell,
taste, concept, narrative, technology, character, identity and human
interaction. (In fact, there’s no reason why they should not include animal
interaction too!) Many of the exercises have been adapted from actor training
techniques, such as those of Konstantin Stanislavski, or from traditions of Movement
Theater – like mime, or even “Improv Theater” style party games. They also
share many thematic concepts with the Viewpoints method of training. Some of
the Creative Response exercises developed during workshop sessions this year
have been: Call & Response, Finding
the Essence, Creative Synesthesia, Abstracting Adverbs, Movement Telepathy,
Human Sculptures and a series of
Environmental Response explorations.
New Work:
Within the context of my pedagogical
development this year, I have been approaching the idea of “new work” as:
artistic work that has undergone a process of development, examination and
decision-making to a point of presentation. The time frame of this process can
be anything from instantaneous to indefinite and in some cases the process
itself can be the performance.
As with the workshop structure described in “Exercises
For Rebel Artists” (120 – 124) where
workshop participants will explore a creative method in the studio and then
take the results out into the public sphere in an unannounced “guerilla
performance” or “public intervention”, I will often take the workshop out into
the public realm. This context of exposure “forces” a “new work” to occur as a
performative action.
Once something is
presented as a deliberate performative action (whether in real or virtual space),
in the context of this current project I am calling it “new work”.
Workshops:
Throughout the year I have
been conducting a series of workshops in which my pedagogical methods have been
put to the test, opened up to critical feedback and explored, developed and
defined. It is my intention to make this pedagogical practice as accessible as
possible to anyone who has an interest in “being art”. Therefore I have worked
with: a community group with diverse occupations, ages and abilities; a
contemporary dance company; a group of Butoh dancers; my Transart peers; and a
merger of Real and Virtual participation duality with art students at a regional
liberal arts college joining participants from anywhere in the world via a
Tumblr group.
Discussion, feedback and
journaling have played a vital role in these workshop sessions. The information
received as workshop results and feedback has been utilized to refine the
structure and execution of the exercises and to create an outline for a new
Performance Art Syllabus. This syllabus is presented in conjunction with the
workshop results as the basis of my final Studio Project.
I conclude that this
pedagogy is ready to be integrated into a curriculum and has the versatile
potential for adaption to suit a range of age, experience, ability and setting
and will end with some quotes from three workshop participants: a New Media
Professor, a retired federal employee and a young experimental musician.
“I found it engaging, intriguing, meditative, and immersive.
I thought the workshop and instruction was of great help for the participant to
be successful in the performance and public intervention.”
“As a 64-year-old non-limber person, I wasn't sure if I would be
able to do everything I was asked to do, but the way you conducted it put me at
ease.”
“It allows you to experience on a more literal level that you are
part of a bigger picture. All parts equally important and dependent on one
another. Claire shows you how to observe that you naturally are already a work
of art.”
BIBLIOGRAPHY
PRINT
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VIDEO
Breath Made Visible.
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BUTOH: Body
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Summer Storm - Tatsumi Hijikata. Dir. Misao
Arai. 1973/2003. Video. Web.
Suzuki Training (theatre program at Long Island University). 2011. Video. Web.
