© Alwin Poiana
© Alwin Poiana
© Alwin Poiana

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The Intuitive Body

“Intuition sits in between the instinctive body and the rationalisation of it. It forms part of an interspace with which we have toyed since our first creation Fra Cervello e Movimento (between brain and movement).  We want to effect a polarisation between what is instinctive and what is controlled by the brain. Between the two, we found intuition.” (Emio Greco and Pieter C. Scholten). For insights from the intuitive body as articulated through the choreographic language of Emio Greco | P.C. Scholten, click here
 
Intuitive body Research phase 2
Historically and contemporaneously, we can situate the intuitive body in dance between what may be called the conceptual body and the virtuoso body.
The “sublimated text” of the intuitive body in the dance of Emio Greco and Pieter C. Scholten has been  documented during many years of research, whereby the intuitive experiential content of their “language of the flesh” is continuously brought in relation to the (spoken) word.
One outcome of the documentation practice so far, is the ABCdaire, a living and evolving archive of words, definitions, descriptions, categories, metaphors and images derived from Emio Greco and Pieter C. Scholten’s dance language. As of Januari 2018, it contains 176 alphabetically ordered words, categorized according to the sphere of belonging of each word within the choreographic universe of this specific movement language (basic, workshop, pre-choreographic element, statements, mechanism).

Besides the general aim of further developing the documentation practice at ICK, the research trajectory around “the intuitive body” explores also the potential implications of the intuitive body with reference to the dance of the future, to experimental research into live annotation of creative process and to dance research in relation to current developments in knowledge domains outside of dance culture, which are also relevant to broader societal questions and urgencies.

Here, ABCdaire terminology and the in Phase I collected insights from the intuitive body through the choreographic language of Emio Greco and Pieter C. Scholten were positioned in relation to 7 domains of knowledge, outlining potentials research pathways, statements, hypotheses and research questions:

Positioning insights from the intuitive body through the choreographic language of Emio Greco and Pieter C. Scholten in relation to 7 domains of knowledge:

1. IN THE REALM OF PHILOSOPHY: The intuitive body positioned between physicalism and idealism
statement/hypothesis: conscious dance lives in and creates a “third substance” mediating between mind and matter.

2. IN THE REALM OF ART THEORY: The intuitive body positioned in relation to “the truth of art” (Boris Groys)
Questions:
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Is dance a message or a thing?
- If we cannot answer the question of the truth of dance, can we ask:
- How is dance related to our perception of reality?
- What kind of reality does dance speak about, intuitively?

3. IN THE REALM OF PSYCHOLOGY: The intuitive body positioned between the unconscious and the superconscious
Statements:
-
The intuitive body “operates” at the cutting edge between the conscious and the subconscious bodymind.
- The subconscious bodymind is often more immediate than the conscious mind.
- Following the intuitive body means being in touch with “levels of reality” perceived by the subconscious bodymind that need time to be understood/digested (transformed?) by the rationally conscious mind.

4. IN THE CONTEXT OF “NEW PARADIGM RESEARCH”: The intuitive body positioned in relation to Post-Materialist science.
Question:
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What can the intuitive body say about the  future of the body?

Statements:
- Movement is self sufficient and able to create time and space (Greco and Scholten)
- The intuitive body is not competitive, but communicative.
- The intuitive body understands unity in diversity.

5. BETWEEN SCIENCE AND RELIGION: The intuitive body positioned in relation to “the subtle body”, esotericism and spiritual science.
Key themes:
- Imagination- visualization- feeling
- Inner senses (soul?) / outer senses
- Mediation between mind and body
- The sacred body (in for example Tibetan Buddhism)
- Body, mind, and energy articulated through breath, speech, intention and movement

6. WITH REFERENCE TO ENLIGHTENMENT LOGIC: The intuitive body positioned between Eastern and Western Enlightenment logic.
Question:
- What is enlightenment through the dancing body?

7. AS ENDURING DANCE: the intuitive body investigated through dance documentation research. Annotating video registrations of creative processes at ICK with qualitative language articulated from the perspective of dancing body, using the annotation instrument Piecemaker2 (developed by Motionbank).

Key themes:
- Interaction between the visual image with the conscious use of words for live- or after the fact  
- annotations of the video images. Addressing various layers of significance or dimensions of consciousness, or “inner” (intuitive/intentional) aspects that are relevant to the movements, which would not be re-traceable only by watching the “outer” appearance of the moving image.

Click on 'read more' for Phase 1

[documenting] the intuitive body phase 1
This research trajectory seeks to establish a content dialogue - or a short-circuit - between the Pre-choreographic Elements research and the research on the application of the Documentation Model during the creation of dance pieces – in combination with the live annotation system Piecemaker2 by Motionbank - via the intuitive body.

The here outlined questions are considered as a first departure point do be developed during a longer term investigation. New developments will be made accessible via this website.
Documentation strategies are here not only developed with an eye on potential reconstruction and archiving of artistic intentions, but also as instruments for the mining of new knowledge and the generation of new perspectives on corporeality. Terms such as “intention”, “point of genesis”, “the creative process” are related to both, the Documentation Model and the Pre-choreographic Elements research. The addition of “intuition” to this set of key-terms for the research, leads even further towards the intangible – which is strongly present yet challengingly ungraspable for the documentation practices of dance and performance art.

The body in revolt is the overarching dramaturgical principle for the artistic activities at ICK – First research questions within this trajectory are:
- How can we transpose the quest for the intuitive body from within the oeuvre of Emio Greco and Pieter C. Scholten towards the documentation of other artists working at ICK?
- How can this transposition become a departure point for further research on the language of the dancing body?
- How does the intuitive body relate to the body in revolt?
- What are the possible entries towards the type of knowledge that is called “intuitive”, and how do theoretical or scientific positions with regard to intuition relate to the idea of the intuitive body in dance?

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