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silent crisis
we are dreamers of an other world
INNER/OUTER theme…
the world taught me to generous she provides us with air and food and new possibilities besides we are violating and abuse her daily
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when did climate change begin—climate change started when we started a different relationship to land and started to use it as an object, an economic advantage,,, an advantage for one species which is us
so we need science to build our knowledge but also we need our hearts
if we are going got solve climate change that we must engage in a journey and that journey is guided by the principle of climate justice
coal and oil that millions of years to form
we create laws and justice to just do that so we could that
what is our role on the planet
art is democratizing
you don't have to have a PHD to feel
so how about we are leave the single way of knowing and in this practice finding diverse ways of knowing—it is instructed by andrea haenggi with and by the spontaneous urban weeds …this practice/ workshop / trainging is an invitation to experience and share in community…..making performances as tool for pain home intedpende and of us form previous way of being toward nature and as well decolonize nature really allowing our bride be ready twork as being in the ruins or donna hardy staying with the trundle..by taking the margin s the one the most oppressed unwanted it allows to Bollon our now borders…at this point so how to bring this outward fieldwork into a studio practice ...
it is practice to go inward to understand ourselves to allow to find out ancestors to allow for the outer to be truly face…can we in this meeting allow for new ways of being…why movement and stillness because they are the
so what dance in its real primal has to offer —it a form that allows for being in commons to have instill already a language that is beyond verbal language that looks for new languages it is always connected to our bodie s
climate policies are routed in economics and market solution —what if we create other relationship even going beyond they serve as they are beautiful is there something else?
Jennifer Monson spent a year waking up before dawn to dance on the Illinois prairie in preparation for her 2018 work, bend the even. She has researched ecological phenomena, what she describes as a delicate transfer of energy across hemispheres, for the past two decades. "I pay attention to those subtle movements by dancing, not just by observing," she says. Cultivating this kind of embodied knowledge helped Monson think about climate change in terms of creativity and improvisation rather than fear.
Jill Sigman asks how we can make performance not a consumer act.
That's not to say the dance world isn't actively contributing to climate change. Rehearsal spaces and theaters have massive heating and cooling costs. Dance fashion trends favor athletic gear sewn in sweatshops and shipped halfway around the world, while hectic rehearsal schedules make plastic-wrapped takeout look appealing.
"How," Sigman asks, "do we make performance not a consumer act?" For her, it means creating work that's about relationship-building rather than transaction
how to we need to adapt our human nature to become within nature
it is not to telling what you feel but it is making you feel…feeling is believing
how to bring the science in it
what do you develop in this practice what kind of skills , freedom , liberation
we need to re-evaluate our relationship with nature
would be a dancer with the ecosystem and not one who uses it as a location or who views aspects of it to be ‘other than human’ (Stewart, 2010, p. 33). The actual act of dancing with environment supports a non-anthropocentric value theory as the dancer inquirer ‘listens,’ senses and supports in the ecosystem. The movement that arises would then become material for an environmental dance.
He argued that a model for the natural aesthetic should take into account sensual experience as well as diverse human relationships with nature, which includes, but is not limited to, nature being provider and the place of death
Leopold (1949) and Callicott (1983, 2003) both encourage a shift in human perspective of our relationship with land that upholds perception versus use. An aesthetic experience is inherently human. How can we then use an aesthetic experience in both art and nature to re-evaluate our relationship with the ecosystem and to find our non-anthropocentric role within it?
This pre-linguistic action, which is ‘the dance that we are,’ (Best, 1999, 116) is a natural and primitive reaction to events, experience and life. Gestures and movements therefore, Best (1999) argues, are the root of all human concepts. Dance, or my own position on it, is rooted in movement, gesture, action and body communication. Thus it is the closest art form to being human and to understanding humanism (Best, 1999).
Our current and past relationships with nature, with art and the aesthetic have proven to be through concepts far from the root of being human. Capitalist agendas of certain institutions and individuals have become the decisive judges for what the aesthetic should be for art (Dewey, 1934).
I began to recognise that I created CRUDE with didactic human intentions. As a result, I questioned if it was possible to make environmental art that is non-anthropocentric. I also questioned whether dance could be used as an approach to exercise environmental ethical theory. Stewart (2011) claims that ‘environmental dance can disclose values of nature within nature itself by exploring human kinaesthetic consciousness of non-human nature’ (33). This idea makes sense but at the same time contradicts the land aesthetic, the crux of which is that only humans experience the aesthetic, but in order to aid in the conservation of the environment we need to ‘listen’ to it without anthropomorphising it.
listening and addressing the question gently