This article contextualizes and critiques Skinner Releasing Technique (SRT), the somatic dance an... more This article contextualizes and critiques Skinner Releasing Technique (SRT), the somatic dance and movement practice developed by American choreographer, dancer and teacher Joan Skinner. The writing arises from conversations between Sally E. Dean and Julie Nathanielsz, each a SRT practitioner and teacher for over fifteen years, and lays out some of their emerging observations and questions about Skinner Releasing: What is the significance of orientating 1 in the process of letting go? Is there an 'underlying body' 2 in this technique? How do we understand possible relationships of body and image through the practice? The aim of this writing is to make connections with embodied 3 experience rather than ideology, and to open an important dialogue into current practice and teaching of SRT, by first locating the technique in its somatic, historical and cultural context.
The inaugural event of the Costume & Fashion in Context & Practice Symposium & Exhibition held at... more The inaugural event of the Costume & Fashion in Context & Practice Symposium & Exhibition held at the University of Huddersfield. This was a two day peer reviewed symposium with accompanying exhibition hosting students/designers/practitioners/educators/performers. Representing independent practitioners, 22 institutions across 10 countries.
Sally E. Dean has led the Somatic Movement, Costume & Performance Project in collaboration with c... more Sally E. Dean has led the Somatic Movement, Costume & Performance Project in collaboration with costume designers/visual artists Sandra Arròniz Lacunza and Carolina Rieckhof since 2011. This project offers an alternative costume design methodology that starts from the body or ‘soma’ (i.e. a sentient, perceiving person), whereby perception is inherently active and relational. This approach is thus multi-sensorial, somatic and holistic, and is based upon Sally’s background as a somatic practitioner, performer, performance-maker and teacher. This visual essay gives examples from the project’s design approach, working with a live, moving and multi-sensorial body to create Somatic CostumesTM through co-creation, collaboration and participation. Costume designers are actively engaged in trying on materials and costumes through all stages of the process in order to answer the following overarching question: what are the materials/costumes doing to the body (i.e. body image and body schema)...
This article is an introduction to the possibilities of the field of costume and somatic movement... more This article is an introduction to the possibilities of the field of costume and somatic movement. It is a reflective account of my first stage of research in this area, which culminated in a workshop presentation at the Dance and Somatic Practices Conference at Coventry University. The project centred on costumes created and designed in collaboration with Sandra Arroniz Lacunza and Carolina Rieckhof (visual artists and costume designers with an MA in Costume Design for Performance from the London College of Fashion). The aim was to consider how costumes can link internal sensory and imaginary experiences to our perceptions. This article traces the background of the project, its research methodologies and structure, the costumes designed and experimented with in the workshops and performances, and considers the project's potential applications to performance, creative process and dance training.
This article introduces Sally E. Dean’s ‘Somatic Movement & Costume Project’ by presenting exampl... more This article introduces Sally E. Dean’s ‘Somatic Movement & Costume Project’ by presenting examples of the ‘somatic costumes’ created and the costume design, choreographic and pedagogic methodologies applied. ‘Somatic costumes’ aim to facilitate multi-sensorial experiences that change our relationships to ourselves, others and the environment. Although costume has been incorporated in performance for centuries, this project argues for a critical social–cultural paradigm shift: the aesthetic and movement of the performance work comes from the somatic experiences (kinaesthetic and sensorial) of the costume, rather than the costumes being designed to enhance an aesthetic already established in advance. This is also inherent in the costume design process itself: we start with what somatic experiences we would like to enhance or generate as opposed to the visual aesthetic. This approach has the potential to not only instigate new ways of moving, being, perceiving, creating, teaching and ...
Close your eyes. Can you sense your clothing touching you? And that you are touching your clothin... more Close your eyes. Can you sense your clothing touching you? And that you are touching your clothing? This chapter will address and define the importance of 'Aware-Wearing', a somatic act developed by the author in collaboration with the costume designers and visual artists Sandra Arroniz Lacunza and Carolina Rieckhof. It is proposed here as a significant research methodology for costume design and costume-based performance practices. The central aspects of 'aware-wearing' include dressing and undressing, walking, the sense of touch, the role of the performer-spectator and the materiality of both bodies and costumes. Based on examples derived from my ongoing somatic and interdisciplinary artistic research entitled the Somatic Movement, Costume & Performance Project, I focus on how one particular 'Somatic Costume TM ', the 'Furry Heart Protector' (2015-18) evolved through three interrelated creative stages: design, workshop and performance. These stages are non-linear and cyclical. They work with the somatic-based methods described here to 'inhabit' the costume, with the aim of focusing on how the experience of costume effects and 'affects' bodies (affective being a philosophical term not simply equivalent to emotions). The aim is to further speculate on how we write about, design and perform costume as a 'wearer' opposed to as a 'viewer' , inviting scholars, practitioners and spectators to become active participants in a live multi-sensorial costume experience. There is little research into costume designers' and scholars' experiences and perceptions of costume while wearing it. 'While dress cannot be understood without reference to the body and while the body has always and everywhere to be dressed, there has been a surprising lack of concrete analysis of the relationship between them' (Entwistle 2000: 324). The act of consciously wearing is a practice of embodiment-and a return to the emphatic relationship between costume and the body. Embodiment is noted here as 'the act of incorporating and bringing visible expression to, the materiality of lived experience' (Dean and Nathanielsz 2017: 180). Body and costume move each other in metaphorical and literal manners. The multi-sensorial, intersubjective act of wearing allows subjects to increase their experience and understanding of their bodies, costume and environment as well as the interrelationships between the three zones. Wearing becomes the bridge to knowing
The approach and the methodologies of the Somatic Movement and Costume Project led by me, in coll... more The approach and the methodologies of the Somatic Movement and Costume Project led by me, in collaboration with costume designers and visual artists Sandra Arroniz Lacunza and Carolina Rieckhof have been influenced in different ways by Amerta Movement. In this chapter, I will focus on one key influence: Amerta Movement’s relationship to image/metaphor/symbol, in particular the worlds of Fact/Fiction or Dream/Reality and the impact of that approach on my somatic movement and performance practice.
This article is an introduction to the possibilities of the field of costume and somatic movement... more This article is an introduction to the possibilities of the field of costume and somatic movement. It is a reflective account of my first stage of research in this area, which culminated in a workshop presentation at the Dance and Somatic Practices Conference at Coventry University. The project centred on costumes created and designed in collaboration with Sandra Arroniz Lacunza and Carolina Rieckhof (visual artists and costume designers with an M.A. in Costume Design for Performance from the London College of Fashion). The aim was to consider how costumes can link internal sensory and imaginary experiences to our perceptions. This article traces the background of the project, its research methodologies and structure, the costumes designed and experimented within the workshops and performances, and considers the project’s potential applications to performance, creative process and dance training.
This article introduces Sally E. Dean's 'Somatic Movement & Costume Project' by presenting exampl... more This article introduces Sally E. Dean's 'Somatic Movement & Costume Project' by presenting examples of the 'somatic costumes' created and the costume design, choreographic and pedagogic methodologies applied. 'Somatic costumes' aim to facilitate multi-sensorial experiences that change our relationships to ourselves, others and the environment. Although costume has been incorporated in performance for centuries, this project argues for a critical social–cultural paradigm shift: the aesthetic and movement of the performance work comes from the somatic experiences (kinaesthetic and sensorial) of the costume, rather than the costumes being designed to enhance an aesthetic already established in advance. This is also inherent in the costume design process itself: we start with what somatic experiences we would like to enhance or generate as opposed to the visual aesthetic. This approach has the potential to not only instigate new ways of moving, being, perceiving, creating, teaching and performing, but to also foster social–cultural understanding. This project aims to create bridges between somatic practices, costume design, culture and performance.
Sally E. Dean has led the Somatic Movement, Costume & Performance Project in collaboration with c... more Sally E. Dean has led the Somatic Movement, Costume & Performance Project in collaboration with costume designers/visual artists Sandra Arròniz Lacunza and Carolina Rieckhof since 2011. This project offers an alternative costume design methodology that starts from the body or ‘soma’ (i.e. a sentient, perceiving person), whereby perception is inherently active and relational. This approach is thus multi-sensorial, somatic and holistic, and is based upon Sally’s background as a somatic practitioner, performer, performance-maker and teacher. This visual essay gives examples from the project’s design approach, working with a live, moving and multi-sensorial body to create Somatic CostumesTM through co-creation, collaboration and participation. Costume designers are actively engaged in trying on materials and costumes through all stages of the process in order to answer the following overarching question: what are the materials/costumes doing to the body (i.e. body image and body schema)? Through these experiential methodologies, the project aims to return and relocate the body into the costume design process.
This article contextualizes and critiques Skinner Releasing Technique (SRT), the somatic dance an... more This article contextualizes and critiques Skinner Releasing Technique (SRT), the somatic dance and movement practice developed by American choreographer, dancer and teacher Joan Skinner. The writing arises from conversations between Sally E. Dean and Julie Nathanielsz, each a SRT practitioner and teacher for over fifteen years, and lays out some of their emerging observations and questions about Skinner Releasing: What is the significance of orientating 1 in the process of letting go? Is there an 'underlying body' 2 in this technique? How do we understand possible relationships of body and image through the practice? The aim of this writing is to make connections with embodied 3 experience rather than ideology, and to open an important dialogue into current practice and teaching of SRT, by first locating the technique in its somatic, historical and cultural context.
The inaugural event of the Costume & Fashion in Context & Practice Symposium & Exhibition held at... more The inaugural event of the Costume & Fashion in Context & Practice Symposium & Exhibition held at the University of Huddersfield. This was a two day peer reviewed symposium with accompanying exhibition hosting students/designers/practitioners/educators/performers. Representing independent practitioners, 22 institutions across 10 countries.
Sally E. Dean has led the Somatic Movement, Costume & Performance Project in collaboration with c... more Sally E. Dean has led the Somatic Movement, Costume & Performance Project in collaboration with costume designers/visual artists Sandra Arròniz Lacunza and Carolina Rieckhof since 2011. This project offers an alternative costume design methodology that starts from the body or ‘soma’ (i.e. a sentient, perceiving person), whereby perception is inherently active and relational. This approach is thus multi-sensorial, somatic and holistic, and is based upon Sally’s background as a somatic practitioner, performer, performance-maker and teacher. This visual essay gives examples from the project’s design approach, working with a live, moving and multi-sensorial body to create Somatic CostumesTM through co-creation, collaboration and participation. Costume designers are actively engaged in trying on materials and costumes through all stages of the process in order to answer the following overarching question: what are the materials/costumes doing to the body (i.e. body image and body schema)...
This article is an introduction to the possibilities of the field of costume and somatic movement... more This article is an introduction to the possibilities of the field of costume and somatic movement. It is a reflective account of my first stage of research in this area, which culminated in a workshop presentation at the Dance and Somatic Practices Conference at Coventry University. The project centred on costumes created and designed in collaboration with Sandra Arroniz Lacunza and Carolina Rieckhof (visual artists and costume designers with an MA in Costume Design for Performance from the London College of Fashion). The aim was to consider how costumes can link internal sensory and imaginary experiences to our perceptions. This article traces the background of the project, its research methodologies and structure, the costumes designed and experimented with in the workshops and performances, and considers the project's potential applications to performance, creative process and dance training.
This article introduces Sally E. Dean’s ‘Somatic Movement & Costume Project’ by presenting exampl... more This article introduces Sally E. Dean’s ‘Somatic Movement & Costume Project’ by presenting examples of the ‘somatic costumes’ created and the costume design, choreographic and pedagogic methodologies applied. ‘Somatic costumes’ aim to facilitate multi-sensorial experiences that change our relationships to ourselves, others and the environment. Although costume has been incorporated in performance for centuries, this project argues for a critical social–cultural paradigm shift: the aesthetic and movement of the performance work comes from the somatic experiences (kinaesthetic and sensorial) of the costume, rather than the costumes being designed to enhance an aesthetic already established in advance. This is also inherent in the costume design process itself: we start with what somatic experiences we would like to enhance or generate as opposed to the visual aesthetic. This approach has the potential to not only instigate new ways of moving, being, perceiving, creating, teaching and ...
Close your eyes. Can you sense your clothing touching you? And that you are touching your clothin... more Close your eyes. Can you sense your clothing touching you? And that you are touching your clothing? This chapter will address and define the importance of 'Aware-Wearing', a somatic act developed by the author in collaboration with the costume designers and visual artists Sandra Arroniz Lacunza and Carolina Rieckhof. It is proposed here as a significant research methodology for costume design and costume-based performance practices. The central aspects of 'aware-wearing' include dressing and undressing, walking, the sense of touch, the role of the performer-spectator and the materiality of both bodies and costumes. Based on examples derived from my ongoing somatic and interdisciplinary artistic research entitled the Somatic Movement, Costume & Performance Project, I focus on how one particular 'Somatic Costume TM ', the 'Furry Heart Protector' (2015-18) evolved through three interrelated creative stages: design, workshop and performance. These stages are non-linear and cyclical. They work with the somatic-based methods described here to 'inhabit' the costume, with the aim of focusing on how the experience of costume effects and 'affects' bodies (affective being a philosophical term not simply equivalent to emotions). The aim is to further speculate on how we write about, design and perform costume as a 'wearer' opposed to as a 'viewer' , inviting scholars, practitioners and spectators to become active participants in a live multi-sensorial costume experience. There is little research into costume designers' and scholars' experiences and perceptions of costume while wearing it. 'While dress cannot be understood without reference to the body and while the body has always and everywhere to be dressed, there has been a surprising lack of concrete analysis of the relationship between them' (Entwistle 2000: 324). The act of consciously wearing is a practice of embodiment-and a return to the emphatic relationship between costume and the body. Embodiment is noted here as 'the act of incorporating and bringing visible expression to, the materiality of lived experience' (Dean and Nathanielsz 2017: 180). Body and costume move each other in metaphorical and literal manners. The multi-sensorial, intersubjective act of wearing allows subjects to increase their experience and understanding of their bodies, costume and environment as well as the interrelationships between the three zones. Wearing becomes the bridge to knowing
The approach and the methodologies of the Somatic Movement and Costume Project led by me, in coll... more The approach and the methodologies of the Somatic Movement and Costume Project led by me, in collaboration with costume designers and visual artists Sandra Arroniz Lacunza and Carolina Rieckhof have been influenced in different ways by Amerta Movement. In this chapter, I will focus on one key influence: Amerta Movement’s relationship to image/metaphor/symbol, in particular the worlds of Fact/Fiction or Dream/Reality and the impact of that approach on my somatic movement and performance practice.
This article is an introduction to the possibilities of the field of costume and somatic movement... more This article is an introduction to the possibilities of the field of costume and somatic movement. It is a reflective account of my first stage of research in this area, which culminated in a workshop presentation at the Dance and Somatic Practices Conference at Coventry University. The project centred on costumes created and designed in collaboration with Sandra Arroniz Lacunza and Carolina Rieckhof (visual artists and costume designers with an M.A. in Costume Design for Performance from the London College of Fashion). The aim was to consider how costumes can link internal sensory and imaginary experiences to our perceptions. This article traces the background of the project, its research methodologies and structure, the costumes designed and experimented within the workshops and performances, and considers the project’s potential applications to performance, creative process and dance training.
This article introduces Sally E. Dean's 'Somatic Movement & Costume Project' by presenting exampl... more This article introduces Sally E. Dean's 'Somatic Movement & Costume Project' by presenting examples of the 'somatic costumes' created and the costume design, choreographic and pedagogic methodologies applied. 'Somatic costumes' aim to facilitate multi-sensorial experiences that change our relationships to ourselves, others and the environment. Although costume has been incorporated in performance for centuries, this project argues for a critical social–cultural paradigm shift: the aesthetic and movement of the performance work comes from the somatic experiences (kinaesthetic and sensorial) of the costume, rather than the costumes being designed to enhance an aesthetic already established in advance. This is also inherent in the costume design process itself: we start with what somatic experiences we would like to enhance or generate as opposed to the visual aesthetic. This approach has the potential to not only instigate new ways of moving, being, perceiving, creating, teaching and performing, but to also foster social–cultural understanding. This project aims to create bridges between somatic practices, costume design, culture and performance.
Sally E. Dean has led the Somatic Movement, Costume & Performance Project in collaboration with c... more Sally E. Dean has led the Somatic Movement, Costume & Performance Project in collaboration with costume designers/visual artists Sandra Arròniz Lacunza and Carolina Rieckhof since 2011. This project offers an alternative costume design methodology that starts from the body or ‘soma’ (i.e. a sentient, perceiving person), whereby perception is inherently active and relational. This approach is thus multi-sensorial, somatic and holistic, and is based upon Sally’s background as a somatic practitioner, performer, performance-maker and teacher. This visual essay gives examples from the project’s design approach, working with a live, moving and multi-sensorial body to create Somatic CostumesTM through co-creation, collaboration and participation. Costume designers are actively engaged in trying on materials and costumes through all stages of the process in order to answer the following overarching question: what are the materials/costumes doing to the body (i.e. body image and body schema)? Through these experiential methodologies, the project aims to return and relocate the body into the costume design process.
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