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Martin, Susanne

Dancing with Real Bodies: Dance Improvisation for Engineering, Science, and

Architecture Students

Algorithmic and Aesthetic Literacy. Emerging Transdisciplinary Explorations for the Digital Age. Opladen ;

Berlin ; Toronto : Verlag Barbara Budrich 2021, S. 13-39

Quellenangabe/ Reference:

Martin, Susanne: Dancing with Real Bodies: Dance Improvisation for Engineering, Science, and

Architecture Students - In: Algorithmic and Aesthetic Literacy. Emerging Transdisciplinary Explorations

for the Digital Age. Opladen ; Berlin ; Toronto : Verlag Barbara Budrich 2021, S. 13-39 - URN: urn:nbn:de:0111-pedocs-224974 - DOI: 10.25656/01:22497 https://doi.org/10.25656/01:22497 in Kooperation mit / in cooperation with: https://www.budrich.de

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Dieses Dokument steht unter folgender Creative Commons-Lizenz: http://creativecommons.org/licenses/by/4.0/deed.de - Sie dürfen das Werk machen sowie Abwandlungen und Bearbeitungen des Werkes bzw. Inhaltes anfertigen, solange Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen.This document is published under following Creative Commons-License: http://creativecommons.org/licenses/by/4.0/deed.en - You may copy, distribute and render this document accessible, make adaptations of this work or its contents accessible to the public as long as you attribute the work in the manner specified by the author or licensor. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an.By using this particular document, you accept the above-stated conditions of use.

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.E:cpgi 2 Igt:Ri 2 -mtmihm CPCT Dancing with Real Bodies: Dance Improvisation for Engineering, Science, and Architecture Students by Susanne Martin is licensed under the Creative Commons license Attribution 4.0 International (CC BY 4.0): https://creativecommons.org/licenses/by/4.0/ This license permits distribution, storage, reproduction and adaptation, provided that the author, rights, modifications and license used are acknowledged.

This essay was published in:

Schulze Heuling, Lydia and Filk, Christian (eds.) (2021): Algorithmic and Aesthetic Literacy. Emerging Transdisciplinary Explorations for the Digital Age. Opladen: Verlag Barbara Budrich. This contribution is available for free download in the Open Access section of the publisher"s website: https://doi.org/10.3224/84742428.02

ISBN 978-3-8474-2428-4DOI 10.3224/84742428.02

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Dancing with Real Bodies15

Figure 2. Class Dancing with Real Bodies, Arsenic Lausanne, 27.02.2019

Photo: Ramiro Tau

centration on computable information (Bridle 2018), the special potential of dance improvisation practice for STEM (science, technology, engineer ing, mathematics) students could be of a different nature. The activation of a relational, situated, embodied, and reflective self within a shared artistic practice affords a still-relevant counterpoise to an abstract, instrumental, and solution-oriented algorithmic focus in education. Dance as part of a curriculum for students who are not studying to be come dancers or performers is not unprecedented. When looking at insti tutions known for groundbreaking technical, design, and architectural innovations in the 20th century, we find dance famously being practiced and performed, for example, at the Bauhaus (German Design School, 1919

1933), which on its centenary in 2019 was celebrated with publications,

exhibitions, research projects, and conferences worldwide. At the Bauhaus, dance served, for example, to explore the physical and psychic effects of sound, form, and color. It was also an integral part of the theatre workshop led by Oskar Schlemmer, in which students interacted with and staged

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Dancing with Real Bodies17

2 The ASCOPET Research Project

Following enthusiastic reactions from the first cohort of students, in au tumn 2018 Henein initiated a joint interdisciplinary research project called Performing Arts as Pedagogical Tool in Higher Education (in French: Les arts de la scène comme outil pédagogique dans l"enseignement tertiaire, ASCOPET), together with professor of sociocultural psychology Laure Kloetzer from the University of Neuchatel (UNINE), Switzerland. Kloetzer, in her semester-long weekly undergraduate course Psychology and Migra tion, employs theatrical exercises and lets students perform biographical and poetic accounts of experiences of migration. Consequently, the ASCOPET research takes as its starting point the shared interest in offering tools and practices from the performing arts to students that are not train ing to be artists but, for example, psychologists, pedagogues (at UNINE), engineers, scientists, or architects (at EPFL). Both pedagogical initiatives aim "to organize boundary crossing for the students between their life and learning inside and outside of the university, between theory and practice, and between arts and science, with the intention to engage them fully - mind and body - in higher education" (Kloetzer 2019). Accordingly, the ASCOPET research aims at a better understanding of the role of perform ing arts practices in higher education learning situations. Within the ASCOPET project, my colleagues Ramiro Tau (post-doc toral researcher at UNINE with a background in developmental psychol ogy) and Laure Kloetzer focus on a comparative analysis of Henein"s and Kloetzer"s courses. I, in contrast, follow an artistic research approach, also called practice as research in the arts. Artistic research employs a first-per son perspective; my task as an artistic researcher is to expose my ongoing artistic practice as a specific source of knowledge and as embedded in art ists" knowledge traditions (Borgdorff 2007, Nelson 2013). In the case of this research project, it means that I conduct my own dance improvisation in terventions within the EPFL context and use the documented interventions for analysis and further reflection on the potential of dance improvisation to contribute to learning processes in a technical university.

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Dancing with Real Bodies19

response-ability, and play. Through these general categories, which I discuss below, I aim to expose parts of the 'iceberg" of meaningful learning that can be found underneath the concrete activities that make up a dance improvi sation practice.

4 Foregrounding the Body

The obvious specificity of dance improvisation compared, for example, to music or theatre improvisation, is that the moving body is usually the main medium and main artistic concern. Improvisation in the performing arts always involves "perceptual, motor and conceptual activity [which] are not separated" (Rose 2017: 121). All improvisation practitioners "inhabit their activity in the development of practice, engaging the whole self" (Rose

2017: 121). However, this is especially true for dance improvisation where

bodily movement is the matter. Attending to and studying making art from one"s own body in movement - in other words, foregrounding the body - is at the heart of teaching, learning, and performing dance improvisation (Martin 2017). In the context of higher education, this creates an interesting tension: When describing the compositional aspects of dance improvisation in ab stract terms, such as searching collaboratively for non-habitual, divergent responses or patterns, then they connect quite easily with engineering design questions (Wong 2017) and with the rather vaguely and inconsist ently defined concepts of basic or transversal skills and competencies that are currently the object of much attention in EU and UNESCO education sources to the bodily side of becoming a more creative, innovative, holistic researcher, a more "complex self" (Csikszentmihalyi 1990: 41), or a student with transversal competencies is not part of the Western academic tradition (Tau et al. 2020). I had rightly anticipated that to begin foregrounding the body in this science education context would require introduction and explanation. It also required some confidence-building efforts, since such a practice ex poses people in a new way, and can activate social vulnerability (Goffman

1990, Butler 2004). However, I had not anticipated how strongly this par

ticular setting would affect my own body. I found myself devoid of a place

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Dancing with Real Bodies21

I aimed to playfully invite questions around what might be real for and about our bodies in dance, in science, and in today"s digital information and communication culture. Knowing that we wouldn"t have time to explicitly address such philosophical issues during the class, this title was rather meant to inspire further reflection for those with an ontological inclination.As data for this article, I drew on the video documentation of the class, my own written class description and researcher logbook, and on the stu dents" reflexive diaries, which they wrote weekly after each class. Treating this class as a case study allows me to flesh out, in a theoretical sense, what I mean by attending to sense-ability, response-ability, and play as core assets of dance improvisation. Based on this, I analyze data regarding the relation ship between these core assets and the concrete activities of the class. Next, I relate this to the students" reflexive diaries and draw conclusions as to how dance improvisation can contribute to learning processes in higher educa tion. ■ foreigen-tkwkac What I conceptualize in this text as attending to our 'sense-ability" is the activation and cultivation of our capacity to focus on, become more con scious of, and differentiate the specificities of sensory information. While my use of this term engages in wordplay through its similarity to the term 'sensibility", I try to emphasize sense perception as different to emotional sensitivity. Highlighting the difference between the sensorial and the emo tional, while acknowledging their closeness, helps to articulate how I sup ported the students to concentrate on the sensory details they were able to perceive, to distinguish them from the emotional resonances they might generate, and to postpone interpretation and judgement. The term sense ability also hints at the idea that such disciplined sensing is an actual skill that can be gained through improvisation practice. The importance of studying and giving value to the senses is widely shared amongst improvisation practitioners, because the senses are the pri mary tools to orient oneself, to recognize and discern the present situation, and thereby to guide the act of composing in the here-and-now of live per formance. Improvisation practitioner and theorist Kent De Spain describes it as follows:

CCAu:rns

-dg ngingn ctg hdg niRhldgn mS hdg RfEtm,RnchRmic: aipgtomt:pé Gmh mi:H pm hdgH Etm,Rpg hdg pghcR:n mS mat RihgtclhRmi oRhd hdg gi,Rtmifgih 1ah hdgH BR,g anu :Rhgtc::Hu hdg (RinRpg RiSmtfchRmi/ mi matng:,gn qEtmEtRmlgEK hRmiyé 6dch Hma pRnlm,gt RS Hma nEgip gimaBd hRfg SmlanRiB Hmat RfK Etm,RnchRmic: coctgignn mi hdg Etmpalhn cip Etmlgnngn mS nginRiB Rn hdch hdgtg Rn fmtg pgEhdu fmtg pghcR:u fmtg EtmSmaip RiSmtfchRmi c,cR:c1:g hdtmaBd hdg ngingn hdci og ctg hcaBdh odch hm pm oRhd Ri mat omtbcpcH :R,gné qeg DEcRi CPTèr TPCy Mn c hgcldgt cip SclR:Rhchmt mS pcilg RfEtm,RnchRmi cip mS cthRnhRl EtclhRlgn Ri Bgigtc:u v ldgtRnd hdg ngingnu zanh cn eg DEcRi pmgnu Smt hdg pc33:RiB pRK ,gtnRhH mS g5EgtRgilgn hdgH mSSgt milg v c::mo fHng:S hm Smlan fH chhgihRmi mi hdgfé MiH Q3mmfRiB Ri" mi nEglRSRl nginmtH RiSmtfchRmi Rnu cn eg DEcRi cthRla:chgnu Sct cocH Stmf mat g,gtHpcH nginmtH dc1Rhné vh Rn g5clh:H hdRn c1R:K RhH hm pRnlgti cip pRSSgtgihRchg 1ghoggi nginchRminu odR:g c,mRpRiB ciH tg:RK cilg mi 1Rcngn mt dc1Rhac: Echhgtinu hdch lci :gcp hm tgStgndRiB cip igo EgtnEglhR,gn mi dmo og tg:chg hm mhdgtnu hm fchgtRc:RhHu cip hm matng:,gn cn c tgnmatlg Smt pRnlm,gtHé M pRSSgtgihRchgp coctgignn cip ang mS hdg ngingnu hdgtgSmtgu Sggpn ltgchR,g g5EgtRfgihchRmin cip gitRldgn mat EgtnEglhR,gn mi dafci lm::c1mtchRminé vi hdg Susanse Mnrt iDuc gwhnDR l:cnnu v Smlangp mi hdg nging mS hmaldu odRld Rn RihgtgnhRiB 1glcang Rh 1tRiBn chhgihRmi hm hdg fchgtRc:RhH mS hdg omt:p cip matng:,gn cipu g,gi fmtgu 1glcang Rh Rn c fmpg mS nmlRc: RihgtclhRmi cip lmffaiRlchRmi hdch Rn :ctBg:H g5l:apgp 1H clcK pgfRl gpalchRmié -dg Sm::moRiB Rn hdg l:cnn pgnltREhRmi v Bc,g hdg nhapgihn

1gSmtgdcipr

-dtmaBd RfEtm,RnchRmic: Bcfgn cip nlmtgnu og chhgip hm hdg hdtgg9 pRfginRmic:RhHu ogRBdhu cip EgtlgEhac: c,cR:c1R:RhH mS mat 1mpRgné IH bggERiB c Smlan mi Ecthigt omtb cip hmaldu og nhtghld mat EgtlgEhac: hmm:nu 1tmcpgi mat RfcBRichRmi cip fm,gfgih ,mlc1a:ctHé .,gtc::u og ctg :mmbRiB Smt lmfEmnRhRmi ctRnRiB Stmf nginmtH g5E:mtchRmiu Stmf ci clhR,g chhgihRmi hm Btc,RhHu cip hm hdg BR,g9cip9hcbg mS hmaldé qcahdmt"n imhgny Act:H mi Ri hdg l:cnnu v Rihtmpalgp mat dafci ngingn mS dgctRiBu nRBdhu nfg::u hmaldu hcnhgu EtmEtRmlgEhRmiu RihgtmlgEhRmiu cip bRignhdgnRcé v Smtfa:chgp hdg Rpgc hdch hdRn l:cnn Rn c1mah fm,RiB cip lmfEmnRiB 1cngp mi nginmtH RiSmtfchRmi Rinhgcp mS c1nhtclh üagnhRminu lmilgEhnu mt RfcBgné v hdgi SmK langp mi hmaldu BaRpRiB hdg nhapgihn Stmf c tchdgt 1tmcp gfEdcnRn mi

Dancing with Real Bodies23

touching the floor to a tightly framed exercise on touching with one hand a partner"s hand and forearm (see "Touching hands" in the video). This part ner exercise on different intentions and qualities of touch can be roughly summarized as: ■ A, eyes closed, touches B to sense the details of his/her own hand and forearm (duration: 1 min.) ■ A, eyes closed, touches B to sense the details of B"s hand and forearm (duration: 1 min.) ■ B, eyes closed, touches A to sense the details of his/her own hand and forearm (duration: 1 min.) ■ B, eyes closed, touches A to sense the details of A"s hand and forearm (duration: 1 min.) ■ A & B, eyes open or closed, make a "hand dance", looking for aesthetic pleasure (duration: 2 mins.) ■ A & B have a verbal exchange about the exercise (duration: 2 mins.) This is a short version of an exercise I learned from Lisa Nelson.2 The spe cial quality of such an exercise lies in its specificity. Participants focus on only a small part of the body. They are guided relatively strictly and have clear active versus passive roles. The attention-span and involvement needed is short and known in advance. Hands and lower arms are probably the most socially normalized parts of the body to be touched and to touch with. Therefore, this kind of hand dance can be expected to constitute a relatively low threshold for engaging in the intimacy of a duet in physical touch. From my experience with doing and teaching this exercise, I would claim that these supportively tight boundaries offer a heightened awareness of the abundance of physical details (different skin textures, many bones, ligaments, temperatures, tone, movements) and compositional meanings. Or, in the words of one student from the Improgineering course (see Fig. 3):

2 Lisa Nelson is a US American dance artist most known for her practice called

Tuning Scores (Nelson 2008). Her practical research into the senses in relation to compositional decision-making process since the 1970s has been influential to many dancers, dance researchers but also, for example, to researchers of embodi ment such as philosopher and cognitive scientist Alva Noe (Noe 2007, 2015).

CèAu:rns

Vne,:D zé Ytmf l:cnn pRctH qnhapgih Jy

vh ocn RihgtgnhRiB hm ngg dmo dg )hdg Ecthigt7 ldciBgp dRn cEEtmcld

1ghoggi hdg hom nhcBgn odR:g dg ocn Ri hdg clhR,g tm:gé -m Sgg: fH ctfu

dg ogih fald Sathdgt Rihm hdg lmtigtn mS fH dcip cip angp c:fmnh c:: hdg nEclg c,cR:c1:gé .i fH Ecthu v cEEtglRchgp htHRiB hm Sgg: hdg Ri,RnR1:g fchhgtr hdg Edc:ciBgnu hdg otRnh 1mignu hdg Smtgctf 1mignß c:nmu v ocn Rihgtgnhgp Ri hdg pRSSgtgih tmaBdignn mS hdg natSclgné 6dgi v ocn clhR,gu v clhgp mi:H Smt fH moi E:gcnatgu cn RS M:1gth ocn ci ailminlRman 1mpHu oRhd c ,gtH :mo hmigé qnhapgih Tyk k M:: nhapgihn" üamhgn ctg htcin:chRmin Stmf Ytgild qg5lgEh hdch Stmf nhapgih èu odRld ocn mtRBRic::H Ri AiB:Rndyé è Gcfgn mS EcthRlREcihn cEEgctRiB Ri hdg üamhgn ctg ldciBgp Smt cimiHfRhHéMn hdg Sm::moRiB nhapgih"n üamhg ndmonu hdRn g5E:mtchRmi c:nm c::mogp hdgquotesdbs_dbs12.pdfusesText_18

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