FEEL INTO IT
SESSION 1: INTRODUCTION | THE POETIC BODY IN THE WORLD
1. Lecture
2. Embodied Exploration: Sensing Body
3. Performance Exercise: Three exercises to feel deeply
WHAT YOU’LL NEED: One fruit (to be eaten), a glass filled with water, a blindfold. A notebook or sheet of paper and pen.
After each of the explorations take 10 minutes to write in a stream of consciousness manner (anything and everything that comes to mind, sensations and or emotions, even random words. It does not have “to make sense”)
After each of the explorations take 10 minutes to write in a stream of consciousness manner (anything and everything that comes to mind, sensations and or emotions, even random words. It does not have “to make sense”)
- Close your eyes and feel your heartbeat. You can do this by placing your fingers on your throat, or on your wrist, or by placing your hand on your chest. Feel your breath too. Get a sense of the pace and rhythm of your heart. Eat the fruit at the pace of your heartbeat. Explore how it is, what is feels like, to eat this fruit at the pace of your heartbeat. (Take as long as needed)
- Play a song that you love on repeat. Grab the glass filled with water. Dance holding the glass of water in your hand. Explore dancing without letting the water spill. So, dance to the fluidity of the water, make your movements smooth and soft, continuous, and subtle but deep, and dance with the glad of water. (Repeat the song at least 3 or 4 times).
- Step out of your room. Put on a blindfold making sure you cannot see and enter your bedroom. Explore all your bedroom through all other senses except sight. Touch, smell, hear, taste, as if you were there for the same time. Allow yourself to discover this new way of knowing and perceiving your space and belongings. (Take your time, set an alarm for 15 - 20 minutes and don’t stop before the alarm goes off).
- Feel free to record yourself as you explore and then watch yourself. Only do this if the presence of the camera won’t interfere with your experience being full and devoted. If so, do not record yourself!
4. Suggested Reading
Reading reflections:
- On Risk and Vulnerability: Gómez-Peña argues that performance art thrives on risk and the vulnerability of both the artist and the audience. How does this emphasis on risk challenge traditional expectations of art as a "safe" or "polished" experience? Can you think of examples where vulnerability in performance art created a powerful impact?
- On Cultural and Political Engagement: Gómez-Peña often frames performance art as a space for political resistance and cultural critique. How does his perspective expand or redefine the role of art in addressing social or political issues? How might this apply to your own work or experiences with performance?
- On Ephemerality and Memory: The text discusses the ephemeral nature of performance art and its reliance on memory and the body as its primary mediums. How does this transience influence the way performance art is valued or preserved in comparison to other art forms? What does this suggest about the relationship between art and its audience?
Engaging through your own experience:
- Borders and Identity: Gómez-Peña describes the body as a borderland, carrying personal, cultural, and political histories. How does your own body reflect or challenge boundaries—cultural, social, or personal—in your life and artistic practice? Can you identify moments where these "borders" have influenced how you move, create, or connect with others?
- The Sacred Body: Gómez-Peña speaks of the body as a sacred territory, where performance becomes a ritualized act. Reflect on a time when your body felt like a site of transformation or resistance. How might you channel this sense of sacredness into your performance work?
- Engaging with Risk and Vulnerability: Gómez-Peña highlights the body’s role in taking risks and confronting discomfort. What risks—emotional, physical, or conceptual—feel urgent for you to explore in performance? How do these risks relate to your personal or cultural experiences?