October 3-7, 2016
Dovercourt House, 10am-12pm
$75/week or $15 to drop-in
Email tolove.in@gmail.com to pre-register
*Please note our prices include HST*

In this workshop we will dance with fascia, moving with and being made different by its generative possibilities. Fascia is often referred to as connective tissue and seen as simply wrapping muscles. But it is also an active, intelligent and communicative sensory organ enveloping, permeating and constituting the body. As the “fabric” of our form it shifts our perspective from a body made up of parts to the wholeness of the architecture holding them together. Fascia can be described as a biomatrix that surrounds everything in our bodies, connects everything, and yet paradoxically cleaves and separates everything.  It is not one thing.  The emergent set of anatomical claims about fascia stretches between communities of biologists, massage therapists, doctors, anatomist and pathologists as well as somatic practitioners and dancers. In this experimental dance research lab we will use these different claims, place ourselves in the midst of these new forms of experimental embodiment being made, and MOVE with them to create different movement scores, motifs and embodied questions in relation to fascia.
We will focus on how different models of fascia can animate our dancing bodies, creating a multitude of more than one kind of body. We will engage with the scientific practice of model building in relation to fascia to ask what can these models do? Scientists rely on three-dimensional models as objects to think with: they are recursively made and remade in attempts to conceptualize and actualize new hypothesis and new modes of inquiry. Model building entangles a modeler’s entire sensorium, and modelers must learn to feel their way through the data in order to interpret in the forms they study.
Can building models and moving with them cultivate a felt sense of emerging biological concepts for dance researchers? What does making models do to our dancing? What sensibilities emerge in their making? We couple the question of “what can a body do?” with the question “what can an instrument or fascia model do?” In the process we observe the ongoing making of subjects and objects inside this dance experiment.
About Kevin: Kevin O’Connor is a multidisciplinary artist working as a choreographer, dancer, improviser, and installation artist currently based in the San Francisco Bay Area. He has been learning from and teaching within the Axis Syllabus community for over a decade. He is part of a long term collaboration with Ruth Douthwright and Billy as part of a small collective of settler Canadian and Indigenous artists exploring community/site based performance in particular watersheds in Ontario, Canada. Kevin’s attentional practices have recently been made different by working as a biodynamic cranial sacral practitioner and learning alongside Inuit hunting families on Baffin Island. He is currently completing a PhD in Performance Studies at UC Davis where he is researching emerging anatomies in relation to fascia, body performance capacities and imaginations, unsettling practices, and community-based art making collaborations.