Documento sensível, asas e voo: Uma pesquisa-criação em práticas somáticas, dança e filosofia

How does writing translate sensations, small perceptions and images of the experience of the body in dance into verbal language and conceptual thinking? How does a method in dance and philosophy operate based upon a "shift of scale" from macro to micro perceptions (Gil, 2010, p.49)? How does a body move in the liminal space-time between dance and its philosophical reflection? How are artistic practices developed in an approach that understands art as critical thinking and embodied theory, not art or academia as market (Gomez-Peña, 2013)? As she held my ribcage, one hand under each of my lungs, I felt the movement, the space, and the separation of the lungs side by side supported by the hands. In this sensorial document, written a few hours after a somatic and dance practice, I was just listening to the body as I lay there to experience this tectonic recomposition of my chest. The sensorial document consists of a method that links and translates actions throughout a research-creation in dance and philosophy. When making the sensorial document one must trust, as in Artaud, that the practice is about “word-action” and “gesture-action” (Gil, in print). “- If you were a bird, you could fly”, says the mother to the child (Dolto, 1992, p.21). The child who could not walk experiences the sensation of flight. At the same time, the child understands its limits and the power of flight: it captures the power of the mother's words and flies. In my experience in the field of dance and philosophy, something transgresses the danced gesture, verbal language and conceptual thought: force. In this essay, I analyze how the force of gesture and word acts on bodies, enhancing the life of the body (soma) through the following practical examples: the relationship established between choreographer and performer in a context of artistic creation and between trainer and participants in a context of somatic practices.