‘Facilitated OPENLAB’ with Laura Burns
15 February 2019
Circlusion and the Sounding Body
Research Studio | 10am-1pm | £7 suggested donation
We will work with sound as a material that reads the world. As touch, as direction, as proximity and distance, as the vibration of the material out of which my body, your body, our body e/merges. Sound as an activation of self through relation; as an attendance to matter.
We will explore sound in and through the figure of the hag – a sheila-na-gig type entity and archetypal presence who ingests, digests and swallows the world in an act of circlusion – not passive, but calling forth and dragging in, in order to alchemise, transform, dissolve. We work with the notion of stewardship not ownership; what moves moves through and only be/longs in this constantly shifting ushering in of which we are a small part. We move with the hag as a maker of the world not through production and generation, but as a site for digesting and transforming, swallowing the material back into the immaterial and moving from there.
All levels of experience welcome.
OPENLAB sessions are open to any performers: dancers, musicians, actors and anyone interested in presence and awareness in movement.
The facilitators of OPENLAB are also participants “in” the session and participants can propose their ideas for a future session. If you’d like to know more about this, come to one of our sessions or email Antonio de la Fe (firstname.lastname@example.org).
The OPENLAB sessions alternate between ‘White Canvas’ and ‘Facilated OPENLAB’ sessions. You can see the full programme for the Spring Term 2019 here.
The sessions function on a pay-what-you-can contribution basis to cover expenses and as an incentive for the facilitator of the session. We suggest a contribution of £7 for the 3-hour long sessions (‘Facilitated OPENLAB’ sessions) and of £5 for the 2-hour long ones (‘White Canvas’). Cash only.
About the Artist:
Laura is an artist and writer based in London. Her research considers the nonhuman and human ancestors as primary collaborators to develop a pedagogical and performance practice based on modes of deep listening. Her research with Place and the nonhuman stems from exploring the relationship between language and matter through practices of divination, sound-tracking, critical theory/thinking and dreaming. Working through dance and choreography, the act of stewardship is a position from which to explore what is possible at the boundary of performance making with the nonhuman. Training in Systemic Constellations and Kundalini Yoga underpin her artistic practice.