The Duet of the Body and the City MK by Beatrice Jarvis

The body in the city acts as vessel; to carry, contain and interact;

forming

routes

and

navigations

through

the

immediacies of its encounter. The body in the city becomes a means to extend the discourses of the mind and architecture to a frontal physical plane. The experience of the body as it moves through its decided and undecided routes of the complex labyrinth

becomes

encounter

temporally

synthesis;

reflection

habits.

forming

Exploring

the

such

physical

passage

modes

landscape

ways

the

body

through the city can function as means for discourse as to the nature of affect the city may have on the psychology of urban human behaviour and simultaneously affords insight as to how the city is formed and cemented by the very patterns which human occupancy projects. This mutual dialectical relationship becomes

synonymous

concepts

how

far

cities

are

designed for people and how people essentially redesign and augment the fabric of urban texture. The embodiment of the urban

experience

the

human

form

becomes

focus

for

this

research; how far can the body enter a state of conscious reflection

its

use

and

positioning

within

the

built

environment to observe and how can such conscious observations be then potentially be reapplied to generate shifts in land use patterning and generate possible realms of progress within discourses of spatial planning

Saturday 9th May 2015. MK Arts Center The Duet of the Body and the City Towards Urban Embodiment and Narrative Encounter Beatrice Jarvis Groundwork Residency Tracing the Pathway: How is the experience of the city translated into the actions and reactions of the body? How can a choreographer create a choreographic process, which enables dancers and non-‐ dancers to actively deconstruct the urban environment in which they live? Will the outcome of such choreographic exploration begin to reflect the city in which has been used as stimulus for the process; or will the product which emerges become a personal narrative of counter cartography? Who takes part? If working in open social contexts how far does the nature of the sample affect the final choreographic result? How can a choreographer deal with systems of representation? Can a city ever be represented? A portrait of time and space at the moment it is explored?

How far can site specific performance become a social medium for the study of the political and cultural shifts in urban terrain? The encounter with place within this research generates tactic knowledge: the sensitive nature of trans-‐disciplinary workshop aims to explore the field of expanded choreography as a means of establishing socio-‐urban dialog and counter narrative to re-‐examine perspective of the individual body and collective social movement within urban terrain. MK will become a live urban laboratory in which participants explore their own relationship to place, time and space through the lenses of urban exploration, town planning, architecture, movement and visual and written documentation.

This research series invites you to reconsider the texture of the urban landscape using your body as a means to generate an embodied response to the ways in which people are using space. Taking routinal urban spaces in MK as temporary performance arenas and temporary workshops and studios, these exercises encourage participants to develop a specific movement and expression vocabulary, which is based on their observations of the interactions and explorations, which they can form from interacting with patterns in the landscape. Taking the approach that the city is ‘a place of multiple and contrasting realities’ ( Krupart. 85) these exercises encourages the active acknowledgement and appreciation of patterns which are occurring within the landscape, using such translating observations of quotidian daily spatial fluxus as creative stimulus and further research impetus. ‘But places have meanings; They are seen and interpreted through a social cultural filter.’ (Krupart. 85) These exercises are designed to explore how the body can become a vessel which can essentially function as a mechanism which will explore how the social landscape of movement is founded. Virilio alludes; ‘It is no longer the big events that make up the fabric of the landscape of time but the myriad 1 incidents, minute fact either over looked or deliberately ignored.’ The landscape from this perspective becomes a densely textured fabric woven with the very essence of the human condition. In this framework the human form becomes the predominant spatial node, as Grosz explores; the; ‘ body as 2 socio-‐cultural artifact’ yet such a framework for spatial investigation is fraught with complexity as 3 Burgin alludes; ‘There is no objectification without identification.’ The human form, to return to Grosz, cannot be disembodied from its spatial context, and equally spatial context, in reflection of the built environment, is the very fruit of human endeavor, such mutual co-‐dependence cannot be simply eradicated from such a theoretical framework. ‘Until quite recently, few sociologists realized that the understanding of everyday life must be the 4 foundation of all sociological research and theory.’ These exercises are based on the following assumptions and questions towards qualitative research methods; -‐ Life: Field Work: the camera and daily life: can a camera be used to create an archive of daily life, generating material for an archive of urban form, ultimately becoming a social tool for collective urban memory? Can performance which gathers stimulus from quotidian movement patterning form a similar archive? -‐ Filtering the Everyday: reassembling the norm: daily routine in relation to social use and potential ‘usefulness’ in the schema narrative construction. -‐ Architectural and planning narrative; how far the construction of a city may reflect narrative; spatial exploration; can creative exercise allow a deeper relationship to form with the city and generate the idea of the personal and the ‘normal’? Can such research have sociological worth. -‐ Sociological theory; how a theoretical understanding of everyday life can inform successful narrative construction, leading to an investigation of to how trends in qualitative and quantifiable sociological research models may use narrative as research function.

Virilio. P (2000) The Landscape of Events. Translated by Julie Rose. MIT Press. Cambridge, MA. Pxi Grosz. E. Bodies-‐Cities Sourced in Colomina. B ( 1992.)Sexuality and Space. Princeton Architectural Press. New York. P241 Burgin. V. Perverse Space. Sourced in Colomina. B ( 1992.)Sexuality and Space. Princeton Architectural Press. New York. P231 4 Douglas. J. (1971) Understanding Everyday Life. London/ Routledge and Kegan Paul. Ltd. p 3 2 3

Personal urban narrative generated from observational research can function as sociological stimulus to develop micro studies of place and space within the researcher’s experience of the city. Observations and explorations made can function as a social research only if placed in a critical social framework, hence critical dissemination of research materials forms an essential part of their assemblage. Critical sociological theory and practical physical exploration of the city; when presented together have the potential to form a greater urban understanding. Within these exercises the main feature of progress is to reinstate your own personal skills of critical and objective evaluation and to avoid the trap Haper alludes to; ‘…an anthropologist takes a photograph to illustrate a finding that he has already decided is significant, he (sic) waits until whatever it is happens, then points his camera at it. His camera is then incidental to this research activity and comes into late use in the field work period.’ He uses the camera not as research technique but as highly selective confirmation that certain things are so or as 5 a very selective sample of reality.’ It is of course essential to remember that any research will always be a selective framing of reality; due to the extensive amount of information the research has to address when filtering a response to the urban realm. ‘At every instant, there is more than the eye can see, more than the ear can hear, a setting or a view waiting to be explored. nothing is experienced by itself, but always in relation to its surroundings, the 6 sequences of events leading up to it, the memory of past experiences.’ 7 To collect photographs is to collect the world.’ ‘Photographs furnish evidence. Something we hear about, but doubt, seems proven when we’re shown 8 a photograph of it.’ The city is not a singular narrative; its variety, its flux and its transience create fluidity in each fleeting moment. That the city cannot be described in totality suggests that such diversity cannot be confined to a singular method and or a total vision. These research exercises place the researchers visions and observations of the city as critical research stimulus; initially through written and photographic explorations; then through embodied exercises, which seek to translate the research findings on to the body Photographs really are experience captured, and the camera is an ideal arm of consciousness in its 9 acquisitive mood’ ‘Our theoretical notions of reality are formative for our experiences; thus what we consider important for experience of architecture is intricately related to our conceptual frames. Our conceptual frames, the manner in which we approach questions pertaining the body, are of course, not formative, but 10 necessarily transformative.’

Collier (1967) p x in Haper. D. An Argument for Visual Sociology. Sourced in Poser. J (ed) (1998) in Poser. J (ed) (1998) p27 Lynch. K ( 1960) The Image of the City. USA. Massachusetts Institute of Technology. P 1 Kevin Lynch approached the notion of amassing a cartographic image of various cities, he developed non time based representation of the personal geographies of cities, these took the form of a long interview about the subjects’ patterns of space use in the city maps of areas of use of the city. 7 Clarke. G. (1997) The photograph. Oxford. Oxford University Press. P79 8 Discussed in Clarke. G. (1997) The photograph. Oxford. Oxford University Press. P81 9 Clarke. G. (1997) The photograph. Oxford. Oxford University Press. P83 10 Hauptmann. D. (eds) (2006) The Body in Architecture. 010 Publishers. Rotterdam. 6

‘ To dance is human, and humanity almost universally expresses itself in dance. Dance interweaves with other aspects of human life, such as communication and learning, belief systems, social realizations and political dynamics, loving and fighting, and urbanization and change, and evolutionary development of the human species. When dance is surprised for moral, religious or political reasons, it raises, phoenix like to assert the essence of humanity. Dance appears primary among aesthetic forms and, the instrument of dance, the human body, contributes to other forms, which use its spatial, temporal and kinetic elements. Such dance dynamics preserve in the broad spectrum of non dance aesthetic phenomena.’ 11 ‘ The process of healing rests within dance, an ancient practice with wonderful possibilities for us today.’ 12 This short introductory workshop is designed to help participants connect to their bodies in such a way that they may over look in daily life. Routine and habit often tend to lead us away from our core, spiraling outwards or so far inwards we forget to move in way that nourishes and nurtures our connections to the core and ourselves. This simple yet deep natured movement based class is designed to explore the connection to both the body and the worlds in which we live through a series of exercise which can then be adapted by participants into their everyday routines. “ One of the things that you learn about working with real life issues is that it can be transformative. You work with an issue because it is unresolved and through the dance we hope to discover new possibilities. It is not about the dances, it is not about the interpretation of a theme, and it is real. And by doing it you are getting to a different place with the issue and with your life. The dance changes the dancer. The purpose of the dance is to create change. That’s is why we started to use the word ritual. To distinguish from dance or entertainment, dance as spectacle. Not that it is not spectacle or that is not entertaining, but that is not its purpose, and that is very important for me.’ ( Halprin13) The exercises we shall explore today are designed to explore a richer and wider sense of what is going on in our lives. we discover more of who we are and what is happening to us as we move from ourselves and into engagement with what is around us. To live well is an art that grows from how fully we perceive and inhabit our worlds and our ability to respond creatively to what we sense each day. Our sense in being alive in each moment depends on our capacity to play and imagine what there is and to meet events with flexibility, curiosity, wonder, humor and passion. Yet all too often we live with a sense of being cut off from our bodies, our immediate senses are muffled, narrowed and distanced, and how we really feel lies hidden. This somatic based work is designed to reignite that connection, a search to enable each day to become more enriching, we begin simply to attune to both our bodies and each other and the place we are in. These exercises can be done at home or any place, any time, seeking connection and grounding. To create the space and time that one needs. Nourishing, grounding, homing, tuning, sensing, feeling, being. Being in the now.

11 12 13

Hanna. L. J (1979) To Dance is Human. University of Chicago Press. Chicago. p2 Halprin. A (1965) Moving Towards Life. Five Decades of Transformational Dance. Wesleyan University Press. New England USA. P 5 Halprin. A ( 1965) Moving Towards Life. Five Decades of Transformational Dance. Wesleyan University Press. New England USA. P 14

1. Be still.. breathe. let go, the need to do anything. sense stillness, emptiness, at the bottom of the breath, Pause in the turning moment, between one breath and the next, Open the inside of the body, Open the pathways of bone, open the skin, let the body spread open like a sail to the wind. Move into the spaces in and around the body. Sense endings and beginnings. Sense the possibility of movement. Interval, silence, emptiness. Listen to the space between one moment and the next. Let the body breathe, make room, sense the body. Sense the horizon. -‐-‐-‐-‐-‐ 2. ‘ To be in conversation is surely to live in the open. To be in conversation is to think and feel on your feet and not to speak of prepared positions. To be in conversation is to be who you are as who you are. It is to live in what is not yet in the other And what they are leading you to. It is when centers meet that the world is changed. To live in serious conversation is to live with the converse To live in and with the contradiction With opposites With the other than we are To be a place of meeting Not a place of judgment. To be in conversation is to enter into what flows In and amongst and between you. To be present in conversation is to speak of and speak to the world now.’ 14 -‐-‐-‐-‐-‐-‐-‐-‐-‐

Mair. M. Between Thee and Me. Between Psychology and Psychoanaylisis. A poetics of experience. Sourced in Crickmay. C, Tuffnell, M ( 2004) A Widening Field. Journeys in Body and Imagination. Dance Books. Hampshire. P40.

3. ‘ It is with working with our hands on invisible connections where we cannot see, deep in the body of night, penetrating, assembling and differentiating, debriding, stirring and churning, kneading, this constitutes the work on dreams. Always we are doing prescient work, but with invisibilities, with ambiguities and with moving materials. ‘ (James Hillman, The Dream and the Underworld) 15 ‘ The human body is vapor materialized by sunshine and, mixed with the life of stars.’ (Paracelsus) 16 “ Everything that gives light is dependent on something to which it clings, in order that it may continue to shine. Thus, sun and moon cling to heaven, and grain, grass and trees cling to earth.’ (I Chin) 17 ‘ The length of our bodies is suspended in a living and dynamic weave of tissues.’ 18 ‘ Listen to the voice of the wind and the ceaseless message that forms out of silence.’ ( Rilke)19 -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐ 4. be still listen to the beat of your heart let the face/ throat/ jaw soften sense the expression of the face let the face feel the heart let the face and the heart listen to each other imagine their conversation in making or moving send a message from the heart to the face spend time with a partner speak only of what brings you joy what delights and what heartens you? what keeps you warm share It. face to face side to side then move it. move with the delight that warms your heart.

Crickmay. C, Tuffnell, M ( 2004) A Widening Field. Journeys in Body and Imagination. Dance Books. Hampshire. P182 Crickmay. C, Tuffnell, M ( 2004) A Widening Field. Journeys in Body and Imagination. Dance Books. Hampshire. P193 Crickmay. C, Tuffnell, M ( 2004) A Widening Field. Journeys in Body and Imagination. Dance Books. Hampshire. P200 18 Crickmay. C, Tuffnell, M ( 2004) A Widening Field. Journeys in Body and Imagination. Dance Books. Hampshire. P210 19 Crickmay. C, Tuffnell, M ( 2004) A Widening Field. Journeys in Body and Imagination. Dance Books. Hampshire. P223 16 17

‘ Dance can be seen as physical behaviour; the human body releases energy through muscular responses to stimuli received by the brain. Movement, organized energy, is the essence of dance. The body or its parts contract and release, flex and extend, gesture and move from one place to the other. The action or existential flow of dancing is inseparable from the dancer; the creator and the instrument are one. Dance is cultural behaviour; a people’s values, attitudes and beliefs partly determine the conceptualization of dance as well as its physical production, style, content and performance. Dance comments reflexively on systems of thought, sustaining them, or undermining them though critic of institutions, policies or personages. Thus action and awareness merge. Dance is social behaviour. Social life is necessary for human mastery of the environment; dance reflects influence patterns of social organization (relationships between individuals, groups and among groups) The dancer may for example, play a specific role with special status, both of which are determined by society’s standards for proper dance behaviour. Dance is psychological, involving cognitive and emotional experiences affected by and affecting individuals personal and group life. Thus dance serves as a means of knowledge and coping with socially induced tensions and aggressive feelings. As economic behavior, dancers may perform for a fee to supplement or to earn their lively hood, or perhaps to enhance occupational skills or values. Some people spend their resources to take dance instruction or to watch others perform. Societies require a system of decision-‐making and enforcement. A political behavior, dance is forum for articulating political attitudes and values, it is an arena for training which carries over to important positions in other spheres of life, and a vehicle for control, adjudication and change. Dance is a communicative; a text in motion, or body language. This critical behaviour underlies most other dance motivations or actions. Dance is a physical symbol for feeling and/or thought and is sometimes a more effective medium than verbal language in revealing desires or masking true intent. Because humans are multisensory, they act and watch or feel often more than they verbalize and listen. The dance medium often comes into play when there is a lack of verbal expression. Movement and dance has become standardized or patterned symbols, and members of a society may understand that these symbols are intended to represent experiences in the external or physic world.’ 20 Preparations: In order to begin these exercises a few ideas are key in order to achieve a mind set which will achieve the exercises; • Arrive to location and consider how you usually approach space and dismiss the usual categorisations which you might use for reviewing how a space is used and how you might approach the review of existing spatial use. • become accustomed to using free association writing and use your camera as your eye ( in this sense not for aesthetic value by for an experiential quality of time and space) • allow your body and mind to become void; in this sense; an empty vessel which can collect and collate data about your surrounding; avoid subjective interpretations and preconceptions and try to become aware of your preconditioned social responses to social interaction. Set yourself a ‘Question’ for the day; ie a functional stance for the output of your observations and explorations: this question can relate to your own practice / research / interests.

Hanna. L. J (1979) To Dance is Human. University of Chicargo Press. Chicargo. p4

In the pack you have you will find: -‐ postcard ( Please write to MK over the course of the day ) -‐ Music score paper ( to write a short symphony of MK) -‐ sample collector ( please collect a sample of the city) -‐ Luggage lables (Please leave these in the city with a note to the finder ) -‐ red wool ( please make a sacred space in the city and mark it with this ) -‐ list pad ( please make some observational responses of the city during the day) When we return to MK Art Center for the sharing at 6.30 pm, please bring these item along to the sharing table for visitors to explore our day with us! .

The everyday is a laden and potentially hazardous infinite term within the field of visual sociology. Existing in a plethora of form, the Diasporas of elements, which constitute the definition of the everyday, mean that concepts of universality are limited to the various differences, which manifest globally within human routinal occupation of co-‐existing bodies in space. The everyday can shelter any pattern of events from global disaster, famine and war, to eating, drinking and the complexities of human inter-‐relations. Essentially the everyday is a malleable form; constructed by its respective subject. The objectives of this workshop are to explore how far everyday movement and interaction through public urban space can be observe red, notated and simulated to develop and cultivate a heightened awareness and understanding of the movement of people through time and space, and subsequent applications such observations may have towards place making. This workshop seeks to activate and enable a performance-‐based methodology to explore qualitative research methods to explore how bodies act together to make place. By developing an alternative movement based vocabulary, we aim to cultivate what may be termed as; ‘the embodied language of spatial experience’. Drawing solely on the realities of people moving in time and space, this workshop encourages a means to describe and utilize an understanding of basic space use to develop photographs, drawings and movement sequences which reflect upon the notion of the self in space. ‘The everyday is said to demand an interdisciplinary openness, a willingness to blur creatively the traditional research methods and protocols of disciplines such as philosophy, anthropology and 21 sociology.’ • How far can photography generate creative and sociologically informative production, which alleviates the everyday from individual perceptive life world strata to a wider social frame? • How often is the particularity of everyday life lost as the process of description and interpretation transforms it? Can qualitative research methods imbue daily activity with the force of the spectacular? • How far can the practice and social investigation of quotidian observation and simulation enable the revisioning of contemporary performance practices and sociological research? ‘How can everyday life be defined? It surrounds us; it besieges us, on all sides and from all directions. We are inside and outside of it. No so called ‘elevated’ activity can be reduced to it, nor can it be separated from it. Its activities are born, they grow and emerge, once they have left the nourishing earth of their native land not one of them can be formed and fulfilled on its own account. In this earth they are born. If they emerge, it is because they have grown and prospered. It is at the heart of the 22 everyday that projects become works of creativity.’

2 Johnstone. S. Recent Art and the Everyday. Sourced in Johnstone.S ( ed) ( 2008) The Everyday. Documents of Contemporary Art. London. Whitechapel Press and MIT Press. P15 22 Lefebvre. H. ( 1961) Clearing the Ground. Sourced in Johnstone.S ( ed) ( 2008) The Everyday. Documents of Contemporary Art. London. Whitechapel Press and MIT Press. P29

A list of short exercises to be completed on initial arrival to each site. Write for 5 minutes a free association piece as to all you see you around you ( decide a focus; texture, sound, characters, activity) 1.

Write for a further five minutes on a set 2m square of space and continue with your initial focus 2.

Listen for five minutes with your eyes closed and after this period write down the most notably sounds when you open your eyes. 3.

Photograph with no intention for 5 minutes walking a path with no intention ( pay no attention to aesthetics or focus) 4.

Decide a focus and photograph for a further 5 minutes. 5.

Decide a particular question you would like to investigate in the area you are in. Cement this question and write it down in a place you can refer to easily.

Research Exercises: On the follow ing three pages are three performance based research task s. Please complete in order. Please keep at the forefront of your mind your ow n research objective.

Exercise i |The body accepts | The body resists |Performance score Arrive to location; What does the space necessitate you to do? Consider pace, stance, emotion, proximity to others, placement of body in space. Allow your body to mirror, imitate and follow movement sets which you notice around you. Allow your body to blend with such patterns. | Allow such motion to happen | Let it pass. Return to the emotion of arrival; remember your preconceptions; trace the stances which they have left on your body. Trace the acceptance you fabricated to the space | Simplify Allow your body to repeat the motions you chose to represent. Notice if anything feels uncomfortable Closing your eyes allow yourself to dismiss the response to the patterns which you performed Dismiss. In softness, find comfort and stability in newness; in your own innovation to dismiss the constructs you first constructed. Take such movement and reapply allowing yourself allowing yourself to emerge to a new point of arrival. Take a sense of the liberation you experienced in this momentary freedom. Return to a sense of place; how are people around you walking? How can you feel and sense the pace of the space? The emotion by which the space is allowing people to move through it; how do you fit into this scale? How does your body fit to the construction around you? Return to forms to space to generate an understanding of the body; see how shadows of buildings may affect or generate shapes and forms in location. How are you accepting the behaviors of place and how can such observations manifest as contract in your body Take a moment to allow yourself to formally agree to the expectations of the space you occupy. Pause; filling the space through breath; envisaging flux both internal and external. Allow yourself to actively become a spatial anomaly to the space you occupy. Play with alternating these positions, pacing acceptance and dismissal as you wish. Return to the space as neutral; become void Return to your breath; acknowledge streams of thoughts to come and to pass, direct attention to breath, the rise and fall of the exchange of the breath, which you consume and direct back into the space you are in dialog with. Finish such experience as you wish, setting out however the terms by which you are acknowledging and dismissing your reality as to what the space demands and reflect to you.

Exercise ii | Emerge, Merge, Collect Depart. 1. Arrive to location …Take a long slow look around, the way people are moving, the way they come and go, the things they do, their pace and their patterns, maybe take some photos, make a few notes… 2. Then merge with the patterns of movement you see there… See the people and their actions; remove them from their space; see them and their bodies. .....join in, mimic, simulate, copy, imitate what you see there, try to be unobtrusive but also be aware of what you are doing. Do this for long enough to blend with the patterns, possibly 5 minutes or so, trying different movements and sequences if you like. Then as soon as you can make some notes and records of this experience, thinking about the place and space….its form and shadows, its steps and seats and trees …… 3. Then from that ‘ordinary’ sequence choose one or two – a step, a stance, a gesture ….and repeat that in the place you are working in. Note your feelings and if anything feels strange – are you uncomfortable?, are you being looked at? THEN do the same with your eyes closed a few times! (then open your eyes, and make some more notes) 4. Next teach yourself these movements and add to them… ….turn them into a little performance, half natural half new movements of your own, something freer and more complex perhaps than the original you have already ‘taught’ yourself ….and then ‘perform’ that in the space, with ordinary users and their movements around you. Change and modify this as you repeat them, adding improvised cadenzas and unexpected changes. Try another. After you have done this a few times, and maybe noticed reactions to your actions, pause and again make some notes. …..

5. Then start over again in your other chosen place and repeat the exercises in response to that place and movements. 6.. Collect together your notes and records and add any further observations and pause ( There will be a reflection period here for all involved) Part two •

What’s missing from the space?

•

How can your body become an architectural intervention?

•

How can the body become a means to unveil the potential ( used in the subjective realm) of the space?

•

Respecting existing patterns and codes of use; how can the body be applied to the site/ location as a means of executing a subtle nuance of change.

•

This exercise may allow schemas of interaction and participation to arise as reactions from the general public.

•

The intention of this exercise is not to subvert spatial use patterns; rather to explore what the space may lack and develop a means of amplifying spatial use.

•

How can the body be used in a non intrusive way to develop a means of allowing a mode of spatial evaluation to occur?

•

Take an action/series of actions and consolidate and finalize it to generate one sequence/action which you feel can add to your perceived potential of the space you have been researching.

Exercise iii| the city as studio I. Take a walk with a partner; one person will have their eyes closed; the other will lead them through the site for a walk. ( This should be a 5minute exposure) By depriving the body of sight, this will allow you to become more attuned to the processes of your body in the street and to note the sounds and smells, the site becomes a sensorial experience. ( swap round) II. Take a walk alone now through the site; this time take a notebook and write a list of all the physical actions you observe. ( your body here becomes more dormant, the text will later become movement score) III. Take a walk and actively seek to follow the score you have just written of physical actions, ( this can be added to and repeated) The essence here is to develop a short movement phrase. IV. Meet with your partner, without speaking, and attempt to teach them the movement pattern you just repeated and learnt. V. Repeat together; try to be aware of each other and how these patterns may have potential to inter act. This improvisation will last for 15 minutes. ( in a site removed from original location) We will then all meet in a site and collectively perform both our phrase and the phrase which you attempted to learn from another. Rather than sticking to your original partner and try this phrase with another person and continue; so the whole group is cohesive. •

We will then all go back to the original site and perform this again.

Ask you self the following: -‐How far does your body become spectacle within this exercise? -‐How far can this exercise be pedestrian or performance? Can you play with the boundaries between these two? -‐ does your body express your emotions; if so; how is this communication occurring; if not; can you explain the ‘blockages’ you may be experiencing. We will then take this exercise to another site and attempt to consolidate a 15-‐minute piece.

I have made several films of my explorations of MK, these can be found here: http://vimeo.com/beatricejarvis

BIO | Beatrice Jarvis Choreographer, visual artist and urban space researcher/creative facilitator. University of Kingston / University of Ulster Beatrice is an urban space creative facilitator, choreographer and researcher. She utilizes key concepts of choreography and visual arts methodologies with the intention to develop, original doctoral research on the connections between choreography and urban cultures developing heightened socio-‐cultural responses to the urban realm. Her practice merges essential techniques in a sociological framework of critical perspectives, cultivating a unique stance point to practice based research. Beatrice is currently a visiting lecturer at various town planning and architecture departments in London and wider afield in Europe (LSBU & AAIS, The Bucharest National University of Arts) developing a platform for the conceptual and physical integration of urban planning, sociology and choreography leading to practical social creative implementation and curation. Beatrice is keen to create platforms social interaction using urban wastelands, conflict zones and areas of social and cultural transformation and reflections on urban habitation as a creative resource. Beatrice received distinction for her MA in Photography and Urban Cultures affiliated by Arts and Humanities Research Council within the Department of Visual Sociology at, Goldsmiths and now continues with her PhD at University of Ulster and Kingston University within the Architecture department; fusing a strong mixture of practice, research, experimentation and exploration to create a unique approach to urban socio-‐choreographic research. Her PhD is titled: The socio-‐choreographic apparatus| Developing a practice of social choreography through practice of individual and collective embodiment. The Sociological Dimension of Choreography as framework for progression of social reconciliation. Beatrice initiated an urban forum: Urban Research Forum for artists, architects, urban designers, cultural researchers, sociologists, anthropologists and all with an urban interest. This is conducted through seminars, workshops, performances and exhibitions. Collaboration, discourse and intellectual inquiry are seminal to her constant sense of enquiry. Her practice has been profiled within dOCUMENTA (13), (Kassel) Pina Bausch Symposium, (London), The School of Art in Bucharest and various spaces in Berlin; including VITal, C|O, and Zentrum. She has presented her research: ‘Das Duet des Leibes und der Stadt. Berlin. Verschieben Stadt’ at Annual Association of Geographers Annual Meeting: LA; exploring the position of the body as social and political archive. Her research has been profiled at Urban Encounters Tate Britain 2014, Critical Costume (Helsinki 2015) The Playhouse; Derry, Bauhaus-‐Universität; Weimar, Birkbeck College; University of London, DRFI 4th International Conference 2012; Urban Photo Fest; Irish Association of Geographers: Annual Conference 2013: National University of Ireland, Galway, Aarhus School of Architecture 2014, Bucharest School of Art, Terror and the Tour and Galway Dance Festival. Her commissions include Jerwood Space, Steven Lawrence Center and EGFK. For further examples of current work please see the following links: Creative City life: http://beatricejarvis.net/ Urban Research, Workshop templates; Selected Writing: http://issuu.com/urbanresearchforum Documentation: http://www.blurb.com/user/bj87 City as Studio: http://urbanorganics.cultura3.net/Resources/media/promo.mov