Introduction to the somatic practice of Continuum

Continuum is a movement practice founded by somatic pioneer and dancer Emilie Conrad (1934-2014), a proposition to explore the powerful connection between breath, sound and movement and their effects on our body and mind. I will speak about the founder, Emilie Conrad and how her work developed over the years. And I will speak about my own journey and how it has shaped my existence as a human being and further as a dancer, movement therapist and facilitator. We will have a 45 min dive to explore and inquire what we call « the fluid system » the intrinsic movements and resonance of our inner cellular and tissular landscape.

Touch as…

Meeting dancer and choreographer Vera Tussing who will give several short insights into her choreographic practice on tactility, consent and collectivity. She will read from a piece of writing that she is working on that reflects on the topic of touch from different angels. The participants are invited to listen and explore physically as well as engage in discussions.

From therapy to stage, from stage to filmmaking

Meeting Bernadett Jobbágy and Ferenc Kalman – representants
of two generations of ArtMan Association for the Arts and Movement Therapy – Budapest. Sharing images, stories and practice of our inclusive somatic work of 20 years.

Movement as an extended touch

I’ll share some of the ways in which I understand and work with touch:
dance as a relational and contextualised gesture, doing that is listening that is doing, synesthesia as an act of harmonising of vibrations, unisono as a space for ‘us’ to be in, utopias as tools, landscapes and environments of touch, diaries of (no) touch, how was your year, describe one touch from your day.

On the relationship between voice, movement and somatic approach

The proposal for the Saturday session comes as a follow-up of a continuous exploration of the relationship between the body and voice, in which this time the focus will be on a related topic, at the same time the main subject of this year’s SomaHut meeting cycle – the touch. Voice is a medium which can reach bones, tissues and body liquids with its vibrations and, although we don’t often connect it with something that manifests as a sound extension of the body in the space outside ourselves, it has an immense potential of simultaneously feeding the inner, intimate space of the body. And simultaneously it can really and physically touch the space around itself.

Tactility, proprioception and kinaesthetic experience in the field of visual arts

Due to the fact that the fine arts are focused on viewing and expressing the viewed, as well as on experiencing primarily by watching, in understanding the work, the tactile and kinaesthetic experience is entirely neglected both as a source of inspiration and as an experiential channel. In a short presentation I am going to demonstrate that neglected modality of perception and I am going to present works and authors from the field of visual arts, who are focused on experiencing through touch and active corporeal perception. I will also give an insight into my own creative process which includes an extremely somatic experience, and that will serve as a starting point for a brief workshop in sculpture. (Material: aluminum foil and paper)

Conversation on “Physical Manifestations” and the nature of somatic approach

Presentation will focus on the research project Physical manifestations (2012-2020) and the nature of somatic approach.  Snježana Premuš will address: the patterns hidden in the way we observe (the role of the eyes) / the coreo-social frameworks as environments for sensitising bodies, spatial relationships and increased attention /  the necessity of open presentation formats, such as a laboratory installation, research workshop situation.

Touch, attention, movement, stage

We start by touching ourselves. First with our palms and then with other body surfaces. After that we move the attention from the surface of touch to the space of touch. With that we enter the recognition of what is within the space of touch and what is outside. In so doing we let the touching to guide us in movement. At the end we pay attention to observing the choreographic and performing potential of such an action. And hopefully we enjoy it all the time.