The Turbulence Project
Annotatsiya
Over the past five years, as a modern dance choreographer and Laban Movement analyst, I have been investigating various approaches to touching cities–in Hong Kong and Cochin–as a set of choreographic practices with implications for both daily and staged performances. In order to navigate multiple and at times vertiginous forms of border-crossing, I have begun to devise four constitutive modes of framing my current choreography in ways that emphasize tactility: passing through, touch patterns, shadows, and the use of windows. Such forms of touching cities are a type of mobile architectonics, an art of constructing systems, in which we come to know not who we are but where we are through making and finding ourselves in the spaces of the city, through the galvanic responses that pass from city to body and from body to city and toward and across the multitude of bodies. These touch experiments engender new practices of embodiment—that is the multiplying of sense-bodies, new geographies, and preliminary mappings of what I have called "revelatory turbulence." The strange dynamic persistence of those pressing, frustrating questions on how to think through new forms of revelatory turbulence through materials, bodies, and architectures across cultural and geographical locations and disciplines will generate new understandings and maps for touching cities, new cross disciplinary practices, and new pedagogical forums.