7th March Discussion Continued
I found the different questionings behind the work really interesting and also reflecting on the initial meaning behind the work but seeing its relevance now in the COVID-19 world.
The themes of intimacy, democracy even ethics are all everyday conversations that directly and consciously effect everyone on the earth. The use of the glass screens in "(Un)touched" and thermal cameras in "Shred, Shroud, Exchange, Stroke, Spread." it just has such a different perspective than maybe the initial creative collaboration intention.
When discussing this in terms of the theory and framework and how we can merge all of this together, I finally had a few pieces fall together in my mind, in terms of the thread between my professional practice and my different areas of learning.
I've also sparked a question in myself as a teacher and my use of sharing my own personal experiences for a deeper connection and understanding with our university students and maybe the ethical enquiries this could raise.
We all approach our work from a place of good intention (or I would hope we do) but does this always stay within the expected barriers of a teacher/student conversation. Further on from this, what is that conversation supposed to be? Within the realm of creativity do we not all cross over into our own beliefs on each subject based on our external and internal experience of the chosen subject? Don't we all have embodied wisdom as teachers as we move from year to year with our students, their own individual connection in learning and evolving our approach and use of vocabulary which we have discussed before?
Going off on another tangent, Angela's discussion also sparked another area of interest with myself and my creation through to fruition of a creative concept. With the mention of the black box studio and the suggested passive role of the audience whilst a pictorial display is on offer and how again the current climate has pushed me into approaching this years showcases in a completely different way.
The 'black box' audience in the same breathing space as the performer has been taken away from us and I am now working with camera and angles and editing which allow the lens, both physical and cognitive at which I'm looking at the created work to completely differ. Which as Angela's work has done brings up the thread of intimacy, now not only between the audience and the performer, but also through each performer in the same piece of work.
Thank you Charlotte, hearing how and why you’ve connected to the meeting is quite insightful to me, I’ve enjoyed reading Susan’s post too. I’m glad to read the penny has dropped for you.
ReplyDeleteYou also mention the sharing of personal experiences with your students. This is a constant query I have in my own practice. Starting conversations with ‘when I was young’ for example, can often be quite amusing to students, as well as educational in the way that it provides a background of relativity and how far we’ve come in our studio/city/country/world. Teacher/student conversation however has never been discussed in any of the teaching courses I’ve attended. Although I’ve taken pride NOT to emulate words spoken in class, whether as a student or student teacher, I would still like to know if what I’m saying is still acceptable? Like you, I would think so ... but? I look forward to module 2 to discuss further.