Due to the simultaneous linguistic and musical quality of voicing, voiced breath poses theoretical challenges to notions of ‘embodiment’, especially as they are used in theatre practice/studies. In this article, I make two intertwining arguments to address questions of the place of semantic meaning and conscious thought in performance practice/theories as they arose in my anthropological engagement with laboratory theatre. Firstly, theatre and performance practice/theories keen to embrace ‘embodiment’ often leave out things like explicit analysis, reflexivity, referential or semantic meaning (...) and so on because, as my ethnography shows, they are judged as secondary, and thus belonging implicitly more closely to disembodied ‘mind’. I engage in anthropological comparison to show how other ways of being/knowing complicate any sense in which practices labelled ‘embodied’ can be seen as primary in contrast to conscious, linguistic or explicit knowing. Instead I outline an onto/epistemology of emergence that offers an alternative imaginary in which no binaries exist a priori. Rather all is a matter of ongoing mutual constitution. Secondly, while the discourses of embodiment in performance practice/theory that I critique may continue to reproduce dualist assumptions, theatre approaches influenced by Grotowski’s anti-method, focusing on continual revision of practice, offer insights for scholarship concerned with the ontological indistinguishability of social, psychological and physical phenomena. Laboratory theatre practices offer a prospective way of knowing, enabling an exploration of the ontological equality of breath, in this case in song, and the sorts of meaningfulness associated with language and analysis. In 2011, my Nanna (grandmother in Maltese) passed away in circumstances that remain traumatic to me. I turned with to my daily practices to find ways to scream, to grieve: to anthropology and to a particular practice of song in laboratory theatre, where encounter is actively sought. Arising from ethnographic and analytic engagement with such practices, in this article, I offer an anthropologically inflected critique of notions of embodiment in performance studies and performance philosophy. I present the alternative imaginary of emergence onto/epistemologies and the prospective investigative practices of laboratory theatre. I do this by weaving autobiographical, ethnographic and anthropological threads to explore my own practice relating to the work of my collaborator Gey Pin Ang, a Singaporean director, actor and pedagogue. (shrink)

This paper explores how touch is key to understanding education—not as an achievement or an instrument of acquisition, but as a process through which one becomes a subject capable of both living and leading a life that matters for ourselves and others. As a process, it is concerned with how we encounter things and others in the world and not solely with what we encounter. In particular, it argues that the dynamics of touch-as both a touching and being touched by-are (...) central for understanding educational encounters as sensory landscapes of contact. This paper turns first to Aristotle’s understanding of touch as central to life itself in order to contemplate how it is not merely one of the senses but signifies as the primary mode of all bodily contact with the world. This vital aspect will then be examined in relation to the specific ways bodies experience contact, through their membranes, morphological make up and their movements. Here, I draw on a number of philosophers and theorists, such as Maxine Sheets-Johnstone, Juhani Pallasmaa and Erin Manning, and a recent art installation The Boarding School by Sisters Hope to demonstrate how bodies matter to the very practices of education. I conclude with some thoughts on what morphologies, membranes and movements can specifically offer to a sensuous understanding of education. (shrink)

Situated normativity is the ability of skilled individuals to distinguish better from worse, adequate from inadequate, appropriate from inappropriate, or correct from incorrect in the context of a particular situation. Situated normativity consists in a situated appreciation expressed in normative behaviour, and can be experienced as a bodily affective tension that motivates a skilled individual to act on particular possibilities for action offered by a concrete situation. The concept of situated normativity has so far primarily been discussed in the context (...) of skilled unreflective action. In this paper, we aim to explore and sketch the role of the concept of situated normativity in characterising more reflective forms of normativity. The goal of the paper is two-fold: first, by showing more reflective forms of normativity to be continuous with unreflective situated normativity, we bring these reflective forms into the reach of embodied accounts of cognition; and second, by extending the concept of situated normativity, new light is thrown on questions regarding reflective forms of cognition. We show that sociomaterial aspects of situations are crucial for understanding more reflective forms of normativity. We also shed light on the important question of how explicit rules can compel people to behave in particular ways. (shrink)