- DAS Research
THIRD Cohort 1
Most of Alice Chauchat’s activities revolve around dance: from dancing to choreograph- ing to teaching to supporting peers to making up structures for thinking and developing together to writing to directing institutions to pondering through dance practice on politics and ethics of alterity and togetherness. She has collaborated and performed with Anne Juren, Alix Eynaudi and Frédéric Gies, Jennifer Lacey, Xavier le Roy, Juan Dominguez and Mårten Spångberg among others. With Mette Ingvartsen, Petra Sabisch, Eleanor Bauer, Ellen Söderhult et al she developed everybodystool- box.net and nobody’s dance so dancers learn more from each other. Directing the Labora- toires d’Aubervilliers she studied how institu- tions can support artistic research, and at HZT Berlin she is presently a guest professor. With Jennifer Lacey she also hosted Teachback, a research project on the crossovers and mutual undoings of arts and education; this conversa- tion continues.
Dances for a relational / entwined / diffracted subject
Somatic practices, in their self-reflexive nature, emphasize the body-mind unit as well as a self-awareness that embraces “self” as a bundle of sensations, actions, emotions and thoughts.
Drawing the consequences of Georges Simondon's philosophy of individuation and Karen Barad's understanding of entanglement, I wish to open up the promise of somatic practices and explore the hypothesis of relational somatics, as an embodied, self-reflexive practice of relationality. Relating implies living with alterity. The Other is always unknown, forcing us to acknowledge the existence of an experience that is not (completely) shared. Relational somatics would thus actively embrace and articulate the awareness of partiality and ignorance with the other inputs composing experience.
This an aesthetic and technical project, more than a therapeutic one. The stakes will be to elaborate an entangled/relational understanding of “the soma” (self-aware and dynamically entangled sensations, thoughts, relationships etc.) through the development and study of dance practices that perform it: produce, activate and make it appear. As an artistic project it must embrace invention and artifice; as a research project it means paying attention to the frictions between projected and lived experience. Taking up Foucault's concept of technologies of the self, I wish to design a reflected practice of dance, as a technology of the entangled self.