Pocha workshops discuss the politics of documentation and
theses issues include how the documentation of others digitally will affect
society.
Pocha workshops often extend into the social life of the
group. It is important for participants to “connect” in a more informal way.
Informal encounters with little pressure are encouraged in the workshop. In a
situation with low societal pressure, people are more open to speaking
passionately. It is during these reflective sessions that we can openly discuss
the project’s aesthetic currency, cultural impact, and political
pertinence.
Words to try to avoid when
conducting a workshop Autobiographical Correct/ incorrect Chinga tu madre
Derrida Developing or emerging artist Erection Healing/ cathartic/ therapeutic
Horny Inner (anything) Inter-textuality Languaging Liminal.
This section, the very heart of the
book, is divided into four parts:
1. Part 1 contains “hands-on”
exercises (physical and/ or perceptual) to help you reconnect with your bodies,
operate in “performance mode”, explore various strategies for collaboration,
sharpen your performance senses, control and direct your gaze while in
“performance mode”, and develop a collective performance vocabulary.
2. Part 2 includes conceptual and
poetic exercises to help you hone your analytical and rhetorical skills, and
map out new territories of inquiry in non-confrontational discussion that we
have found useful in dealing with cultural divides and tensions that emerge out
of racial, gender, social, or generational difference.
3. Part 3 includes “creative
exercises” that help participants develop original performance material.
4. Part 4 describes the
“infamous
Pocha Jam sessions” that will become the bulk of the creative sessions utilizes steps one through four.
Pocha Jam sessions” that will become the bulk of the creative sessions utilizes steps one through four.
5. Part 5 includes various methods
for bringing the practice to the public in open performance salons and larger
scale presentations.
The exercises follow a natural line
of progression from one to the other. Some are repeated daily with variations;
others occur only a few times during the entire workshop.
Use visual images to describe an exercise; explore language within your teaching. Remember that teaching is also performing.
Use visual images to describe an exercise; explore language within your teaching. Remember that teaching is also performing.
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