Sensuousness in the centre Speach bubbles demand answers to different levels of commitment from the students: leading the way, you ask: “Coming or going, sir?” choosing an experience, you ask: “Committing or quitting, young master?” questioning or finding doubt, you ask: “Staying or swaying, madam?” receiving or finding trust, you ask: “Opening or closing, miss?” The structure asks you: What do you see? Encourages you to: Write concrete ideas: Now,…
Central to this page is a conventional understanding of Performance versus Teaching Each mode of interaction has a set of inferred qualities. Here, the claim is that Performance (as in performance art) poses questions, while teaching delivers answers. Teaching presupposes knowledge, which can be correct (or incorrect), it has a number of sources (books, images, films, etc.) and is generally understood to need acquiering. At the same time, Teaching includes methods, which can…
After having finished the two-week manifestation, it occurred to me that focus seemed to slip among the teachers’ faculty – from being immerged in the sensuous universe with all the industrious, imaginative, playful thinking and experimenting which it entails to staying in the teachers’ backstage all the time – except for teaching hours and conference. Maybe people sought refuge from speaking an awkward English, or from being confronted with the…
What are the boundaries for exploring emotional effects in the class room? Students had been given a simple task for homework: 1. Have someone whisper in your ear – a poem, song lyric, any other text committed to heart. 2. Note down the sensation – not your feelings, musings, or a new poem – stay in the sensuous experience of the whispering. In class, they were asked to share their…
