Choreography:
Joanna Kerkelä
Dancers/Performers:
Mira Jochimsen, Philippa Felländer-Tsai, Laura Linna, Joanna Kerkerlä
Sound design:
Otto Seppä and editing Kacper Migas
Text references:
1 – The Mushroom at the End of the World - Anna Lowenhaupt Tsing
2 - RECLAIMING NATURE BY RECLAIMING THE BODY - Guðbjörg R. Jóhannesdóttir and Sigridur Thorgeirsdottir (University of Iceland)
Photography:
Celine Barwich
Performed in November 2022 at Stockholm University of the Arts as Joanna’s Bachelor Degree Project
Joanna Kerkelä
Dancers/Performers:
Mira Jochimsen, Philippa Felländer-Tsai, Laura Linna, Joanna Kerkerlä
Sound design:
Otto Seppä and editing Kacper Migas
Text references:
1 – The Mushroom at the End of the World - Anna Lowenhaupt Tsing
2 - RECLAIMING NATURE BY RECLAIMING THE BODY - Guðbjörg R. Jóhannesdóttir and Sigridur Thorgeirsdottir (University of Iceland)
Photography:
Celine Barwich
Performed in November 2022 at Stockholm University of the Arts as Joanna’s Bachelor Degree Project
HUMAN BOTANY 2.0
Human Botany is a performative installation movement laboratory.
In this space for ongoing movement research, the physical practice concentrates on attending to the sensing, feeling body through exploration of the timing of a plant and other ´temporal timings´ (Tsing) with it.
Progress is embedded, too, in widely accepted assumptions about what it means to be human. Even when disguised through other terms, such as “agency”, “consciousness”, and “intention”, we learn over and over that humans are different from the rest of the living world because we look forward- while other species, which live day to day, are thus dependent on us. As long as we imagine that humans are made through progress, nonhumans are stuck within this imaginative framework too.” (Chapter 1; Arts of Noticing, Anna Lowenhaupt Tsing)
Sensing like embodied being (ref.2) is in the core of practicing temporality and the Nowness. What does my skin sense? What does my skin see? Where does my body meet?
Human Botany is a performative installation movement laboratory.
In this space for ongoing movement research, the physical practice concentrates on attending to the sensing, feeling body through exploration of the timing of a plant and other ´temporal timings´ (Tsing) with it.
Progress is embedded, too, in widely accepted assumptions about what it means to be human. Even when disguised through other terms, such as “agency”, “consciousness”, and “intention”, we learn over and over that humans are different from the rest of the living world because we look forward- while other species, which live day to day, are thus dependent on us. As long as we imagine that humans are made through progress, nonhumans are stuck within this imaginative framework too.” (Chapter 1; Arts of Noticing, Anna Lowenhaupt Tsing)
Sensing like embodied being (ref.2) is in the core of practicing temporality and the Nowness. What does my skin sense? What does my skin see? Where does my body meet?
