Teaching & Workshops
As a visiting lecturer I deliver on practical and theoretical courses in Further and Higher Education contexts, in performance art, dance, choreographic, and fine art subjects. Most recently I have delivered on the MFA Choreography, Trinity Laban Conservatoire of Music and Dance, and MA Performance, Leeds Beckett University.
I have facilitated artists' workshops to both institutional and non-institutional groups, nationally and internationally, including; Chelsea College of Art and Design, University of the Arts, London; Nottingham Trent University; Northumbria University, Newcastle Upon Tyne; Concordia University, Montreal; and Zurich University of the Arts.
Workshops are both practical and discursive, with a fluid balance between performative and theoretical elements. The content of each workshop is developed in dialogue with the specific group or individual. Much like performance, workshops are responsive, relational, and singular events.
Given this approach, I do not repeat syllabi or workshops. However, the following areas underscore my approach:
- somatic awareness
- affective attunement
- somatics in creative contexts
- writing embodied knowledge
- intuition in solo and group performance
- the politics of the body
- neurodiverse perception / autistic perception
- sensory sensitivities in autistic spectrum conditions
- performance (as) philosophy
As well as movement-based explorations, workshops often incorporate philosophy, poetry, literature, sculptural objects, sound (aural and oral), automatic writing, automatic drawing, and open discussion.
In this workshop we will draw on the somatic practices Body Mind Centering (BMC) and Authentic Movement (AM), to focus on the inner structure of the body as a “kinaesthetic universe.” Through guided movement explorations, often performed unsighted (with eyes closed) and for extended durations, we will experience “moving in stillness,” developing a cellular attunement to the micro-movements or “minor gestures” at the cusp of awareness.
Through kinaesthetic attention to the various systems of the body (musculoskeletal, respiratory, nervous, fluid, organ, endocrine), our aim is to eschew dominant modes of aesthetic experience (more often located within the visual sense), and dominant modes of communication (more often semiotic and linguistic), for a language of the body. Learning to privilege (not denigrate) embodied experience as a legitimate way of knowing, listening and speaking, based on intuition and sentience.
In addition to solo, duet and small group movement explorations, we will participate in discursive exercises, such as open discussion and timed automatic writing. Through externalising inner experience, the intention is that each participant will discover new languages and new strategies for making, such that these somatic methods can be applied to each person’s unique art practice.
Through specialist, somatic methodologies, in particular, Experiential Anatomy, we will regard tacit, sensory experience as an embodied form of knowing. As such, your body is positioned as the sensory locus of research.
In dialogue with a physical practice, selected readings will be given that contextualise the paradigm of phenomenological approaches to practice-led/as research, in artistic and academic contexts. Moving fluidly between theory and practice, we will unpick the critical difference between embodied knowledge “in theory” and embodied knowledge “in practice.”
These sentient knowledges might require expression in various forms, such as written and spoken word, sound, live action, gesture, movement, object, drawing, image and video. Participants are encouraged to map autoethnographic and transgenerational experience onto somatic pathways, as entangled modes of embodied knowing.
In summary, these somatic approaches to research are regarded as feminist strategies, foregrounding the way in which situated knowledges and somatic epistemologies have a stake in transforming generalised and received (read as patriarchal and essentialist) knowledges.
“Victoria delivered an Interlude workshop at Northumbria University running a group session with students and professionals from BA and MA Fine Art, Drama and Animation. Victoria's approach made the group feel comfortable and relaxed to talk and take part in the discussions and activities. Each participant in the group was able to take some part of the workshops and relate it to their own practice. Overall the workshop was exciting and eye opening to the theories and techniques of intrinsic body movements and how we can use this as individual or collaboratively within a space. "
Georgia Bates – MA Fine Art student (Northumbria University, UK)
"It was a very enriching and joint experience of exchange between peers, thank you so much for the quality of your presence, presentation and trust. We discovered new ways of sharing knowledge and the ongoing discussion allowed the group to find forms that matched our sensibility, bringing empowering or simply stimulating encounters."
Laura Von Niederhausen – PhD candidate (Zurich University of the Arts)