In Mujarad, I am seeking the relationship between senses and memory of movement. I assume that when movements one has done are preserved as memory, then the body is suggested to move according to senses. Our body is having great potential to deal with new situation, and so to the nature. I perceived that all beings in this world move and transform.
I am interested to sense liminality, especially when it relates to the unseen. Mujarad, is an unknown condition which I consider as the beginning to seek for the amorphous.
The time during the pandemic has impacted various mental and physical changes to most of the people in the world. Our moving spaces were very limited and time was put in uncertainty. Being part of the 4.0IR, we are facing the disruptive presence through virtual technology and super rapid data exchanges.
In many cases, our body does not perform reality but instead, we love the second layer of presence.
I have the urgency to look into the liminality of our presence.
Inspired by early expressionist dance movement around the early 20th century, such as promoted by Mary Wigman and Isadora Duncan, and later on in the 50s, Tatsumi Hijikata manifestation on expressive body and gesture. I would like to track the historical philosophy of the dance. Duncan placed an emphasis on "evolutionary" dance motion, insisting that each movement was born from the one that preceded it, that each movement gave rise to the next, and so on in organic succession.
She believed dance was meant to encircle all that life had to offer—joy and sadness. Duncan took inspiration from ancient Greece and combined it with a passion for freedom of movement. She developed from this notion a style of free and natural movements. Butoh was one of my biggest influence, even for my performance art practice. The embodiment of spirit, senses and movement is constellation of the body that is “becoming”. This is a kind of Mujarad, because all elements are unpredictable and porbably beyond the control of presentation.