voguing warm worm
words slowly swarming into a mess
a vibrant voice
metonymies metaphors stripped of their meaning
words worshiping like a sacral choreography
with the choreographic chaos on my screen
lost touch with the symbolic image
the form is the content
like the worm is matter
body takes over the sense
reified reason into a biological brain
that cannot justify why it does not care
I have written this short poem, when reflecting on the first two classes with Martin Hargreaves, who is there at Siobhan Davis Dance Studios to help us perceive the body as a vehicle for understanding writing. In the first class we touched on the idea of performative writing. How could the words we type or handwrite affect the always absent receiver?
For our first homework, in order to learn what uncreative writing could mean, I typed an excerpt from an interview with Trajal Harrell from a hard copy of a publication of his first performance exhibition ‘Hoochie Koochie’ in 2017 at the Barbican Gallery.
Quite unconscious was my choice of the text, surely influenced by the fact that the homework I got, was from a choreographer, while also in the context of studios for dance. I did not look for words that tried to represent dance, but what I was interested in, was how uncreative writing could make one embody the other’s direct speech. Considering copying a letter at first, I ended up typing an interview, with my fingers embodying two different voices in conversation, my subject being split into the one that questions and the one that is answering.
The text typed on my laptop felt extremely dry when compared with others’ copied YouTube comments or a poem on gravitational forces in the class. I tried to do some handwriting, while copying someone’s reading. I could not believe how difficult it was. I was extremely tired on that Tuesday evening, I have to admit. I surrendered my mind to my physicality. Copying others’ copied pieces felt like automatic writing, an unconsciously selective process, an activity that is not bothered with a meaningful purpose.
Just like during the task of reading while walking, the content stopped to play so much importance in understanding a text. Not that I was not interested in the content, but rather the moving body took over the conscious reasoning and responded to the affective forces of language, such as rhythm or sounding, whose feeling I can still recall in my body. From the text’s message that Julia Kristeva was trying to convey, only the term ‘chora’ stayed in my brain. This is just because of the fact that through my curatorial collaboration it has been more than a year that I have been trying to find out what ‘irruptive chora’ could mean or rather what it could be. Will the course with Martin Hargreaves conclude that irruptive chora could only be found in the innermost of the moving body that even performative writing has no ability to convey?