Description

Since the 1970s, scholars in a variety of fields - including anthropology, sociology, cultural studies, philosophy, and most recently cognitive studies - have argued for the centrality of embodiment and embodied practice in the production of knowledge. Drawing on feminist and sociological critiques of the disembodied status of 'objective' research, many scholars have called for new approaches that trouble or overturn the assumed hierarchy of theory over practice. Theorists of theatre, dance and performance have made important contributions to these discussions by showing how performative forms such as songs and dances can 'function as vital acts of transfer, transmitting social knowledge' (Taylor 2003: 2-3), while scholars in cultural and religious studies have similarly analyzed martial arts, yoga, and other practices of physical culture as modes of 'embodied knowledge' (Farrer and Whalen-Bridge 2011). This project takes the concept of embodied knowledge a step further by proposing that embodied practice in a focused laboratory setting can be a site of knowledge production as well as transmission, leading to substantial research outcomes in the form of new technique.

The project will use the sociology of scientific knowledge, and specifically the subfield of laboratory studies, to revitalize the twentieth-century concept of the 'theatre laboratory', leading to the development of a robust methodology for embodied research. A key criterion for defining and assessing such research is the precise specification of the area of embodied technique to be investigated. In this case, the core object of research is the technique of 'song-action', an embodied approach to song that includes dynamic psychophysical action and interaction as well as vocal musicality. In today's world of ubiquitous sound recording, we are used to thinking of songs as audio tracks subject to infinite duplication. The previous technological era understood songs as written scores. This project returns to a more primary understanding of songs as cultivated organic resources within the bodies of individuals and groups. It defines 'song-action' as the dynamic intersection of a particular type of song - in this case, the Jewish piyutim and nigunim - with psychophysical action in the sense developed by twentieth-century pioneers of acting Konstantin Stanislavski and Jerzy Grotowski.

The core of the project is six months of full-time embodied research involving three skilled practitioners in a studio laboratory. The practitioners will have advanced competency in the technique of song (natural and extended voice and musicality) and action (movement, physical culture, psychophysical scores) and will work together to systematically chart and explore the practical possibilities for psychophysical action defined by the vocal structures of the selected songs. As embodied technique, singing is much more than just rhythm, melody, and lyrics, even if these are its essential foundation. Individual songs, especially when learned through oral tradition or audio recordings, also define structures of breath, vocal resonance qualities (timbre or color), and many other subtle aspects of the embodied voice that are not well captured by western musical notation. The core phase of embodied research will be supported by dramaturgical and musicological research and the PI will maintain and expand relationships with mentors working in Jewish studies and music.

The laboratory practice will model best practices of documentation and transparency as they pertain to embodied laboratory research. Its results will be shared through live research presentations in the United Kingdom, United States, and Poland; a concluding interdisciplinary symposium; a collection of raw documentation files; and a series of print and digital multimedia publications that explore the concrete findings and epistemological implications of this new approach.
Short titleJudaica
StatusFinished
Effective start/end date1/08/1631/07/18