Conclusion

In the act of moving with and dialoguing with the rocks, my initial concept of movement shifted. As I stay still, I feel my lungs take in oxygen from the air, my chest expanding, rising, then slowly contracting, falling. On rhythm, on beat. My heart pounds, pumps, pushes blood into my veins. My stomach turns, yearns, waits for food to come into my mouth. All bodily senses are active, alert. There is this awareness of being alive still. Movement not only happens when we act, twirl, bounce, do. Movement moves us. From the time our very first fibres were formed, we move.

And as I moved with the rocks, my emotions were moved heavily as there were several tensions and challenges that arose. Strong emotions blocked my thinking, and there were many moments of feeling stuck. But these tensions moved me to listen and be open to feedback, especially from my collaboratory group. As I balanced rocks and they continued to fall repeatedly, I was invited to slow down, listen to, and know each rock individually. It invited me to engage in deep listening to the materials (the rocks, the paper), the way my fingers moved, the floor I was on, my speed. 

Feeling the different textures, shapes, and weight of each rock, they remind me of the unique stories of Covid-19 victims. Each experiencing their own struggle, own shock, own worry- they carry with them a heaviness that would either, in time, disappear or will let them not feel anything anymore (death). As I step on thousands of stones, memories of unnamed or unknown people to me who were afflicted by this virus leaves a mark. It becomes a part of history. Stepping on them without protection for my feet (shoes, cloth, slippers), I remember the sharpness, the pain, and discomfort of going through this pandemic even if I didn’t experience seeing anyone be tested positive for coronavirus firsthand. All these emotions and thinking resonates with me, and highlighted the importance and benefits of thinking with studio work- practicing art as research, seeing things from multiple perspectives (viewer-maker, maker-performer-viewer, artist-researcher-teacher), allowing for risks and collapse to happen, deeper engagement with different senses, and so on.

In the process of thinking-doing, the once stagnant rocks in the simple studio collaborated with other materials- paper, sweater (cloth), light, darkness, mirror, toilet paper- bringing to life thinking and emotions that remained in my mind. In the doing, each material collaboratively becomes a part of the assemblage, with my body as the force that makes it happen. I reflect on the ways we can continue to prevent Covid-19 from spreading, which is to wear our masks, consistently sanitize or practice proper hygiene, and so on. Whether flattening the curve or letting the numbers soar high again, we make it happen.

As we continue to live with our current situation, with Phase 3 coming soon, I am left with more questions, puzzlements, and wonderings. But in the doing (in the researching, dialoguing with, thinking with the studio, collaborating with), I become more grounded and attuned in what is around me- inviting me allow lingering, pausing, and stopping as part of the process.

Published by

Faith Dawa

Early Childhood Educator

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