Etiology and Concept
Radical: political term (without compromises)
“Radical“ derives from the latin “radicalis“ meaning “root“.
Fundamental change, change from the roots, pertaining to the roots, having roots
Tenderness: a form of how we relate or approach the others, how we relate to them, a form of social interactions guided by care and affection
Reference: "Radical Tenderness Manifesto“ by Dani D'emilia.
Radical tender: to everyone and everywhere.
1. To myself // 2. To the other // 3. to the space/the environment //4. To the unknown
To question and transform our social interactions.
—> To create brave spaces in the public space.
—> To tenderly coexist with others.
—> To take care of our live spaces, in order tot take care of us.
—> To meet the unknown with curiosity instead of fear.
Tenderness as a radical idea of social protest in a society that constantly wants to separate us and turn us into consumer. To claim radically new/young perspectives and alternative social imaginaries. To practice moment of fracturing, of cracking the surface, so speculative social imaginaries can appear.
The simultanity of tenderness and radicality:
Tenderness: A specific form of being and interacting with each other.
Radicality: Far beyond our own relationships, as a program of justice.
Research categories:
- cocreation
- shared authorship
- social imaginary
- speculative fiction
- art activism
- collective agency
- youth
Research question:
How can radical tenderness be practiced as a performative strategy to create alternative social imaginaries sin the public space?
How can collective care be performed with young collaborators in Porto?
How can radical tenderness be explored as a strategy for collaborative and participatory art making processes?
... in the public space, as a practice to question and transform our social interactions.
To meet the unknown with cursiosity instead of fear.
To engage with tenderness as a form of social protest in our individidualizing and seperative society.
Radically tender spaces
Young people practicing collective care as a performative strategy for the creation of alternative social imaginaries.
Methods:
- Observation
- Theoretical Research
- Interviews
- Experiemnts in the Public Space
- Collaboration with young people
- speculative fiction
- collective writing
... through performing arts, as a research method to create alternative social imaginaries.
Not to be afraid of claiming radically new perspectives and social imagniaries.
Tenderness as an exchange?
- as an equal necessity (if two people are involved) LINK: interdependence (Judith Butler)
“Maybe tenderness remembers the exchange is happening always. Which makes all tenderness both outward and inward- when I am tender to you, I am tender to me. I think that fucks with capitalism maybe.“ (P.92)
If it's a choice to be tender (or a progam of justice) what are its strategies?
And if tenderness would be a human right?
—> How could we create a social paradigm of tenderness?
... with young collaborators, as a stretagy for collaborative and participatory art making processes.
To share authorship and create collective agency.
Methods of Documentation:
- Observation materials (notes , photographs, etc.)
- Archive of references
- scores for perfromances
- fotos & videos from the experiemnts, artistic interventions and public perfomrances
- rehearsing material: plan of exercises, interviews, notes, photopgraphs, etc.
characteristics of tenderness:
- Dedication
- Awareness
- Unobtrusiveness
- Gratitude
- Its an offer, an invitation not an invasion
- consent
- Its not asking for anything in return, its made by choice and personal motivation
- a decision
MIL Lisbon:
“Participatory arts do not only entail a creative process that involves audiences and communities – they enable shared and democratic processes of decision-making and ownership. Participatory arts is not only about changing an individual’s life – it is about empowering individuals and communities. It could be about revolutionising societies as a whole. In this panel, we take from the experience of those who develop participatory community arts projects to realise the potential of these processes were they to be global and permanent.“
MIL Lisboa
“Particiatory Art - A postponed Revolution?“
https://millisboa.com/mil/events/participatory-arts-a-postponed-revolution/
Research Questions:
How to practice the unknown with cursiosity instead of fear?
How to celebrate the coexistence of all living matter?
How to deliver yourself to the audience and the audience to a mutual connection?
LEME/DIVE:
"Public Space is a place where we can reach all types of public, is it really a case? What experiences can we tell?
What is the meaning of audience for you?
Focus on the (triangle) connection in between artist/performance, space and people using the space…
- how can we reach more people (not usually attending performances)?
- how can we work with the local community and reach their involvement?
Performance at public space today reach all types of audience?
Continue the focus on the (triangle) connection in between artist/performance, space and people using the space…
- how can we connect with the diversity of the place (foreign people, minorities,…)?
- how can the performance dialogue with the public space?
what about the digital generation? How can we reach them and create connections?
Public space is really a place where we can connect people.
What kind of concerns you can put into perspective for the future and what recommendations you would share with us?
Performative layers for my experiments in the public space:
1. To myself
2. to the others
3. to the space
4. to the unknwon
Handwritten letter
“the magic of the handwritten letter is that it communicates our bodies across this space. The actual oils of our bodies. Our breath glazing the pages.“ (93)
The project is online… Therefore it can never “contain the actual remnants of our dear and fleeting bodies“
Research Questions:
How can the intention of welcoming be expressed through the body in the public space?
How can the spatial order of the public space, based on exclusiveness, be disrupted by performing welcoming practices?
Part I - Observations into Categories
Part II - Figures into Scores
Part III - Scores into Experiences
Part IV - Experiences into Reflection
Links and References:
Video Ingo Niermann
https://ocean-archive.org/view/730
Army of Love:
https://thearmyoflove.net/about
Oceano de Amor:
Liberdade
Aqui nesta praia onde
Não há nenhum vestígio de impureza,
Aqui onde há somente
Ondas tombando ininterruptamente,
Puro espaço e lúcida unidade,
Aqui o tempo apaixonadamente
Encontra a própria liberdade.
Sophia de Mello Breyner Andresen
Research Questions:
How can the sea inspire us to establish affective relationships within all living matter?
How can the connection with the sea be explored artistically?
Research Question:
How to create a tender relationship with the physical space we inhabit?
Methods:
Organizing a local market + workshops of traditional dances
Speculative Fiction: SInging the hymne of the imaginary school + performing
- listenting // attention
- asking // consent
-taking care // collectively & performatively (beyond relationships)
Place & Identity
Identity & Responsibility
Image: taking care of a garden
cultivate it, feed it, spend time (also be aware with the processes of dying)
