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Somatic Drawing as Boundary Object [WORKSHOP]
Jasminka Letzas, Central Saint Martins, University of the Arts London
In his *Pedagogical Sketchbook* of 1925, Paul Klee evokes the essence of a line in motion, devoid of destination—a dynamic journey undertaken for its own sake. This concept, encapsulating movement and fluidity, resonates profoundly with my approach. My workshop, "Somatic Drawing as a Boundary Object," connects diverse disciplines through somatic drawing—a practice that integrates bodily awareness, spatial consciousness, and play.
Drawing from my background in art, design, therapy, and meditation, I craft an immersive experience that aims to channel physicality and psychology into visual language, bridging disciplinary divides by incorporating elements of co-creation as well as interpretation.
The research objective is to explore how we can incorporate sensorimotor felt sensations through drawing and therapeutic methods to achieve this bridging of disciplinary boundaries.
Merleau-Ponty asserts that existence, i.e., the mode of being in the world, is determined not by consciousness, but by the human *corps propre*. “Consciousness is being-towards-the-thing through the intermediary of the body” (Merleau-Ponty, 1962, p. 159-160). And: “The body is our general medium for having a world” (Merleau-Ponty, 1962, p. 169).
By delving into the somatic — our internal bodily sensations — we will cultivate openness to the environment and fellow participants. Our journey will unfold through the following methodology:
1 - Check-in: A somatic icebreaker fosters introductions, combining movement with tension release.
2 - Somatic Interventions: Techniques such as polyvagal activation and body scans ground participants in the present moment, preparing them for creative exploration.
3 - Drawing Improvisation: Participants unleash their creativity, meandering across paper without predetermined goals, while holding their discipline’s imagery in mind.
4 - Interactive Engagement: Drawings adorn the walls, inviting playful interaction as participants explore each other’s creations.
5 - Collaborative Expansion: Swapping drawings, participants infuse new layers of meaning, co-creating narratives reflective of diverse perspectives.
6 - Interpretive Expressions: Narrating or embodying others’ drawings deepens understanding, fostering empathetic connections.
7 - Feedback and Reflection: Interactive sessions prompt insights and shared reflections.
8 - Check-out: Group movement or meditation brings closure, emphasising collective experience and growth.
Beyond creative exploration, this workshop reconnects inner and outer spaces, addressing the need for embodied teaching in an increasingly remote educational landscape. By nurturing a dialogue between personal and environmental realms, I seek to foster a sense of belonging and interconnectedness.
This endeavour forms part of my ongoing exploration into the transformative potential of drawing, combined with somatic and therapeutic techniques, as tools to nurture interdisciplinary practices.
Inspired by von Wehrden et al.’s concept of boundary objects, I employ somatic drawing as a conduit for interdisciplinary collaboration, transcending conventional boundaries and fostering holistic learning experiences (von Wehrden et al., 2019).
Through "Somatic Drawing as a Boundary Object," I invite participants on a journey of self-discovery, creative exchange, and collective transformation.
References:
Klee, P. (1925) Pedagogical Sketchbook: Bauhausbucher 2. London: Faber & Faber; Main edition (1 Jan. 1973)
Merleau-Ponty, M. (1962). Phenomenology of Perception. Translated from French by Colin Smith. London and New York: Routledge
von Wehrden, H., Guimarães, M.H., Bina, O. et al. (2019). Interdisciplinary and transdisciplinary research: finding the common ground of multi-faceted concepts. Sustainability Science 14, 875–888
Keywords:
Somatic drawing, boundary object, co-creation, movement, play
