Having learnt from my father’s example how that which one cherishes can be taken away irreversibly, I delved into a study of the central human predicament – suffering – and the ways out of it. The piercing insight of impermanence that came from observing my father was the best teacher. Before the stroke, my father was highly athletic, successful and respected. Yet, he lost most of his bodily control, livelihood, and status after it. The frontiers between the conscious and the unconscious became blurred for him, which allowed suppressed pain and repressed words out, causing much havoc in his marriage. Watching how that, which was perceived as solid and reliable, that is – familial harmony – crumbles and disintegrates, has taught me a great deal about ‘the other side’ of ordinary human aspirations. From that time onwards, it became apparent to me that lasting happiness, peace and freedom cannot be found within the conventional world. Around the age of sixteen, I received an offer from my maternal uncle to baptise together in Russian Orthodox Church. He was always a figure whom I admired and respected for his qualities of acceptance, kindness, diligence and wisdom. I agreed, knowing that he carries best interest for me in his heart. However, after baptism I quickly abandoned any connection with Church since its language and practice didn’t resonate with me as yet. More grounded, clear and mature understanding of Christianity was meant to happen at a later stage. |
The project I proposed to undertake consisted of taking up the Lacanian concept of the Real, the shattering effects of encountering it, and examining how to turn this encounter into an enriching and enlightening event. In order to do so, I have initially chosen martial arts, parkour, and the art of performance as the main methods of my research. Continuing to work across various movement arts, including contact improvisation, physical theatre, traditional Southeast Asian trance practices, and internal martial arts, I have travelled extensively throughout Malaysia, Indonesia, Philippines, India and China, performing, sharing my skills and knowledge with others and learning from skilful practitioners of the above arts. During these years of research, I have dedicated a lot of focus to traditional Southeast Asian trance in the context of contemporary dance performance. Through this work, I have come to recognise the transformative effects of performance practice on the psyche. The value of the arts in the process of mourning is that of creating an artifice in the place of loss, a monument, which externalises grief thereby allowing for acceptance. Through the practice of psychophysical trance I have developed capacity to access that, which is called a ‘speaking body’ within psychoanalytic jargon - a stratum of self-expression otherwise censored by habitual patterns of moving and holding the body. Accessing this stratum and undoing consequences of ‘inscription’ left by repressed signifying material amounts to deep levels of release, opens spaces for spontaneity and does away with many blockages in the subtle body. |