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The Poetry of Travelling Concepts: A Movement-Based Pedagogy

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This chapter offers insights into the movementbased pedagogy of the Education Department of the PHI Foundation for Contemporary Art, (Montreal, QC), which draws on the poetic dimensions of “travelling concepts.” This case study was conducted in conjunction with an installation by Jamaican-born Brussels-based artist Jamilah Sabur, that was exhibited in the fall of 2021. In the work, her alter ego, a feminist figuration as a ‘body of water,’ moves within the Jamaican landscape. A co-creation project was conceived by our education team and guest artist, Méshama Rose Eyob-Austin. It focused on the development of a new iteration of our educational resource, titled “Movements,” which became a video capsule, and a Water poem. Our engagement in this co-creation project facilitated different modes of learning: cognitive, haptic, affective, somatic, and poetic—this in a spirit of epistemic equality, diversity, and justice.

Keywords: Affect theory ; Affective pedagogy ; Contemporary art ; Embodiment ; Feminist phenomenology ; Feminist posthumanism ; Haptic knowledge ; Museum art education ; New materialism ; Pedagogy of movement ; Poetic inquiry

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The Poetry of Travelling Concepts: A Movement-Based Pedagogy
Intellect , 79 (2024); https://doi.org/10.1386/9781789389166_7
/content/books/9781789389166.c06
/content/books/9781789389166.c06
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References

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References

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     [Google Scholar]
  2. Bachelard, G. (1994). The poetics of space (M. Jolas, Trans.). Beacon Press. https://sites.evergreen.edu/wp-content/uploads/sites/88/2015/05/Gaston-Bachelard-the-Poetics-of-Space.pdf (Original translation published 1964; original work published 1958)
    [Google Scholar]
  3. Bal, M. (2001). Louise Bourgeois’ spider: The architecture of art-writing. The University of Chicago Press.
     [Google Scholar]
  4. Bal, M. (2002). Travelling concepts in the humanities: A rough guide. University of Toronto Press.
     [Google Scholar]
  5. Beattie, A. , Fiset, D. , Keenlyside, E. , Lemaire, M.-H. , & Pyne Feinberg, P. (2018). Embodied dialogue: Group learning and collaboration at DHC/ART Foundation for Contemporary Art. Muséologies, 9(1), 135–160. https://doi.org/10.7202/1052632ar
    [Google Scholar]
  6. Bordo, S. (2003). Unbearable weight: Feminism, western culture, and the body. University of California Press.
     [Google Scholar]
  7. Deleuze, G. , & Guattari, F. (1996). What is philosophy? Columbia University Press.
     [Google Scholar]
  8. Dyson, F. (1994). The genealogy of the radio voice. In D. Augaitis & D. Lander (Eds.), Radio rethink: Art, sound and transmission (pp. 167–186). Banff Centre Press.
     [Google Scholar]
  9. Eyob-Austin, M. , & Lemaire M.-H. (2021, 30 November). Movements: Jamilah Sabur – On “Interconnection” [Video]. Vimeo. PHI Foundation for Contemporary Art. https://fondation-phi.org/en/video/sabur-movements-interconnection/
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  11. Fisher, J. (1997). Relational sense: Towards a haptic aesthetics. Parachute, 87, 4–11. http://www.david-howes.com/senses/Fisher.htm
    [Google Scholar]
  12. Fricker, M. (2007). Epistemic injustice: Power and the ethics of knowing. Oxford University Press.
     [Google Scholar]
  13. Frisch, M. (1990). A shared authority: Essays on the craft and meaning of oral and public history. State University of New York Press.
     [Google Scholar]
  14. Irigaray, L. (1985). This sex which is not one (C. Porter, Trans.). Cornell University Press.
     [Google Scholar]
  15. Jenkins, M. (2020, 4 November). This artist is inspired by landscape, whether terrestrial, cosmic or internal. The Washington Post. https://www.washingtonpost.com/goingoutguide/museums/jamilah-sabur-art-review/2020/11/02/9b6ca742-195d-11eb-82db-60b15c874105_story.html
  16. Kember, S. (1998). Virtual anxiety: Photography, new technologies and subjectivity. Manchester University Press.
     [Google Scholar]
  17. Lemaire, M.-H. (2021). Concepts in movement: A poetry-based method for group visits within contemporary art exhibitions. Canadian Review of Art Education, 48(1), 53–72. https://crae.mcgill.ca/article/view/102/21392
    [Google Scholar]
  18. Lemaire, M.-H. , & Pyne Feinberg, P. (2021). Experimenting interpretation: Methods for developing and guiding a “vibrant visit”. The Journal of Museum Education, 46(3), 357–374. https://doi.org/10.1080/10598650.2021.1933723
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  19. Lorde, A. (2007). Sister outsider: Essays and speeches. Crossing Press. (Original work published 1984)
     [Google Scholar]
  20. Marks, L. U. (2000). The skin of the film: Intercultural cinema, embodiment and the senses. Duke University Press.
     [Google Scholar]
  21. Neimanis, A. (2013). Feminist subjectivity, watered. Feminist Review, 103, 23–41. https://www.jstor.org/stable/41819667
    [Google Scholar]
  22. Prendergast, M. , Leggo, C. , & Sameshima, P. (2009). Poetic inquiry: Vibrant voices in the social sciences. Sense Publishers.
     [Google Scholar]
  23. Rancière, J. (2009). The emancipated spectator. Verso. https://imagemdissenso.files.wordpress.com/2010/07/the-emancipated-spectator2009.pdf
    [Google Scholar]
  24. Springgay, S. (2011). The ethico-aesthetics of affect and a sensational pedagogy. Journal of the Canadian Association for Curriculum Studies, 9(1), 66–82. https://jcacs.journals.yorku.ca/index.php/jcacs/article/view/31333/
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  25. Uszerowicz, M. (2018, 28 November). Water as memory and dreams: Jamilah Sabur interviewed by Monica Uszerowicz. BOMB Magazine. https://bombmagazine.org/articles/water-as-memory-and-dreams-jamilah-sabur-interviewed/

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