Thinking trough movement: A proposal for feminist pedagogy

Abstract

In the following essay I tried to elaborate on the idea of a body as a thinker by explaining the philosophical underpinnings of the movement practice as a way of knowing/making/becoming. By accepting the feminist critique of the epistemological foundations of mainstream education that erase body from the process of knowing, my attempt was to make a movement laboratory to primary school teachers in Portugal, during the meeting of the APECV (Associacao de Professores de Expressao e Comunicacao Visual). The laboratory focused on the exploration of how movement can be felt before it actualizes (Manning, 2014), how autistic perception that is an inherent characteristic of artful process can be facilitated, and how an expression can emerge in between conciseness and unconsciousness not as an act of free will, but as a continuation of a process of "thinking-with" body (Manning, 2014). In doing so I offered a rational of the background idea of the movement laboratory buy explaining the framework, which is to a great extent influenced by thinking of Erin Manning, but also referring to a poetry as a way of thinking, knowing and relating, and finally offering to a reader direct access to images created by the participants during the lab. I believe that multiplicity can reveal the variety of experience, looking at it through kaleidoscope.

En el siguiente ensayo trato de elaborar la idea del cuerpo como el pensante, explicando el apoyo filosofico de la práctica del movimiento como una manera de saber/hacer/convertir. Aceptando la crítca feminista de las bases epistemológicas de la educación habitual que elimina el cuerpo del proceso de aprendizaje, mi intento se basaba en crear un laboratorio de movimientos para profesores de primaria en Portugal durante la reunión de la APECV (Associação de Professores de Expressão e Comunicação Visual). Laboratorio se centrasen en la exploración de como el movimiento puede sentirse antes de transformarse (Manning, 2014), como la percepción acústica, que es una característica inherente del proceso artístico, puede ser una facilidad y como la expresión puede emerger entre la consciencia e inconsciencia: no como un acto de libre albedrío sino como como una prolongación del proceso de “pensar-con” el