Falling in is a set of movement exercises directed towards a specific physical and sensorial experience that has the aim to de-pattern the habitual paths of the body in relation to the use and perception of space.
The practice is an exploration of the physical, psychical and sensorial implications of the action of "falling in".
Inspired by the Deleuzian concept of “becoming” (coming from the Latin verb “devenire” which means “coming down, falling in, arriving to”) I propose the inquire of the fall as a physical door to the unknown and the embracement of uncertainty as an ally for discovering new ways of moving through space and experiencing it.
Understanding falling in as a dialogue between the force of gravity and the other attractions that moves the parts of the body within the space in multiple different directions, we focused on the constant kinetic re-organization of the body in between moments of physical balance or resistance to gravity.
A point of the ribs, breathe out, fall in, observe the transformation, play with it, the wall, breath in, extend that moment, the ceiling, scapula, breathe out, fall in.
This dance is a play between controlling and “falling in” in which the practitioners can inquire the potential of their articulated movement, the openness and tridimensionality of the body worked through the relaxation and conscious use of the core, and the awareness of the space.
This practice flourished on the one hand as a response to the solid kinetic script that is so often used in the field of choreography and that impacted many practices including my own.
On the other hand, Falling in is an attempt to understand through its embodiment the Deleuzian concept of becoming and an attempt to put it in relation to my practice. In this sense, falling in is a response to the question: how the parts of the body can potentially move through affinities within a whole in an always changing, never being, structure. This research about the embodiment of becoming part from my interest in implementing the knowledge gain by the movement practice and its philosophical implication to the way I move within the world in a broader sense, act, relate to, and perceive.
Finally, the practice has not only led to a deeper understanding and articulation to the underlying philosophical knowledge of it through the study of the physical, psychical and sensorial implications of the experience while Falling in, but also to the creation of a certain movement vocabulary that served as the base to the creation of choreographic material