Jana Al Obeidyine Artistic Profile Research
“Trails and Tales: Writing History through Bodily Memory
Chapter 1: Wholeness & Flow ”


Context:
Within the frame of Moving Margin II, I develop Wholeness and Flow, a performance and workshop part of Trails and Tales, a larger project examining the body as a living archival site. By tracing and tracking dance practices that passed through or got engraved in my bodily memory, I aim to narrate a history of a recent past and current times keeping a record of a peculiar and rich period of time, where the personal, social, cultural, political, national and international spheres are deeply intertwined.

Trails and Tales is divided into five chapters, each depicting a different dance experience. The research outcome will take different forms with each chapter (performance, workshop, lecture, narrative essay, film etc.)

Chapter 1: Wholeness & Flow (1992-2001)

Chapter 2: The Building, Structure & Discipline (2001-2005)

Chapter 3: The Global Village (2006-2009)

Chapter 4: Hollowness & Homecoming (2010-2014)



Chapter 5: Sense & Sensibility (2015-2022)

Wholeness & Flow: A Choreographic piece, workshop, lecture

Summary:
With the first chapter of the series, I revisit my earliest embodied choreographic archives. I revive and rework the movements of two forgotten choreographers whose choreographies emanated from the intimate personal sphere to become part of a semi-national/regional repertoire of dance representations. I rework their movements that I still carry vividly in my body, creating a new choreography with the intention of recovering my initial dance thrill and transmitting the experience to willing participants.

Rational:
When I look back at my early dancing years, I recall a fulfilled self. A curious, joyful, eager, playful, buoyant, whole being. There was no doubt in my mind that I was born to dance. Dance was the engine that made everything else in my life easy, possible and pleasurable. My innocent understanding and assimilation of dance were later disrupted by a formal training that I voluntarily sought and applied myself to. The joyful part of the dance rehearsal transformed into a technical suffering. The sweet stage fright experience that precedes the live performance became an endless nightmarish angst.  The ecstatic stage experience became a real-time self-conscience assessment of performance. 

My initial dance thrill remains an ideal (or idealized) experience that I wish to regain. (MORE TO COME…)


Images- Rima Chidiac – Solo and Busra Amphitheater Reheasals

Jana Al Obeidyine
A dancer, dance researcher, writer and the founding-editor of a Dance Mag, an independent publication about dance in all its forms and flows. Born and raised in Lebanon, Jana holds a bachelor's degree in audiovisual arts and an international Master's degree in Dance knowledge, Practice and Heritage.
www.adancemag.com








Moving Margins Chapter II
moving arti|facts from the margins of dance archives
into accessible scores and formats









Supported by the NATIONAL PERFORMANCE NETWORK
- STEPPING OUT, funded by the Federal Government
Commissioner for Culture and Media with
in the
framework of the initiative NEUSTART KULTUR.
Assistance Program for Dance.