scholarly journals Singing and Sensing the Unknown: An Embodied History of Hindu Practice in Ghana

2021 ◽  
Vol 6 (2) ◽  
Author(s):  
Shobana Shankar
Keyword(s):  
History Of ◽  
Embodied History

In Living Color: Early “Impressions” of Slavery and the Limits of Living History

2019 ◽  
Vol 124 (5) ◽  
pp. 1732-1748
Author(s):  
Drew Swanson
Keyword(s):  
African American ◽  
Public History ◽  
Jim Crow ◽  
Living History ◽  
Mount Vernon ◽  
Jim Crow Era ◽  
History Of ◽  
Late Nineteenth ◽  
Historical Sites ◽  
Embodied History

Abstract In the 1970s, American historical sites began to more thoroughly and critically interpret slavery’s history, with a few institutions employing living history as an interpretive form. At sites like Virginia’s Mount Vernon and Colonial Williamsburg, the hope is that these historical “impressions” will engage audiences with a more authentic or credible representation of racial bondage. An earlier wave of living historical representations of slavery suggest the challenges and hazards of embodied history, however. In the late nineteenth and early twentieth centuries, a significant number of southern sites employed African American interpreters who claimed to have been born into slavery, often on the very sites where they were currently working. Historical attractions used the “authenticity” and “credibility” of these interpreters to advance the narrative of a happy Old South. Historians have noted these performances as part of the sectional reconciliation of the Jim Crow era, but have rarely interpreted them as public history. Although the contemporary living history of slavery has different—and far better—goals than impressions of a century past, this long history of embodied bondage suggests the implicit dangers of interpreting slavery and race through living people.

The body in group analysis

2019 ◽  
Vol 52 (4) ◽  
pp. 544-556 ◽  
Author(s):  
Bracha Hadar
Keyword(s):  
Group Analysis ◽  
Radical Change ◽  
The Body ◽  
Theory And Practice ◽  
Face To Face ◽  
History Of ◽  
Bodily Sensations ◽  
The Subject ◽  
The Mind ◽  
Embodied History

This article explores the history of the exclusion/inclusion of the body in group analytic theory and practice. At the same time, it aims to promote the subject of the body in the mind of group analysts. The main thesis of the article is that sitting in a circle, face-to-face, is a radical change in the transition Foulkes made from psychoanalysis to group analysis. The implications of this transition have not been explored, and in many cases, have been denied. The article describes the vicissitudes of relating group analysis to the body from the time of Foulkes and Anthony’s work until today. The article claims that working with the body in the group demands that the conductor gives special attention to his/her own bodily sensations and feelings, while at the same time remaining cognizant of the fact that each of the participants is a person with a physical body in which their painful history is stored, and that they may be dissociated because of that embodied history. The thesis of the article is followed by a clinical example. The article ends with the conclusion that being in touch with one’s own body demands a lot of training.

Suture: Trauma and Trans Becoming

2021 ◽  
Author(s):  
KJ Cerankowski
Keyword(s):  
Chronic Pain ◽  
The Self ◽  
Cultural Criticism ◽  
Ghost Stories ◽  
Gender Transition ◽  
History Of ◽  
Forms Of Life ◽  
Colonial Violence ◽  
Embodied History

The landscape of trauma is scattered with ghosts. Wolves hunkering in the shadows. Memory’s spectral persistence and evasion. Leaky bodies and selves gathered up in the storm of pain. Genders imposed and genders made. History’s cruel excisions, scars, the spillage of wounds. A landscape in which we are nevertheless called to build home. Here, “storytelling is a kind of suturing.” Combining memoir, lyrical essay, and cultural criticism, KJ Cerankowski's Suture: Trauma and Trans Becoming stitches together an embodied history of trauma and its ongoing impacts on the lived realities of trans, queer, and other marginalized subjects. Suture is a conjuration, a patchwork knitting of ghost stories attending to the wound as its own archive. It is a journey through many “transitions”: of gender; through illness and chronic pain; from childhood to adulthood and back again; of psyche and form in the wake of abuse and through the work of healing; and of the self, becoming in and through the ongoingness of settler colonial violence and its attendant subjugations of diverse forms of life. Refusing a traditional binary-based gender transition narrative, as well as dominant psychoanalytic narratives of trauma that center an individual process of symptom, diagnosis, and cure, Suture explores the refractive nature of trauma’s dispersed roots and lingering effects. If the wounds of trauma are disquiet apparitions—repetitions within the cut—these stories tend the seams through which the simultaneous loneliness of mourning and togetherness of queer intersubjective relations converge. Across these essays, healing, and indeed living, is a state of perpetual becoming, surviving, and loving, in the nonlinearities of trauma time, body-time, and queer time.

Inscribing/Inscribed: Bodies and Landscape in the Ritual of Embodied Remembrance at Souvenance Mystique

2015 ◽  
Vol 2015 ◽  
pp. 95-101
Author(s):  
Ann E. Mazzocca
Keyword(s):  
The Earth ◽  
Sacred And Profane ◽  
History Of ◽  
And Performance ◽  
A Site ◽  
Embodied Memory ◽  
Embodied Practice ◽  
Embodied History

There are many ways in which Haitian Vodou ceremonies defy Western binaries of ritual and performance, sacred and profane, and choreography and improvisation. Vodou, a danced religion, is an embodied practice. Souvenance Mystique refers to a place and an event. Eponymously named, it is a mystical remembrance that occurs annually in a weeklong ritual of Vodou ceremonies in the Artibonite Valley outside of Gonaives, Haiti. At Souvenance, the reference to memory and remembrance is embodied, and therefore Souvenance greatly reflects what Diana Taylor refers to as a repertoire of embodied memory. As a scholar, choreographer, and practitioner of Haitian folkloric dance, I have read this ritual in terms of its significations occurring through various signs such as the practitioners' clothing, their proximity to one another, movement, gesture, and ritual choreography.Souvenance is a site where the multiplicity of histories and bodies signify in relation to one another. While arguably an embodied history in itself, Souvenance also writes. The practitioners enacting the several-days-long ceremonies inscribe upon the surface of the earth. Repetition reinscribes ritual pathways, while a particularly important and meaningful pathway is traversed only twice—at daybreak toward a site and then at sundown returning to the central peristyle. It is the landscape that is inscribed by the practitioners. However, they also become written upon by sweat and sacred blood. In this paper, I will explore the ways in which the rituals at/of Souvenance write history annually and how, simultaneously, the history of Souvenance is being written.

scholarly journals Housing, Personhood and Affect in Gentrifying Garden Villages of Amsterdam

2021 ◽  
pp. 120633122199769
Author(s):  
Linda van de Kamp
Keyword(s):  
Built Environment ◽  
Working Class ◽  
Social Housing ◽  
Sense Of Self ◽  
Urban Redevelopment ◽  
History Of ◽  
Embodied History ◽  
Insight Into ◽  
Market Relationship

This article offers insight into how housing, renovation, and gentrification are more than matters of upgrading material dwellings and neighborhoods, but they substantially engage residents’ very notions of who they are and how they are perceived. Using the lens of valuation, gentrification is presented as much more than an exclusionary market relationship but as a process that shows how human perspectives on selves emerge and transform along with housing discourse and relations and informs feelings of socio-spatial (in)justice. The case is the ongoing transformation of the working-class garden villages in postindustrial Amsterdam North, an area that has become subject to active urban redevelopment since the 2000s. The material upgrading of the industrial spaces and social housing makes tangible the long-term active residents’ historically sensorial relations with the built environment, around which their sense of self was shaped. Long-term residents and their children increasingly demand that the ongoing spatial improvement of the area does justice to the deeply embodied history of social emancipation in the garden villages.

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