Category: performance studies

  • Authentic Movement as Spiritual Discipline

    When I moved to San Francisco in 1996, a few years out of music school and having decided not to become a Zen monk just yet, one of the first things I did was to find the Contact Improvisation jam. CI had appeared in my life the year before, while I was a student at…

  • Positionality is Ancestral Karma

    Two talks on the complex current discourse known as “positionality”, which basically means that the social roles and conditioned state we experience the world through determine how and what we can perceive and know. I propose that the practice of inquiry into positionality is both a foundation for the insight into the emptiness of the…

  • Authentic Movement as Tandava

    For many years, parallel with my training in Buddhism and Yoga, I practiced a contemporary contemplative discipline called Authentic Movement (AM). Developed by dancers and Jungian analysts in the 1970s, AM is rare in both its provenance as a contemplative art created and maintained almost entirely by women, and in its resistance to capitalism and…

  • Traces of a past life

    [Putting the last few words and videos I have from my brightest years as a performance artist here. How tremendously far away they, this I, feel. Making it a “post” instead of a “page,” date-stamped, scroll-lost, faded even more. I almost just left it off the new site entirely, but this is better. A little…

  • Inner and outer gaze in dharma and art practice

      I tell you that there is no making an end of suffering & stress without reaching the end of the cosmos. Yet it is just within this fathom-long body, with its perception & intellect, that I declare that there is the cosmos, the origination of the cosmos, the cessation of the cosmos, and the…

  • Interview with Keith Hennessy about “Turbulence”

    Keith Hennessy, interviewed by Sean Feit on 3/7/13 for UCD PFS newsletter. (A shortened version of this conversation is in our 2013 department newsletter. Here is the full conversation with minimal edits.) Sean Feit: What do you consider the main conceptual frame for Turbulence? Keith Hennessy: I try to stay away from any kind of…

  • Buddhist not-self meets poststructuralist subjectivity

    Sadly, at a time when so much sophisticated cultural criticism by hip intellectuals from diverse locations extols a vision of cultural hybridity, border crossing, subjectivity constructed out of plurality, the vast majority of folks in this society still believe in a notion of identity that is rooted in a sense of essential traits and characteristics…

  • Path and fruition in Buddhism and the arts

    [An essay from my PhD exam process exploring a hypothetical parallel between practice-insight and rehearsal-performance.] Contemplative practice, framed by the various religions, is almost always represented as a Path — the changing of subjective experience from one state or understanding to another more wholesome one — that leads to a definite fruition. Teresa of Avila’s Interior…

  • The Heart [of Art] Sutra (and a long commentary!)

    Thus have I heard. Once an Artist was living in Vulture Cap Lofts, alongside a great community of craftspeople, aesthetes, deep listeners, critics, and granting organizations. She entered the samadhi known as All That Is Made Is Beautiful, and radiated a profound aesthetic satisfaction that inspired everyone [to be] present. Inspired, the theorist Audio-Visio-Kinesthesis exclaimed…

  • now the eyes of my eyes are opened

    Our senses are so much a part of who we are that it’s nearly impossible to think of ourselves without them. We have sense organs, called “doors” in Buddhism because they admit information, or “sense-objects” — the “guests” in the Rumi poem, “This body is a guest house”. In the Buddhist tradition, thought and emotion…

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