Ritualistic Explorations towards Kama in Autoethnographic Creative Practice

Abstract

This paper discusses the exploration of ritual as a choreographic tool for ‘kama’ art activations through autoethnographic postgraduate research within a studio environment. Framed upon the vedic philosophy of kama, this paper unravels a ritualistic methodology that invites the human and nonhuman to collaboratively shape and shift the artistic practice. The ritual method includes inviting objects to craft the environment through sound, scent, spatial design and taste. A nonhuman entanglement with the ritual practice may unveil new understandings, conflicts, contradictions and dynamics between the practitioner and the practice. The leading curiosity that steers this discussion is: how might sensorial activations inform autoethnographic creative practice? This discussion begins a conversation on ritual as a tool where sensorial art activations may live and co-exist through their collisions, contradictions and connections.

The studio environment is one that is shaped through its own disciplines, where there may be a premise of rules and expectations. The clean, sterile and neutral context of the studio could be ‘disciplining’ dance, as it could shape creative practice to bend to institutional rules. This discussion considers, does the studio discipline dance through its neutrality? How might this neutrality inform artistic autoethnographic practice? Ritual as a method of artistic practice is not simply an alternative way to express or create, but certain meanings, curiosities and desires can best or only be achieved in ritual. Through a kama infused ritualistic performance we may begin to learn or unlearn our frameworks of understanding through symbolism which connects to wider issues in the world. Saturating artistic practice with sensorial activations, ritual as a choreographic method may expand our knowledges and could unsettle how dance processes may be explored within creative practice.