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September 26, 2022 26 mins

Imagine Mister Rogers had a scooter accident, a thyroidectomy, a brain injury; and the puppets in his neighborhood were the remnants of these calamities.

This performance is Part Four of a series in which Bindler's scars speak candidly about trauma and desire. Welcome to The Case For Invagination!

This collection of solos arose out of Bindler's somatic Body-Mind Centering® research on the embryology of the genitalia from a nonbinary perspective. From these ideas she developed a series of interactive performances based on the practice of allowing space/situations/people to invite us in, rather than injecting ourselves into spaces. This practice has social and political implications around embodying consent culture and as an antidote to the ways many of us have internalized capitalism, colonialism, sexism, and ableism.

After the third version, performed at last year's Cannonball/Fringe festivals, many audience members reported that Bindler's brain scar was the most poignant for them. This was the newest addition to her chorus of scars, and seemed like the most compelling one for her to explore more deeply in the fourth version. The brain scar is a personification of the remnants of a traumatic brain injury (TBI) she suffered in 2018. In their monologue, brain scar describes what it's like to be a TBI, ''Some people were so freaked out and disgusted by her inability to fulfill her professional commitments, they looked at her like she was a demented grandma.'' Brain scar ponders their identity, ''What is me? Am I brain? Am I a scar? Am I Nicole?'' For the past year, Bindler and her director, Mark Kennedy, have delved into her experience of TBI through the voice of the brain itself. Like previous installments, this edition includes tragicomic autobiography told through monologues and dancing with an underlying politics around feminism, decoloniality, and Disability Justice.

 

Artist Bio:

Nicole Bindler - dance-maker, Body-Mind Centering practitioner, writer, and activist- has practiced contact improvisation for 25 years, and her work has been presented on four continents. Recent projects include curating an evening of Palestinian dance films at Fidget Space; somatic research on the embryology of the genitalia from a non-binary perspective; workshops on Disability Justice, Neuroqueering Embodiment, and Polyvagal Theory and Protest; conference presentations about rebuilding in-person dance and somatics communities in ways that tangibly address the inequities laid bare by the pandemic; co-producing the Consent Culture in Contact Improvisation Symposium at Earthdance; and a solo dance, The Case for Invagination, in which her scars speak candidly about trauma and desire.

Mark as Played

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