Sculpture by Spartak Dermendjiev
In order for me to graduate in dance, I made a play based on thoughts about a monster – the notorious creature in Frankenstein. It was entitled Dorme, dome, Frankenstein (Sleep tight Frankenstein).
Instead of going on with my dance career as intended, in the following year I went through a neurological surgery. As an aftereffect of it, I had half of my body partially paralyzed. I linked this event to the play and started to look at my body as “frankensteinian”.
As soon as I recovered, I stated taking a diploma in Art-therapy, and some years later, I did a master in Sociology and Anthropology of Religion.
During the specialization, I started to see the role of art in the treatment or healing of some pathologies, or in the transgressions and deviations of the norm. I also learnt movements such as these often provoke anguish. Art can express or even solve them.
Now, in the master programme, I came across subjects such as contemporaneity, hybridism, and frontiers or borders, as well as with social and anthropological studies on health, illness and cure.
Consequently, I realized that the set of elements of graduation, specialization, and post-graduation intersected beautifully, so something that had so far been particular, gained collective dimensions from then on.
I hope, then, that from this perception, an unexpected path, not to say a hybrid and contemporary one, has started to emerge. It enhances the idea of my talking about monsters and hybrid beings along my line of study, since I look at them as metaphors.
Then, illness expresses conflicting aspects that clash and appear in an only body, mind, or even society; cure points out the integration of these opposites in physical, psychological, or socio-cultural wholes, and art amazingly promotes this healing.
Monsters, hybrids and borderers
Therefore, according to this thought, contradicting forces impel us, and in our daily lives, we face very imprecise borderlines concerning body, feelings, behaviours, cultures and institutions. In this sense, we are all monstrous, hybrid and borderers.
Furthermore, the society we built and live in continually submits us to the contact with different realities. In this sense, it is also monstrous.
Finally, I believe art is an invaluable ally here as it offers us a possible “healing” to this schizoid contemporary reality by providing ways to integrate dissonant sounds, and make an only symphony out of them.
For this reason, I understand that dramas that portray monsters, including ancient ones, keep a close relation with contemporary life, and mirror all of us.
Thus, I referred to the play and to monsters to write a book entitled Curadores feridos e outros frankensteins. (Wounded healers and other frankensteins). As I see this blog as its expansion, I referred to them again to develop it.
note 1: title and tagline rough translations: Healing Wheel / The Wounded Centaur – art and hybrid beings: borders transgressions and integrations
note 2: this blog doesn’t have a definite language.