Abstract

This article aims to acknowledge the bodily complexity of the drawing experience by regarding bodily movement as a teaching modality. Theoretically and methodologically, the article explores the didactic potential of variation in relation to phenomenography, artistic practice, and the Feldenkrais Method of movement. Two interdisciplinary drawing workshops were held, combining drawing with Feldenkrais intraventions. The participants’ drawings were analyzed, with the assumption that changes in the bodily experience of drawing would be discernable in the lines on the paper. The results indicate that the Feldenkrais intraventions affected the bodily experience of drawing. Changes in the bodily experience were discerned and described in terms of proprioceptive presence, with reference to Jennifer Fisher's concept of haptic aesthetics. Two kinds of presence were brought to the fore: a presence defined as being present in the moment, and a presence defined as an increased sensibility towards three-dimensional volume and space. Both kinds are subtle qualities of bodily performativity that tend to go unnoticed in educational settings, in favor of visual or more explicitly performative bodily expressions. A relational epistemological approach is put forth as a way to acknowledge performative qualities of the drawing experience in teaching and learning.