It is not about dance, but about a deep investigation of the body – without Cartesian separations – and the intricacies between memory, imagination, sensation, perception and movement.

It is difficult to imagine current artistic practice without intersecting different fields of knowledge/feelings/actions, which intersect the body with questions and problems.

Recently, studies of neurodance and 4E (embedded, embodied, enacted, and extended) cognition have enriched and complexified the phenomenology of movement. In this sense, Butoh can be considered a paradigmatic example of embodied cognition, due to its fascinating relationship between movement, sensory imagery, memory, and imagination.

The Flesh and Bone Society reconceptualizes and reappropriates Butoh, disrupting it with intersections between dance, performance studies, choreography, philosophy, psychoanalysis, neuroscience, immersive and participatory art, installation, sound art, experimental music: Practice and theory fluctuate on a Moebius strip, constantly affecting each other.

Our practice focuses on developing (syn)aesthetic experiences (Machón, 2013), immersive art generated through situated choreography and multisensory stimuli—lighting, sound, movement, touch, and sometimes taste and smell—also inform the experience. In doing so, we aim to share with our audience the possibilities of what Josephine Machon describes as “making sense” and “feeling through doing.”

We explore a body training that expands perception, sensation, and conscious awareness, with the goal of forging relationships between bodies and their environments—in short, as Suely Rolnik says, reactivating the body's knowledge.

We extend our movement in search of a state between moving and being moved, affecting and being affected, a constant flux between an externalized interior and an internalized exterior. It is from these paradoxical ideas that we would like to weave together different fields of knowledge/feelings from a transdisciplinary, critical, and situated perspective.