Our work is a collection of artefacts: drawings, storyboards, films, music and poems created by a tribal community in rural India during interactive workshops which used various participatory arts-based methods to tell stories about the experiences related to a new solar powered community building. Energy use is deeply connected with human cultures, practices, norms and values. This article challenges assumptions about linear progress between energy access and women’s empowerment, demonstrating that the impact is not immediate but requires social adaptation over time. It gradually uncovers complex power dynamics and social hierarchy within the tight-knit community. This article is also a five-year journey (2019–2024) of four different researchers from diverse backgrounds and their attempts to capture and edit various acts of thinking surfaced through these methods. As global momentum towards sustainable energy gathers pace, our work reflects different ways of engaging, stimulating various ways of thinking and structuring dialogue about energy transition within the community. We focus on the potential of these methods to capture the embodied dimensions in the forms of artefacts as shown in the film. We position our work as a novel approach in energy studies that uses the lens of embodied research to understand the frictions of social realities in energy transitions, and surfaces hidden factors like socio-economic status, stakeholders’ involvement, and the critical role of gender in energy.

This video article is on the body movement, bodily exploration to make relationality with earth. On the body movements in environmental activism, rituals, and dances this article focuses. In spring 2003, the author attended a penance and walking called Samboilbae. Ever since, Samboilbae has been revered as representative, bodily, non-violent resistance in Korea. It has been recognized as highly sincere quest for resilience in human beings with more-than-human world, This video article tries to tell the participants’ bodily efforts and exploration toward embodiment of ecosomatic relationality between body and earth. At the second case, an invented ritual & performance based on old custom Maehyang, this article tries to tell ecological relationality embodied through the immersive or embedded matter and bodies in earth. At the last case, an invented ritual & performance based on old custom, Gaetje, the participants’ dances, ritual behaviors and materials were focused on. Bodily exploration into the forest and ocean for reciprocity, sensing and being sensed between human selves and earth, this article tries to tell.

This Companion Issue continues the collaborative work of problematizing the notion of the ‘more-than-human’, which began with the summer solstice of 2021, by bringing together different artistic, educational and cultural ways of belonging to earth. The editorial explores listening-with as a speculative and generative (eco)somatic practice for attuning to the situatedness of each article and sensing the impact of audiovisual work in our bones and nervous fascial tissues. Our process deepened into the relation between listening and voicing - listening until a voice emerges. Alongside video excerpts from the authors’ works, we offer poetic resonances which make tangible the connective tissues between them. We conclude by discussing how embodiment as an ecological experience can transform established academic modes of knowing and doing by allowing a different aliveness into the inquiry.

Polly Hudson, “These Hands: an EcoSomatic approach to a woman’s labour - of the body, and on the land” (6:31). This video essay is part of an ongoing practice as a gardener and dancer, a long-term project at an inner city urban allotment, entitled And So we Sow. The work responds to notions of women's labour from an EcoSomatic and eco-feminist perspective, drawing on principles from releasing dance practices particularly Skinner Releasing Technique, from permaculture, and from wider embodied engagement. // Ana Luiza Azevedo Dupas, “Practice of Resting, Reading and Translating the Text: ‘Hapticality, or Love’” (9:52). This video shows fragments of the workshop: “Practice of resting, reading and translating the text: ‘Hapticality or love’,” held online in the context of IV EIRPAC event in September 2021. From the practice of Eutony, participants of the workshop are invited to a somatic reading, and “transcreation” of the text, which is an excerpt from Fred Moten and Stefano Harney’s The Undercommons: Fugitive Planning & Black Study. // Lea Spahn and Hana Magdonova, “‘Within the Memories of a Mountain’: Posthuman Embodying as Techno-material Becoming” (11:00). This video essay is based on footage from performance artist Hana Magdoňová during her 39-day stay in Hády – a renaturating quarry in the post-socialist Czech Republic. Through an immersive layering of (video)images, sounds, and spoken words, the essay depics embodied encounters with this space and reads them through feminist materialist and posthumanist thinkers highlighting the entanglement of bodies, technologies, things, and other beings on a planetary scale.

This article is a crossing through the Anthropocene. Between the body and the landscape, between the past and the future, between concepts and dances, between Edouard Glissant and the Atlantic Ocean, between tremor and uncertainty, between the Forest and Monoculture, between dance and the visual arts, between poetry and concepts, between the body and philosophy, between the animal and the plant, between what I desire and what I get, between Emanuele Coccia and the butterfly, between the thousand names of Gaia, the anthropology and what remains of our planet. They are letters thrown into the sea, directed to the landscapes that inhabit me, written with pieces of images and sounds that were inside my body/computer in these last years of journey. Shared in a list, like an alphabet in ruins, a (un)alphabetical order. Each letter carries a journey in itself: a way of doing and thinking about dance, an invention of a world that is possible to imagine today.

Sonic Kinesthetic Forest is an interdisciplinary research project that explores novel methodologies for studying trees and forests through embodied sound, movement and drawing practices. Our video article reflects on this interdisciplinary research through the lens of a performance piece in which embodied sound, movement and drawing practices were intricately interwoven with a forest landscape. The process of developing this artistic work has strengthened our conviction that embodied interdisciplinary knowledge is urgently needed to support and bring new dimensions to the wide array of nature-based climate action initiatives happening around the world today.

An improvised, one take, partially live exploration of the relationship between body and world as intermaterial. A poetic layering of movement, images, words, things and sites. Based in a Berlin living room and on the island Suomenlinna, outside of Helsinki.

This video article shows some of the embodied methodologies during fieldwork researching the corporeal practices by Catalonian artist Fina Miralles (b.1950). I made use of my own performances, feldenkrais and 5Rythms dance; re-create some performances in the sites that took place, extensive archival work, film during fieldwork, and conversations with the artist and curatorial practices. This research-creation process provides a genuine tool to develop a corporeal methodology focused on kinesthesia and kinesthetic empathy.