Breath(ing) with
‘Histories that Hurt’
We Share Air
In Brief
Embodied Workshops are carefully held, breath-led spaces that bring together performance, film, sound, archival fragments, shared reading, movement, and collective listening.
They are rooted in Irish diasporic memory, transnational feminist practice, and socially engaged artistic methodologies. Each workshop creates a temporary environment where participants can arrive in the body, listen with attention, and engage with difficult histories without pressure to disclose, perform, or resolve.
These workshops often begin with a listening and reading group, a letter of address, or a shared breath practice. From there, participants are invited into an unfolding encounter with texts, film fragments, sound, gesture, memory, and silence.
Rather than treating workshops as educational formats alone, I approach them as artistic and curatorial methods: spaces where bodies, voices, images, archival materials, and atmospheres are gathered into relation. In this sense, the workshop becomes a living archive — one shaped by presence, care, consent, breath, and what remains partial or unsaid.
On this page: Embodied Circular Readings * Water & Memory * Access and Ethics * Listening and Reading Groups * Filmic Breath & Sonic Resonance * Embodied Pedagogies * Selected Examples * Past Workshops
Embodied Workshops
(Click the image to go straight to each performance)
Film fragments below from previous performances
Embodied Circular Reading | Fragments from Past Performances
Please note: These workshops are rooted in transnational feminist and brave space frameworks, where care, consent, and co-presence are central. In order to protect the privacy of participants, sessions are intentionally not recorded.
The video fragments below are of solo performance elements by Marie Theresa Crick, drawn from two past events — Knees to Stone, Three Secrets (Tsarino AiR Foundation, Bulgarian Eastern Rhodope Mountains, Sept 2024) and Post card Dis/Comfort: An Embodied Response (SMR Summer School, The Feminine in an Age of Anthropological Transformation, Greece, Sept 2024). These are shared with permission and sensitivity, offering a glimpse into the somatic and performative textures of the work, while honouring the collective experiences that cannot and should not be fully captured.
The film opens with Filmic Bodies, an ongoing practice shaped by breath, memory, and the maternal relation. Developed through fragments filmed in performance with my mother and alone at Marian sites, Filmic Bodies explores what I call filmic breath: an editing rhythm led by the body rather than the eye. These works are not illustrative but affective; inviting viewers into shared breath, embodied memory, and the intimate, unresolved space of the maternal.
Projected during workshops, these filmic fragments resonate with the breath present in the room, opening a porous dialogue between film and lived experience—between the recorded and the relational, the solitary and the shared.
Why ‘Embodied Circular Readings’?
Embodied Circular Readings are a central form within my practice. They are not linear, outcome-driven, or performance-based in a conventional sense. They unfold through return, repetition, breath, and shared attention.
Each session is shaped by who arrives, what is remembered, what is withheld, what is felt, and what remains unresolved. Participants may read aloud, listen, pause, move, breathe, write, or remain still. Movement is never required; breath itself is enough.
The “circular” reflects how meaning emerges slowly, through repeated gestures, through the rhythm of inhale and exhale, and through the shared act of dwelling with what cannot be immediately understood.
These readings move from the intimate relation of two toward wider constellations of collective presence. They ask how difficult histories might be encountered through care rather than exposure, and how breath might become a way of staying with what overwhelms language.
Access and pace are shaped by my chronic illness, forming an ethics of slowness and co-regulation in all my workshops and screenings.
“Having participated in her embodied practice in Greece, during a conference on the transformation of the feminine, it was clear to me that Marie Theresa’s workshop is a burning call for connection and relationality: a simple, but not unimportant aspect of sentient encounters that we, humans, have consistently been putting aside. ”
Shared Air as Method
In these workshops, shared air becomes a living archive.
Every breath holds memory, relation, and the possibility of transformation.
Drawing on Luce Irigaray’s concept of ‘shared air’, my practice understands breath as relational: something that moves between self and other, body and space, memory and atmosphere. Breath is not neutral or universal. It is shaped by histories, access, power, illness, grief, care, and the conditions in which we gather.
The workshops ask:
How do we breathe with what has been silenced?
How do we stay with histories that hurt?
How can collective attention become a form of care?
How might a room hold what cannot be fully spoken?
Through shared air, participants are invited to attend to breath as a way of listening — not to fix or resolve, but to remain present with what continues to linger.
Histories that Hurt
Sara Ahmed’s phrase “histories that hurt” offers an important framework for this practice. It helps me think about how painful histories do not remain in the past. They gather in bodies, gestures, silences, rooms, objects, archives, and relations.
In Embodied Circular Readings, we do not simply revisit these histories as content. We approach them through breath, pacing, voice, stillness, film, and shared space.
The aim is not confession, catharsis, or resolution. Instead, the workshops create conditions for careful attention: to what is felt, what is withheld, what is difficult to articulate, and what may need to remain partial.
This practice opens space for ethical witnessing, collective reflection, and subtle shifts in how we relate to ourselves, one another, and inherited histories.
Who is Invited?
These sessions are open to all. No prior experience is necessary — only a willingness to arrive and stay with the unfolding.
There is no expectation to speak, move, disclose, or perform. Participants are invited to engage in ways that feel possible and resonant: through silence, voice, gesture, writing, movement, observation, or reflection.
Each session begins gently, often with breath, allowing participants to settle into their bodies and into the shared atmosphere. The space is shaped as a brave space, not because it promises comfort, but because it acknowledges that discomfort, uncertainty, and care can exist together.
The workshops invite participants to engage without judgment, fostering collective reflection, vulnerability, co-regulation, and shared responsibility.
“Marie Theresa’s distinctive work is purely experiential, sensitive, and, most of all, radically affective.”
***
In our sessions, shared air becomes a living archive.
Where every breath holds
memory, relation, and the possibility of transformation.
Each inhalation and exhalation opens space for collective reorientation;
not to fix or resolve,
but to stay with what has been disavowed, and begin, together, to listen differently.
We breathe with the autobiographical,
the poetical,
and the archival,
a polyphony of voices gathered from previous circular readings,
from performances held in both public and private air,
from filmic bodies that echo and extend our own.
This shared breath becomes a collective chorus,
carrying what was once held alone
into the porous space of transformative becoming.
In this moment, a fragment invites us in:
a call to enter the interplay of voice, memory, and movement—
where each breath reclaims, reframes, and resounds.
The invitation is not toward resolution,
but toward presence—
toward staying-with what stirs,
and opening to what breath might yet make possible.
“Marie Theresa´s embodied workshop in Greece was an unexpected but deeply moving experience in the setting of an academic conference. While we had discussions and intellectual input before, Marie Theresa took us within minutes with her intervention into the body, into the individual story and into the wholeness of our experiences with water, breathing and the maternal - in the good and in the conflicting.”
These words were written collaboratively with Graduate Tutor and PhD researcher Killian O’Dwyer as part of the Counterfield research and practice collective, where this form of embodied research first took root among collective bodies.
They emerged from our shared breath around a kitchen table during a writing residency in Brighton; unfolding within the rhythms of lived space, care, and improvisation.
***
Ethics, Access, and Uncertainty
Access is central to this practice.
My approach is shaped by lived experience of chronic illness and by an ongoing awareness of how bodies meet space differently. Access is not treated as an afterthought or accommodation, but as part of the structure of how we gather.
Check-ins, pauses, opt-outs, stillness, and the possibility to leave or return are built into each workshop. Participants are reminded that they can engage at their own pace and that not speaking or not moving are also valid forms of participation.
The work is informed by Petra Kuppers’ understanding of disability culture as beginning from a question: Who is here? Who is not here? What conditions are needed for people to arrive, remain, or step away?
Each workshop is shaped by those present, the atmosphere of the day, and the air between us. There are no fixed outcomes. The work unfolds through uncertainty, responsiveness, and care.
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Ethics and Consent
In all my workshops, participant consent is central.
Photos are only taken when explicit permission is given. Participants are never required to be photographed, recorded, or identified. To maintain an open environment for engaging with difficult subjects, I do not record participants unless this has been clearly discussed and agreed in advance.
Before each workshop, participants receive an address or consent form outlining the purpose, structure, and possible emotional terrain of the session. This supports informed consent and participant agency.
Participants are encouraged to pause, opt out, step away, or return at any point. This ethical structure allows people to engage with care, autonomy, and choice.
***
Listening and Reading Groups
To learn more about my breath-led group sessions exploring archival texts, feminist theory, and diasporic memory, visit the dedicated page below:
Listening and reading groups often come first.
They form a gentle entryway into the work, allowing participants to encounter texts, fragments, and ideas before moving into more embodied or performative forms. These groups unfold across artist residencies, community settings, academic spaces, online gatherings, and site-responsive contexts.
Participants are invited to engage with literature, feminist theory, archival fragments, artworks, and the concept of shared air — not only through analysis, but through listening, breath, and collective attention.
These groups create the conditions for later workshops. They allow memory and affect to surface slowly, without urgency. Breath becomes a way of listening. Reading becomes a way of gathering.
Filmic Breath and Sonic Resonance
Film and sound are woven throughout the workshops.
My filmic practice is shaped by what I call filmic breath: an editing process where inhale, exhale, pause, and hesitation influence the rhythm of cuts, duration, and pacing. The film does not simply document performance. It becomes another breathing body within the workshop.
Projected fragments enter the space in dialogue with the breath of participants. The recorded and the live meet one another. Bodily breath and filmic breath collide.
More recently, this practice has expanded into sound. Sonic breath works with echo, vibration, delay, voice, and atmosphere, asking how memory might be carried through listening across distance.
Together, film and sound create porous spaces between the solitary and the shared, the recorded and the relational, the intimate and the public.
Water as Memory, Structure, and Archive
Water is a recurring material, image, and method in my workshops.
Participants are often invited to introduce themselves through bodies of water: rivers, seas, lakes, rain, wells, baths, crossings, floods, or imagined waters. Water opens a way of thinking about migration, maternal memory, grief, care, and transformation.
Informed by workshops I have facilitated through the Ocean as Archive module at Goldsmiths, I approach water as layered and relational. It holds traces of loss, movement, violence, resilience, silence, and return.
Water becomes an archive that does not stay still. It carries, erodes, remembers, and transforms.
Listen with your body.
Allow your memory to move toward the bodies of water that come to you—
waters that hold you,
trouble you,
disrupt,
care,
respond,
elude,
and move among us.
Embodied Pedagogies
My embodied workshops also move through teaching and university contexts.
As a Visiting Lecturer in Visual Cultures at Goldsmiths, University of London, I have adapted these methods across modules including Feminist and Queer Technoscience, Ocean as Archive, Histories of Art LAB, and Situated Knowledges.
In these contexts, students engage with archival fragments, film, breath, movement, and collective reflection to explore how knowledge emerges through bodies, atmospheres, and relation.
These workshops ask how learning might be reimagined not as the delivery of fixed knowledge, but as a reciprocal, situated, and embodied encounter.
They explore how the atmosphere of a room shifts how we listen, speak, move, and stay with difficult affects.
Embodied Workshops as Living Archives
The workshops generate traces: notes, letters, breath scores, fragments of text, images, sound, movements, silences, and shared reflections.
These traces do not form a complete record. They form a living archive: partial, relational, and unfolding.
This understanding of the workshop as a living archive connects to my wider practice of archival installations and socially engaged artistic research. The archive is not only a place where materials are stored. It is a space where people gather, where memory is activated, where voices resonate, and where what remains unfinished can be held without being fixed.
This approach informs current and future projects in which the studio, workshop, or residency space becomes an archive in formation.
Filmic Breath & Sonic Resonance:
Exploring Transgenerational Memory
Through Sound & Movement
Upcoming Workshops with Angelos Streklas
Ireland | In development
My collaboration with musician and artist, Angelos Streklas began at Tsarino Residency in Bulgaria, where we explored breath, sound, and movement as forms of memory and transmission. This encounter led to an ongoing exploration of filmic breath and sonic improvisation, using breathwork, Greek and Irish Bouzouki, and site-responsive music to investigate how landscapes, histories, and bodies hold and transmit memory.
Our Embodied Workshops across Ireland will focus on breath as a transformative force within transgenerational memory, bridging maternal inheritance, cultural transmission, and sonic resonance. Through improvisational sound, movement-based breathwork, and site-responsive film practices, we will explore:
How breath and sound interact across generations—where maternal breath carries histories of silence, loss, and resistance.
How musical scripts composed by Angelos on Greek and Irish Bouzouki can be in dialogue with scripted performances and breathwork.
How filmic breath interventions can create visual and sonic landscapes that reimagine the maternal relation as transformative and generative rather than solely defined by rupture.
By integrating embodied listening, soundwork, and movement, these workshops will continue my practice-based research into breath as a site of cultural, feminist, and intergenerational transformation.
Artist, Musician and Scientist
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Selected Examples of Embodied Circular Readings
Warm Bodies, Shared Air
London Conference in Critical Thought
Birkbeck, University of London | June 2025
As part of my organisation of the 2025 London Conference in Critical Thought, I curated the stream Interweaving Embodied Practice and Critical Theory in Transnational Feminisms, which invited critical and creative practitioners to explore how embodied methodologies might unsettle dominant narratives of trauma, silence, and historical inheritance.
Grounded in Luce Irigaray’s concept of “shared air,” the stream engaged breath, affect, and memory as vital mediums through which feminist, decolonial, and transnational inquiries could be enacted. It drew on thinkers such as Sara Ahmed, Achille Mbembe, adrienne maree brown, Ashon Crawley, and Fred Moten to examine how the body might become a site of pedagogical encounter and relational knowledge.
As part of this stream, I invited artist and somatic practitioner Rhona Eve Clews to facilitate Warm Bodies: An Embodied Exploration of Shared Air—a breath-led workshop integrating ecofeminist methodologies, poetic gesture, and somatic movement. Together, we closed the session with an embodied dialogue, holding space for co-witnessing, soft reflection, and shared presence. This practice of staying with, and breathing through, difficult affective terrains extended the stream’s commitment to attuning theory with lived experience; opening an atmosphere where knowledge could be felt, moved, and held collectively.
Knees to Stone, Three Secrets,
Tsarino AiR Foundation
Bulgarian Eastern Rhodope Mountains | Sept 2024
Before each embodied workshop, I send a “letter of address” that outlines the affective terrains we will traverse; an invitation for each collaborator to enter the space with the freedom to come and go as needed. At Tsarino, we crafted these letters collectively, translating them into Bulgarian, Greek, Dutch, and English so that every language could speak its truth into the air. These letters await on our shared dinner table, a tangible part of our durational practice that carries communities along with “histories that hurt.”
The stones holding these letters—shown in the image above—are from an abandoned village, some sculpted by local residents involved in the artist residency and weathered by the elements. They stand as silent witnesses to our ongoing embodied circular readings, where we reclaim, re-read, and re-breathe our collective past.
“In the second session, where the film and guided meditation took place, I felt as if I was really diving into some childhood memories—particularly connected to water and the river where I had some of my earliest father-son memories. It was deeply emotional and cathartic.”
Embodied Circular Reading moving through the air at Tsarino
We begin in our communal outdoor kitchen,
the plates returned cleaned and dried to the wooden shelves,
the vessels that once held the Irish stew I cooked.
We find ourselves surrounded by cows
that roam the Eastern Rhodope mountains;
we dance gently past their curious eyes.
We move together through the abandoned village—
inside and outside houses,
climbing down toward the waterfall,
passing pine and oak trees,
while our voices cling to the leaves.
Our bodies feel the cold welcome of water held in the stream.
A large beetle dives down into the depths and back to the air;
the water weaves, flows, and trickles on its way to the waterfall.
We climb.
We share two cars.
We find ourselves at the vitrine,
which holds fragments of our words
from the reading and listening group that came before.
The sun is setting.
Our communal fire crackles into the night air,
mingling with distant Bulgarian music and chatty crickets.
The timbre of my voice joins the chorus—
our communal voices tangle.
Our bodies respond to filmic breath between the firelight and our head touches.
My body disorients, orients, and reorients between the filmic body and my own.
Bodily and Filmic Breath
A new filmic body, forged in conversation with Tsarino, is screened during the workshop.
Post card Dis/Comfort | An Embodied Response
SMR Summer School, The Feminine in an Age of Anthropological Transformation,
Greece | Sept 2024
At the School of Materialist Research Summer School, I presented an embodied scripted reading in response to the theme of The Feminine in an Age of Anthropological Transformation. This durational reading explored the intersections of maternal breath, diasporic shame, and embodied memory, reflecting on how the feminine is continually shaped, contested, and (re)configured across generations.
Rooted in my practice-based research, the reading wove together autobiographical fragments, archival traces, and sensory engagement with breath—attending to what remains unsaid, inherited, or transformed within the maternal body. As a performed intervention, it activated the space through voice, rhythm, and the act of collective listening, mirroring how transnational feminist thought and bodily experience unfold in the moment we are.
The presentation engaged with Julia Kristeva’s notion of the feminine as an ongoing process of transformation, considering how maternal experience, shame, and resistance inscribe themselves into bodily and textual memory. The reading functioned as both an invocation and a rupture, unsettling conventional narratives of comfort and containment while embracing the discomfort that comes with embodied feminist inquiry.
This work continues my research into breath as performance, exploring how the maternal body exists in process—unfixed, unsettled, but always becoming.
Post card Dis/Comfort,
Bidston Observatory Artistic Research Centre (BOARC),
Liverpool | June 2024
Nestled within the historic walls of Bidston Observatory, this embodied circular reading unfolded as a durational practice shaped by breath, voice, movement, and the rhythms of communal living. The site—once an astronomical and tidal research centre—offered a unique resonance for exploring shared air, bodily attunement, and the fluid negotiations of space.
This workshop did not follow a fixed structure; instead, it evolved responsively, guided by the desires, needs, and energies of those present. The generative discussions that shaped this work began over the dining room table, where we gathered to share food and thoughts, reflecting on feminist philosophy, transgenerational breath, and embodied practice. Artists, performance artists, PhD students across various disciplines, writers, and local residents engaged in deep dialogue, forging connections that extended beyond the designated reading spaces. Even the presence of visiting dogs became part of the experience—reminding us of the porous boundaries between human and nonhuman, structured engagement and spontaneous interaction.
The practice of shared housework—cleaning, cooking, and caring for the space together—became an extension of the reading itself, mirroring the durational, dwelling-with nature of my work at Tsarino Artist Residency. These acts of maintenance and care underscored how embodied knowledge is not only held in embodied scripted readings and performance but in the gestures of everyday life.
The circular readings moved between rooms, chosen in the moment, responding to the embodied dynamics of the group and the ways the architecture itself influenced our interactions. Without a singular audience, the readings became dialogues with space itself—engaging voice, gesture, proximity, and stillness.
In this setting, the observatory—once a place of measurement and observation—became something else: a space of listening, attunement, and the generative reconfiguration of shared air. These embodied readings wove together autobiographical, archival, and theoretical texts, punctuated by breath, silence, and the subtle, ever-present exchanges between bodies.
To respect the intimacy and vulnerability of those who participated, there are no images of the collaborators. Instead, the images presented here document the rooms we moved through, capturing the atmospheres that held and shaped this work—a testament to the unfolding, communal process of reading, dwelling, and breathing together.
Embodied Workshops at Goldsmiths, University of London
My embodied workshops at Goldsmiths have unfolded across multiple courses and programs, shaping and being shaped by diverse academic and artistic contexts. Rooted in my research on transgenerational shame, maternal breath, and feminist philosophy, these sessions explore the intersections of theory and practice through breathwork, movement, and performative readings.
I have facilitated workshops and seminars across BA, MA, and Graduate Diploma modules, integrating embodied methodologies within:
Feminist and Queer Technoscience (BA Visual Cultures) – Exploring breath as a feminist and queer modality, engaging students in movement-based inquiry alongside theoretical discussions.
Histories of Art LAB (Graduate Diploma, led by Dr. Alice Andrews) – Developing experimental structures of care and collaborative engagement through embodied responses to text and archival materials.
Ocean as Archive (MA Contemporary Art Theory, taught by Dr. Vráblíková) – Introducing somatic and sensory practices to explore the entanglements of breath, water, and filmic bodies.
Situated Knowledges (Spring 2025, BA Visual Cultures) – Facilitating a workshop that will guide students in developing a public-facing group project, further integrating embodied, site-specific research with collaborative methodologies.
These workshops function as sites of collective attunement, where breath, movement, and text interweave to reconfigure traditional modes of learning. The methodologies I develop—drawing from circular readings, filmic breath, and performative engagement—foster an environment where participants can critically and bodily engage with histories, archives, and their own embodied responses.
Disorientation at the Site of the Letter,
Goldsmiths University of London, London | May 2024
One such workshop, Disorientation at the Site of the Letter, focused on the destabilizing effects of encountering maternal archives. Working with breath, touch, and voice, participants navigated the disorienting impact of reading and re-reading a letter that revealed a previously silenced maternal history. The session wove together autobiographical and archival materials, guiding participants through a durational engagement with silence, revelation, and the tensions between presence and absence.
This workshop exemplified the ways in which my research extends beyond theoretical engagement, inviting participants to experience histories that hurt through embodied practice. As with all my workshops at Goldsmiths, it demonstrated the critical potential of embodied methodologies—not only as a mode of inquiry but as a way of fostering new forms of relationality, knowledge-making, and collective reflection.
Through these experiences, my practice continues to evolve, responding to the emergent needs of each space and the bodies within it. These workshops are not static events but living processes—expanding, contracting, and shifting with each iteration.
We move together through the inhale, interval to the exhale, ‘Being faithful to the spacing of breath, this ‘rhythm and melody of the universe’ (Irigaray 2004d, p. 50). By bringing consciousness to our breath, we gesture to the other, commune with the other and return to the self.
Reorientations
The mother-daughter relation becomes a site for exploring how air is shared—between two bodies and within collective bodies. Through repetitive reorientations, these spaces open to communion in breath, offering resilience and possibilities for transformation.
We share air.
We move with and are shaped by the air around us, often forgetting the ground beneath our feet.
EMBODIED CIRCULAR READINGS
2026
2026
Radical Friendship: The Studio as Living Archive
Workshop / listening and reading group, in development | Ireland / UK / International contexts | 2026
2025
Embodied Methodologies: Shared Air and Socially Engaged Art Practice
Situated Knowledges, Goldsmiths, University of London | March 2025
This workshop explored socially engaged art practice and embodied methodologies as modes of generating knowledge in relation. Working through Irish Catholic maternal shame, institutional violence, secrecy, and silence, the session asked how public and private air are shaped by histories that hurt.
Drawing on Anne Dufourmantelle’s In Defense of Secrets and Luce Irigaray’s concept of shared air, the workshop considered withholding as a transnational feminist methodology: not as repression, but as an ethical practice that resists spectacle, extraction, and forced disclosure.
Through discussion, breath-led prompts, and embodied exercises, students explored how breath, hesitation, pacing, and silence might become forms of epistemic resistance. The workshop unfolded as a brave space, asking how socially engaged art can create conditions for responsibility rather than resolution.
2025
Warm Bodies, Shared Air
London Conference in Critical Thought, Birkbeck, University of London | Jun 2025
‘Arrival of the Light’, Breath(ing) with ‘Histories that Hurt’ We Share Air’, Pedvale Art Park, Latvia | (TBC)
2024
Knees to Stone, Three Secrets, Tsarino Foundation, Bulgarian Eastern Rhodope Mountains | Sept 2024
Post card Dis/Comfort, SMR Summer School, The Feminine in an Age of Anthropological Transformation, Greece | Sept 2024
Post card Dis/Comfort, Bidston Observatory Artistic Research Centre (BOARC), Liverpool | Jun 2024
Disorientation at the Site of the Letter, Brockley | Apr 2024
Disorientation at the Site of the Letter, Goldsmiths University of London, London | May 2024
EMBODIED RESEARCH AND MOVEMENT WORKSHOPS
2024
‘The Feminine-to-Come and Filmic Breath of the Irish Catholic Maternal, Goldsmiths University, London |February 2024
2023
‘The Feminine-to-Come and Filmic Breath of the Irish Catholic Maternal, Goldsmiths University, London| December 2023
Research Café – Research in conversation with artist Esmeralda Valencia, Women’s Art Library, London| December 2023
‘The Feminine-to-Come and Filmic Breath, collaborative embodied research event, with researcher Sara Simić, Central European University, Goldsmiths |October 2023
2022
Counterfield workshops – Indeterminate Transmissions, Filmic Bodies and Bodies of Motion, collaborative embodied research event, with researcher Daphna Westerman and dancer, choreographer and curator Jiaying Gao, New Cross |October 2022
Archival Explorations
I work with archives such as the Library of Ireland, the Irish Film Institute, the Radharc Archive, and the London Metropolitan Archives—as living spaces where histories are inscribed in silence. In these gaps between recorded narratives and lived experience, layers of maternal shame, transgenerational trauma, and unspoken cultural memory emerge. My embodied workshops engage with these archival materials, re-reading and re-enacting forgotten voices to challenge established narratives and illuminate what has been submerged. Through this process, the archives become transformative sites where the unsayable is held.
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