This past Sunday,
I spent three long hours at the museum of the Hong Kong University,
meditating, alone, on two exhibitions, one on Pablo Picasso's prints, the
other, on ancient Jun stoneware vessels (鈞瓷)
from the Yip Collection (琳標堂). In the former, I
saw print after print of full male and female bodies and of figures of
minotaurs (half man, half bull) and centaurs (half man, half horse)
in full embraces or, I should say, mutual entanglements, even fusion, or, if
you like, hybridization, my favorite word—to such an extent that I was not
able to associate body parts with identities. The dominant image there was the
body. Startled, excited, even aroused by Picasso, and in a half-daze, I
staggered on to the exhibition next door. There, I was calmed, caressed by
artifacts of an entirely different century, a different civilization, that of
potteries and ceramics of ancient China, to be exact, dating back to
1250–1300. My eyes were consoled by hues and splashes of blue,
purple, and green that wrapped themselves around jars, bowls, vases, basins,
dishes. Once again, I found myself drawn to round, circular, rotund figures and
shapes. There was plenty of rotundity, nudity, full-bodiness everywhere. And
again, the body stood out, the bodies of stonewares as human artifacts. In a
rare mystical moment, I lapsed into a trance, while my whole body felt an inner
convulsion, a push; then, I quickly drifted into a state of transcendental
meditation (TM), a deep, deep sleep. Bodies of the East and the West collided
and then melted in my mind, my body. I had lost my senses and sensations of
time, place, being. Waking up abruptly, I almost missed the boat to Lamma
Island.
Most
sociologists I know would say they do not have a lot to say about the human
body, perhaps nothing at all, partly because they have somehow extricated,
expelled, the individual, the person, from their collective consciousness,
their intellect. As they say, after the psychologists had claimed the mind as
their cerebral turf, the economists, the market, the sociologists then began to
invent society and would thereafter spend their entire lives dissecting it,
thus conveniently forgetting the body altogether.
Ironically,
sociologists also stubbornly hang onto a mechanistic model of society, an image
of society as system composed of interrelated parts, body parts. The human
body, indeed society for that matter, is often compared to an engine, a
machine. The sociologist Durkheim spoke of "mechanical solidarity." We have
expressions like 'department head,' 'head of the family,' or 'head of state.'
Social engineering has long become a dominant science in modernity, even
postmodernity. I would not be surprised that my doctor thinks of my body as a
machine only, with organs and blood arteries just like pipes or hoses that move
water, oil, gasoline from one part of my Alfa Romeo to another.
As
it happens, the distinction between humans and nonhumans disappears. My skin
separates my body from the environment, just like borders that divide up
nation-states. Borders abhor invasion and therefore must be defended at all
costs, by bodies and by machine guns, now by computers. Skin must be protected
or penetration by outside foreign bodies into my blood streams will cause AIDS.
So, sociologists in particular and social scientists in general may think,
ignorantly, they have very little to do with the body or its movement, but the
simple fact is our ways of thinking about ourselves, others, society,
practically everything social, have long been moulded by an ontological
obsession with the body—like it or not.
The
Chinese call brothers "arms and legs" (手足). They
also say 唇亡齒寒 (When the lips wane, the teeth feel
cold), which suggests weak nation-states must learn to support each other to
defend against a strong common enemy. Yes, we are so obsessed with the body
that there is a billion-dollar industry the world over to sculpt it into perfection.
One casual walk along the corridors of any subway train station in Hong Kong
will remind you that the only female body to be glorified, worshiped, and
celebrated is a slim one: the slimmer, the better, so much so that rotundity
has become immorality, almost a disease.
A
model female, or a female model, must possess a pale, sickly, skinny, undernourished
body. The global medical, biological, and chemical industries—and the many
research projects they fund—have their singular gaze at the female body. Here,
I am not even including the fashion industry that has wild fantasies about the
modern woman. Now, how can sociologists afford not to bring the body back
into our collective consciousness, our classrooms, our textbooks, our
curriculum? With their public discourse on "embodiment," the anthropologists
seem to have done a much better job than the sociologists. I have in mind
Margaret Lock and Judith Farquhar's 2007 book Beyond the Body Proper.
Take note, ladies and gentlemen, there is one and only one thing that matters
now: the body. Our university even has an academic department bearing the name 'Department
of Physical Education.' It is their business to educate us about the physical,
the corporal, the physique, again, the body—perhaps rationally, for the
sake of health, well-being, happiness—ah, yes, happiness, a postmodernist
obsession, or possession, even procession.
Of
course, I do not need to remind you all of the greatest body show on earth
every four years: the Olympics, this time in China, within weeks, which itself
is a global spectacular parade of the body, a bodily procession.
I
have been teaching a very popular course in social psychology called "Self and
Society" for more than two decades. One of the many interesting things social
psychology teaches us is that it is not only when we are happy that we smile;
it is also that, when we smile, we are happy. In other words, while the
inside certainly affects the outside (common sense), the outside also affects
the inside (not quite common sense). Doing affects feeling. Conceptualizing in
this way, feeling and doing, body and mind, inside and outside, unite,
combine, and become one. If social scientists are indeed interested in
feeling and thinking—the inside—then we could well be making some startling
scientific discoveries if we pay more attention to how movements of our body,
our body parts, would change our inner emotions, our ways of seeing ourselves,
our world. Perhaps this is why English people are so fond of taking a stroll in
the garden, to clear their minds, so to speak.
In movement, we
theorize.
We walk to talk.
Let's take a walk,
and talk.
Professor Brenda Farnell and Mr. Robert Wood asked me to
translate the title of this conference, "Body, Movement, and Dance" into
Chinese. I am no expert translator, but I like to play with words, language,
semantics, poetry, songs, Cantonese operas. I suddenly thought of a couple of
lines by the famous Tang Dynasty poet Li Bai (李白).
In his great poem "Drinking Alone with the Moon" (月下獨酌),
Li wrote:
I sing,
the moon lingers.
I dance,
my shadow tumbles.
Borrowing freely and unashamedly from Li Bai, my favorite poet, I translated the conference title into 舞影動身心, or "I dance, my shadow moves my body, my mind." With this
East-West interplay, my Chinese translation strives to capture all three English
words in the conference title: dance (舞),
movement (動), and body (身). The Chinese title contains two additional words: 影 (shadow) and 心 (mind). The idea
of the shadow reminds us not to take the body too literally—as in reference to
the flesh, the corporal only. The Chinese word "心"
(mind) completes the body-mind connection. Here I cannot resist the temptation
of informing the non-Chinese readers that the Chinese use the word "心" to refer to both mind (for thinking) and heart (for feeling).
Thinking and feeling are inseparable. Still in a poetic mood, I proceeded to
translate the title of the world-premiere dance performance The Pearl Sea into 海上明珠. "Pearl" in Chinese is 珠; "Sea" in Chinese is 海. At least four pearls are invoked
here: Zhuhai (珠海) where the idea of the dance
performance was first conceived; Hong Kong as "The Pearl of the Orient" (東方之珠); and the Pearl River Delta (珠江三角洲),
into which both Zhuhai and Hong Kong are quickly being integrated, culturally,
economically, politically, mentally.
The fourth
pearl, the bright, brilliant, shining pearl that emerges gloriously, triumphantly,
above the sea—thus, the Chinese translation "海上明珠"—indeed,
the real pearl, the symbol of hope for humanity, is the conference and the dance
itself. The Chinese call the world "the four seas" or "四海," as in "四海之內皆兄弟也," which I would
loosely translate as "We are all brothers—and sisters—in this world"; or, to borrow from the slogan
of the Beijing Olympics, "Four Seas, One World." The next three days will
witness a genuine, authentic cultural exchange and meeting of the minds, and
bodies, between peoples from all over the world—a kind of intellectual and
artistic Olympics at Hong Kong Baptist University.