Human Origami

Movement Improvisations in Body Folding

Open Pop-Up Jam


Glenna Batson, movement muse

Jude Casseday, soundscape artist

Preview Jude’s Soundscape Score with Glenna in action!


Friday, March 15th

4:30 – 6:30 pm

Joy of Movement Studio


Paper origami is a form of child’s play that speaks volumes.  Folding is everywhere in nature and in your nature. The simple act of folding is an outward sign of many inner mysteries. Human Origamiis a guided movement practice thatreaches into the heart of who we are – a series of dynamic patterns that create life and that unfold throughout life. Where does a movement begin? Where does it end? How many pathways can one fold take?  Come join Glenna in this movement dive along with Jude’s evocative soundscape, emerging in the moment.  Together, we will enter and re-enter into our folds, each time encountering new memory and meaning. Come encounter the familiar and the unknown. Ride the edge of the trickster and the truth teller. Recapture the essence of life and depth in this re-play of folding patterns. Let the flow of the fold uncover your inner weaver



Glenna Batson is an independent movement educator who supports the credo and initiatives of Joy of Movement. At 70 years young, she remains inspired by many inroads to embodied knowledge – contemplative to expressive, artistic to scientific. She lives in Pittsboro


Jude Casseday  With over thirty years’ experience in theatre and music arts, Jude Casseday offers soundscapes and music for parties, gatherings, film and dance. Read Jude’s blog: Jude’s Soundlings(did you hear that?) at Examples of her sound work can be found at





Since 2013, Human Origami has hosted a number of events, including improvisational jams, movement rituals, focused choreographic research, art installations, fashion shows and conference presentations.

In December of 2017, the Hong Kong Academy of Performing Arts hosted a symposium called Practice as Research. The three-day symposium was designed to highlight pioneering practices in dance practice and performance.

I collaborated with my colleague, Susan Sentler, dancer and multimedia artist working at LASALLE College of the Arts in Singapore. Together, we put together a poster presentation entitled

The Fold: Performance Training Through a Somatic Lens

The poster outlined the history of our collaborative work in creating an improvisational movement form called Human Origami, based on the macro- and micro- explorations of bodily folding.  

We designed the poster as interactive.  

The first exercise asked the viewer to take a piece of paper and create only ONE fold – anyway they wanted.  Then, observe what you made, write your image on a piece of paper.

The second exercise, asked the viewer to recall the earliest fold in their life, and taking a piece of paper, re-create the fold from their imagination. They were then asked Where does this fold still reside in your body? How does it still operate in your life?

The viewers could put both their comments from exercise one and two into little constructed origami boxes on the table.



Twenty-first century dance has benefited from the exponential growth of embodiment studies. Dancers now readily engage in trans-disciplinary and culturally inclusive studies worldwide. This workshop introduces participants to a movement practice inspired by phenomenology, somaesthetics and bio-science. The practice, called Human Origami (HO), an exploration of patterns of body folding. HO is designed to transform consciousness and enhance movement potential. The practice is improvisational, an interplay of movement and multimedia – photography/film, sound, and paper. The concept derived from phenomenologist Gilles Deleuze’s book, The Fold (1993), a metaphysical treatise on Baroque aesthetics. For Deleuze, the fold is a metaphor for human potential, continuous and infinite. HO evolved over a three-year intermittent collaboration between two dance educators from different dance- and somatic traditions, who piloted the work in the UK, USA and Asia. Aiming to view performative training through a somatic lens, they created a sensory-rich immersive movement lab where dancers challenged choreographic thinking and deepened performative skills. The somatic process gave rise to an embodied ontology of becoming whose unfixed boundaries were iterative, non-linear, and liminal. Reflection/discussion gave rise to new narratives, and also revealed commonalities between bio-science and embodiment theory. In this presentation, participants will sample HO. The presenter will summarise key findings from the project and lead participants through a movement experience. Discussion will touch upon the value of HO in shaping performance practice within multicultural contexts.

Deleuze, G. (1993), The Fold: Leibnitz and the Baroque. University of Minnesota Press.

Up Next

Nothing from February 22, 2019 to March 22, 2019.