Proceeds from this summer course will help to grow our MFA DSI scholarship fund, making pathways to eco-social design possible.
How can the body guide the design process to foster balance, cultivate empathy, and expand creative possibilities? How can embodied exploration help us address challenges with resilience, innovation, and care? This course explores body-based knowledge as a powerful tool for designing meaningful change.
Grounded in somatics, movement, contemplative practices, and sensory design, the course also addresses nourishment and care for ourselves as we do work in our communities. Interactive classes feature demonstrations, warmups, and guided discussions around key concepts of embodied teaching and relational ecologies.
Weekly sessions offer virtual studio time and feedback to explore ideas, gain insights, and refine works in progress. Project-based learning assignments include reflective journaling, developing a personal embodied practice, and creating an experimental social ritual.
Design is not neutral, and neither is the body. Both carry histories of trauma and resilience that shape the systems, products, and rituals we create. By centering embodied awareness, participants will explore how to integrate self-awareness, empathy, and relational engagement into a transformative design process to approach complex challenges.
Kimberly Tate (she/they) bridges Leyte, Philippines, and Lenapehoking (Brooklyn, New York). Her work focuses on cultural restoration, community building, and ecological care. As a trained architect, movement artist, and interdisciplinary embodied designer, they create, teach, mother, and perform with a vision to honor, reimagine, and uplift the cultural inheritances of the diaspora and the global south. Kimberly is the founder and director of BAMBULAWAN, a bamboo architecture and design-build social impact startup. Her project, DANCITECTURE, creates space for both heartache and beauty, fostering kinship in the diaspora. Her own movement practice is grounded in capoeira, Filipino martial arts, somatic movement, and traditional Filipino and Western dance forms. Central to her design process and pedagogy are trauma-informed embodiment practices.
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