Marcel Jousse

chercheur, anthropologue, pédagogue

Jousse according to the TIME Magazine, Nov. 6, 1939

To the Society of Jesus, militant defenders of Roman Catholic orthodoxy, a French Jesuit named Marcel Jousse has long been its enfant terrible. A onetime artillery captain who began studying for the order after World War I, white-haired, fiftyish Père Jousse invented and today teaches something he calls Rhyth-mocatechism, or preaching with gestures.

His theory began to evolve when he noticed a distinction between anthropoid and apish mimicry: children can imitate such actions as shaving and shooting without using razors or guns; but apes cannot, or do not. Père Jousse decided that miming and gesturing came before writing; hieroglyphics, he believed, were not ideograms, but mimograms, representations of significant gestures.

From his researches Père Jousse concluded that it was possible to reconstruct not only what Jesus said, but how He said it, from texts in Aramaic—the language which many believe that Jesus spoke, and which Père Jousse believes is admirably fitted for eloquent gesturing. To other Jesuits, his theories smelled of heresy. But Père Jousse argued himself out of trouble, even convinced the late Pope Pius XI, in a personal interview whose words and gestures were not reported, that he was fundamentally orthodox.

War notwithstanding, in Paris last week Père Jousse made ready to resume at the Sorbonne his course in rhythmocatechism. Its title: Les Rhytlimes Formulaires de I’Apocalypse d’Ezdras et le Style Oral Palestinien. Père Jousse’s first enrolée was his good friend and collaborator, a tiny, wrinkled, white-haired spinster, by name Ms Gabrielle Desgrées du Lou. This lady, who must enroll as a student in order to get in the Sorbonne, does Père Jousse’s gestures for him on the platform. While chanting, for example, Jesus’ parable of the houses built on sand and on rock, Ms Desgrées du Lou rolls her eyes, waves her arms, twists and sways like a ballet dancer. When Père Jousse lectures, 200 people watch goggle-eyed: doctors, spiritualists, philologists, ballet students, poets (among them Paul Valery)—and two Jesuit theologians, hawklike for heresies.

Marcel Jousse : The Oral Style and the Anthropology of Gesture

Edgard Sienaert published an article with this title in the journal Oral Tradition, 5/1 (1990).

It includes a wide bibliography of works by and about Marcel Jousse.

Read the article

About the influence of Marcel Jousse on Ivan Illich work

Gesture must precede speech

Disclaimer: This translation has not been edited. If you see anything that could be improved, please let us know.

“What will help me, dare I say it, to shape my thinking? What’s going to make it fluid or stiff? It’s my gesture. I’m driven by my gesture. It’s not words that drive me, it’s my gesture. And that’s why, without my noticing it, some of our spectators can say to me: ‘Yes, we know what you’re thinking. Before you’ve expressed it, you’ve played it out’.

And that’s why the child takes the real world with his whole body and then re-plays it and then gives you the oral transposition of this intussusception of reality, but always with this stupefying and inexplicable interference of the need to compare. I still haven’t been able to explain it to myself. I’m amazed myself at the definition I’ve been forced to give: “Man is an animal that makes comparisons”. The little child in front of the object mimics it, and immediately the comparison game begins. He’ll give the closest approximation to the gesture he’s seen, which is one of the joys of his expression.

Does a child see leaves falling? It’s not the leaves that strike him, but he has seen the feathers falling from the hen as she snorts, and in front of this scattering of little leaves, he replays this scattering of little feathers and says: “Mommy, look at the feathers falling from the tree”. This is one of the most beautiful examples of children’s gestual expression.

Perhaps this is where the solution lies. Leaves and feathers make the same gesture. There’s something very fine, twirling, gliding, whirling, swirling, very softly, and then it settles. The child grasps it, and it’s through the mimicry of the two objects that the connection is made, from which springs for us what we call poetry.

We need to collect all these children’s words, which would cast a totally unexpected light on the psychology of language and expression. A child’s beautiful style is his spontaneous style, not the one we make him do at school. We have books about children’s “writing”. But a child’s real writing doesn’t take place in front of the paper and inkwell; it happens at playtime, when he’s playing with his little friend. This is where an unexpected style emerges, made up of short sentences full of reality and playfulness. The child plays with metaphors as he plays with his gestures, because gesture is metaphor.”

Excerpt from a lecture by Marcel Jousse, ‘Le geste mimique et la création de la métaphore‘, given at the Sorbonne, January 14, 1932.

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      “The Ethnography of Rhythm: Orality and Its Technologies” by Haun Saussy

      Haun Saussy is University Professor of Comparative Literature at the University of Chicago.

      Presentation of the book :
      http://fordhampress.com/index.php/the-ethnography-of-rhythm-paperback.html

      Or Words to That Effect – Orality and the writing of literary history

      Edited by Daniel F. Chamberlain and J. Edward Chamberlin from University of Toronto, this collective book includes an essay by Edgard Sienaert :

      Levelling the Orality-Literacy Playing Field: Marcel Jousse’s Laboratory of Awareness and the Oral-Literary Continuum.’

      Presentation :
      http://www.academia.edu/21050246/Or_Words_to_That_Effect._Orality_and_the_writing_of_literary_history._Edited_by_Daniel_F._Chamberlain_and_J._Edward_Chamberlin

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