This article critically reflects on the facilitation of embodied practice in virtual spaces of teaching, learning and creation, specifically looking at ways of facilitating touch within the broader context of decolonising dance and movement practices in South Africa. When working without the touch of another (human)being, I explore how the affordances of environment and surfaces can offer a feedback loop for the sounding body in motion. The article draws from experiences of facilitating movement and physical theatre courses at the University of Pretoria to suggest how touch may become an embodied technique that structures practice in spaces of isolation and inertia and in times where notions of continuity and discontinuity are ruptured. I explore how walls, surfaces and objects become secondary affordances that offer an external force onto the body through tactility. Reading discourses of embodiment and decoloniality through one another, I further argue that using touch to re-initiate motion offers political possibilities to exercise the leap from inertia to activation, and trouble the colonially formed category of human.

本文批判性地反思了在教学、学习和创作的虚拟空间中促进具体实践的问题，特别是在南非非殖民化舞蹈和运动实践的更广泛背景下探讨促进触摸的方法。当在没有其他（人）接触的情况下工作时，我探索环境和表面的可供性如何为运动中的发声体提供反馈循环。本文借鉴了比勒陀利亚大学促进运动和形体戏剧课程的经验，提出触摸如何成为一种在孤立和惯性的空间以及连续性和不连续性概念被打破的时代结构实践的具体技术。我探索墙壁如何，表面和物体成为次要的可供性，通过触觉向身体提供外力。通过相互阅读体现和非殖民性的话语，我进一步认为，使用触摸来重新启动运动提供了实现从惰性到激活的飞跃的政治可能性，并困扰了殖民形成的人类类别。