Research Catalogue

This exposition or archive is a work in progress, under construction, for gathering material of encounters with junipers.

877 Beaivvi (lohket) / 877 Days (Count them) er en kunstnerisk videoeksponering om samenes rettigheter, tid, dokumentasjon og repetisjon. Gjennom 360°-opptak fra Ginalvárri (Guovdageaidnu fjellet), protester (Oslo), språklæring (Guovdageaidnu) og kreftbehandling (Oslo sykkehuser) undersøker prosjektet forholdet mellom evidens, traume og kolonial makt.

This artistic research project deals with Indaba, a performance for young audiences. Indaba is an isiZulu word for a meeting or discussion where the right people meet at the right moment to figure out things that concern them. Our performance Indaba explores questions like: How does it feel to be Finnish, or African, or both? How do many identities fit into one person? This artistic research and performance investigate important and underrepresented topics in the Finnish context: a sense of shared space and questions of mixed identities. The research question addresses shared space as follows: “What kind of tools and skills are helpful in creating a sense of shared space in a performative setting?”. The research takes a closer look at a series of five alternating and interconnected indabas and reflection sessions with the performer-trio: Pietari Kauppinen, Kasheshi Makena, and the author of this exposition. This written work also maps out some key conversations and concepts that our indaba and this artistic research connect to, such as third space and intersectionality. The main research findings are a practical tool for establishing a way of sharing space and the importance of the performer's responsibility in making meanings. Relevant skills that emerged from these findings include observation skills such as being alert and sensing what meanings things carry in the context at hand, and proactive skills such as the ability to respond in the moment.

This virtual exposition partially concentrates the experimental works developed during the doctorate in musical performance. Based mainly on the theory of transcreation of Haroldo de Campos (1962-2003), the topic of virtuosity is approached from artistic gestures trying to raise the discussion on what it means to be a virtuoso in the contemporary musical world. Paradoxically, iconic piano technique studies were chosen as the main material,this transcreationist interpretation allows traditional material to be permeated not only by contemporary means and aesthetics, but also questions that reflect on the tradition that made the emergence of these studies possible.

Taking as a departure point my experience working with war survivors in Peru, this project investigates how art can enable the collectivization of mourning. I connected my interest in the act of mourning human losses with my experiences living in Athens, Greece, where I encountered depression as a common diagnosis on both the individual and collective levels. If being depressed relates to unresolved mourning processes, what are the objects of loss caused by economic crisis and political disillusion? How can art help us to mourn an abstract loss, such as a political project, a certain sense of dignity, a particular relation with time and nature, or a fixed role in the familial structure? How could mourning be shared to allow communities to reframe and re-signify those objects of loss, towards transforming our relation to the economic and political? Lost and Shared creates dialogue between theory and affective labour, through collective experiences that connect emotions, critical thinking, body and space. The intuitions and questions brought by conversations with Greek activists and artists are the core of the project. Later on, facing the impossibility of working as planned due to the pandemic, Lost and Shared was adapted to the new socializing conditions and to acknowledge how crisis and mourning had become a global concern. Thus, the project ends up proposing the idea of “fertilizing mourning” as a concept in the making - an open invitation to collectively create practices that help us reconsidering the entanglements between life, death, and regeneration. Urgent practices we need today in order to contest the increasing, global processes of loss caused by capitalism.

Warm-up routines are essential for preventing injuries and enhancing performance, not only for athletes but also for musicians. While technical exercises like scales are common, physical and mental preparation is often overlooked. Research shows that musicians experience a high incidence of injuries, yet many neglect a comprehensive warm-up that includes both physical and mental aspects. This study explores the importance of incorporating a warm-up routine that goes beyond the instrument itself. It introduces a "warm-up menu" that allows musicians to select exercises based on available time, integrating disciplines and techniques such as Yoga, Body Mapping, Flow, and Imagery, while also highlighting the significance of Core engagement for musicians. These practices enhance body awareness, reduce tension, and promote overall well-being, ultimately helping to prevent injuries. The research combines a literature review, expert interviews, and a case study in which three musicians experimented with different warm-up routines over a week, reflecting on their experiences and the impact on their performance and physical condition. Findings suggest that incorporating non-instrumental warm-ups, especially those influenced by Yoga, can reduce tension, improve posture, and enhance performance while lowering injury risks. Experts, including musicians, psychologists, and physiotherapists, confirmed these benefits but emphasized that warm-ups should be part of a broader injury prevention approach. This study provides initial insights into the benefits of holistic warm-ups and encourages further research. By understanding and implementing better warm-up strategies, musicians can cultivate a more sustainable and healthy career.