Research Catalogue

Documentación sobre la investigación artística de ConCuerpos en el 2023 en torno a la Accesibilidad Universal en Danza, llamada Cancionero para la Ausencia.

Die Idee des Projekts war es, mit den Gegebenheiten vor Ort zu arbeiten und diesen als Inspirationsquelle sowohl inhaltlich als auch materiell zu nutzen. Was die Materialauswahl &-organisation betrifft nutzten wir Gebrauchtes aus lokalen Quellen und integrierten die Geschichten in Bezug auf die vorherige Nutzung der Materialien in das Stück. Neben den Darsteller*innen, die aus der Näheren Umgebung stammten, bekamen auch die Materialien eine „Stimme“. Ein wesentlicher inhaltlicher & materieller Bestandteil der Inszenierung war Erde, die als nicht-menschliche Akteur*in auf der Bühne behandelt wurde. Den Dialog zwischen Mensch und Hummus haben wir verfolgt, indem im Probenprozess Bewegungs-Material durch die Interaktion mit der Erde entwickelt wurde. Die dabei entstandenen Fragen müssen zukünftig sowohl vor als auch hinter der Bühne verhandelt werden: Wie können wir für unsere Umgebung Sorge tragen? Wie können wir neue Rituale in alten und vertrauten, gesellschaftlich konstruierten Lebensrealitäten finden, die für zukunftsfähiges Denken und Handeln nützlich sind? Franziska Wenning, Anja Gast, Rémy Bocquillon

Development of Curatorial Guidelines for the Transart Residency Exhibition at London's Borough Road Gallery in July 2025. The Anthologies Assembly, London 2025, extends a call for proposals for a vibrant, student-guided convergence of research inquiry and creative exploration. Building upon the inaugural assembly, participants are encouraged to embrace "research-based creative practice" as a means of knowledge generation where diverse disciplines intersect and boundaries blur. We welcome proposals that illuminate PhD research, including nascent "works-in-progress," emphasizing the value of ongoing inquiry. Guided by student feedback expressing both a desire for grounding in practice and community as well as exceptional moments that inspire, we aim to create spaces for genuine encounters and shared learning, where participants leave with lasting impressions on research and creative endeavors that continue to spark curiosity throughout the year. Our curatorial framework centers on the concept of investigation, as both a rigorous pursuit and an introspective exploration. Drawing from its etymological roots, we conceive of investigation as a tracing towards something no longer present—a turning-towards truths hidden or lost in time; and a nuanced examination of practices, be they social, political, or personal.

The Bachelors’s Programme in Dance Pedagogy at Stockholm University of the Arts, Sweden, have gone through a major restructuring leading to an updated program, on demand by students and staff. This exposition gives you an overview of the process of changing the program during the years 2020 - 2023. It guides you through the phases of the change project, highlights documents governing and forming the changes made, and links to research that were conducted during the project period and that deepened the knowledge created through the change process. Our first step was to listen into the field’s concerns and ideas about dance education today. We scanned the field for signals of change and created a collaborative map of dance pedagogical practices in contemporary times. From this map we derived design principles and scenarios for a new BA in Dance Pedagogy. After a workshop series with students of the department, it was decided that the new program should be based on the hybrid research methodology A/R/Tography. A new educational plan and course plans were created for the new BA. Courses corresponding to the positions as artist, researcher, and teacher of A/R/Tography were developed for the program, and dance genre specific courses were also created. All new courses of the program combines theory and practice, and students are prepared for a changing and complex work life combining artistic, teaching and researching practice. This exposition is part of the peer-reviewed article: Østern, T. P., Reppen, C., O’Connell, S., & Daneberg, M. (2025). Choreographer/researcher/teacher: Developing a/r/tography as an approach to dance pedagogy at Stockholm University of the Arts in a professional learning community of teachers. Nordic Journal of Art & Research, 14(2). https://doi.org/10.7577/ar.5460

Here are some examples of outputs of the Solresol Birsong Translator. This forms part of the work presented for a PhD at Newcastle University. A device was built that ‘listens’ to birdsong and translates this into human speech utilising the obscure musical language Solresol (François Sudre, 1866). Birdsong is analysed and converted into musical notes (one octave in the scale of C Major: do-re-me-fa-sol-la-ti). These seven notes are grouped to form four-note ‘words’ that are looked-up in the Solresol-English dictionary. Each note also has a rainbow colour assigned to it. In a variety of configurations, the device can output the birdsong, notes, music, translated words, and colours. Text and MIDI (music) files can both be saved for further output or processing. The software can run in a variety of modes and on a variety of hardware, including PC and Raspberry Pi. It can make use of both live and recorded birdsong.

This project identifies a shortcoming in the range and coherence of the language that musicians use, in particular the Norwegian instrumental traditional music (folk music), when they aim to communicate the craft elements of their practice. The Craftmanship project identifies craft as deep knowledge that is a result of skills based activities that again result in tacit knowledge. This knowledge has traditionally been communicated between practitioners or from master to apprentice through a series of subtle cues, ideas or metaphors, which resist language – it is learned through experience and a form attunement between the participants. The project therefore, proposes to develop a vocabulary, based on and drawn from a practitioner’s perspective, through the “languaging” of keywords, and a critique of scores in order to revitalise the transmission of this knowledge for a new generation of musicians. Furthermore, it proposes that when attunement happens, it facilitates profound moments in performances, where the musician and audience reach a tacit recognition. The project proposes that these moments, colloquially described as ‘Magic Moments’ are the aim of most musicians in performance situations. These moments are often dependent on social situations. The project aims to construct a framework for further investigation of the contexts within which these moments manifest themselves.