Sound Body
(2025)
author(s): Zornitsa Stoyanova
published in: Research Catalogue
Sound Body is a project created by Zornitsa Stoyanova(BUL/USA) and Peter Sciscioli (USA), with an international cast of artists.
The project was created over 8 workshops and rehearsal days in Sofia, Bulgaria.
This is a written description of the project done specifically for a Master's degree assignment.
Professional Field Orientation
(2025)
author(s): jejote
published in: Research Catalogue
This exposition bundles the process of my research of the assignment Professional Field Orientation.
Working Class-ical Music: Exploring the creative potential of embodying working-classness in a folio of new interdisciplinary compositions
(2025)
author(s): AIDAN Teplitzky
published in: Birmingham City University
In my practice-based research I have developed a portfolio of new interdisciplinary compositions that explore the creative potential of embodying working-classness in classical music. The impact of my research is the production of a portfolio of compositions that effectively provide new considerations to various aspects of classical music’s culture, including:
• Performance Environment (Holding, The Damned, and The Weight of History and Background Etudes)
• Instrumentation (It’s Hard to Make an Oboe Sound Working-Class)
• Musical forms (Budget Cuts to Faure’s Piano Trio in D Minor and Theme With Variations Forced by Expectations)
• The experience of those working in/engaging with classical music’s culture (Budget Cuts to Faure’s Piano Trio in D Minor and The Weight of History and Background Etudes)
• Musical language (Seven Working-Class Time Pieces, Baguette Baton and Escapism).
The following exposition also provides a resource to address the stereotyping of working-classness in contemporary creative outputs, a methodology for how working-classness can be embodied in artistic practice, a display of how interdisciplinary methods can be used to effectively express the working-class experience, and a space for other working-class artists to express their class through classical music.
Collaborative filmmaking and the quest for a collective narrative
(2025)
author(s): Ylva Gustavsson
published in: Stockholm University of the Arts (SKH)
Collaborative filmmaking and the quest for a collective narrative.
Through exploring different kinds of collaborators strategies this project embarked on a quest.
Is there a way to create a narrative fiktion film that has is a founded in a kind of collective, existential mythology of contemporary life.
Expanding Public (Im)Possibilities
(2025)
author(s): Xenia Tsompanidou
published in: Research Catalogue
Documentation of the 'Expanding Public (Im)Possibilities' gathering, an international gathering of disciplines that perform public space |
Organized by the Fontys Professorship Artistic Connective Practices, Fontys MA Performing Public Space and Fontys Journalism.
Crafting Material Bodies – exploring co-creative costume processes
(2025)
author(s): Charlotte Østergaard
published in: Research Catalogue
This exposition is the submitted PhD thesis for the doctoral degree in artistic research in Perfroming Art at Malmö Theatre Academy, Lund University December 2024. This artistic research was carried out between 2020 and 2024 and financially supported by Malmö Theatre Academy, Lund University, Sweden.
Main supervisor: Sofia Pantouvaki
Second supervisor: Camilla Eeg-Tverbakk
The exposition is in three parts:
FRAMEWORKS – contextualization the artistic research including description of the artistic method in the research.
PROJECTS – containing descriptions and analysis of the three artistic projects "AweAre – a movement quintet", "Community Walk" and "Conversation Costume".
CONCLUSION
Abstract:
At the heart of this research are relational encounters between people and textile materials. As the title, Crafting Material Bodies, indicates, the research explores how human bodies are crafted by material bodies (costume) and vice versa. In the research textile materials and people are my co-creators and as co-creators they are invited to relate to, affect and become affected by other human bodies and more-than-human materials. As the subtitle, exploring co-creative costume processes, indicate the main quest is to explore how we (humans) co-create with textile and costume materials and to explore how textile and costume materials become equal co-creating partners.
In the artistic projects I invite fellow artists like performers and designers to explore specific connecting costumes (that connect two or more people) with me. As co-creators I invite them to engage, respond, inform, influence and/or interrupt our costume explorations in ways that matter to them and to critically reflect on our explorations. In the projects I study how listening become instances of relational acts between humans and more-than humans that evoke curious embodied and conversational dialogues Such dialogues are invitations to listen with the textile and costume materials, with (human) bodies, to share embodied experiences, to co-create and to elaborate on the various creative perspectives. During the artistic projects I act as more than an observing designer/researcher. I am the host that have crafted the connecting costumes in collaboration with the textile materials and as host I also actively take part in exploring what the costumes evoke and provoke. The goal is to explore how being a participating host affects the explorative costume situations.
The research has four focal themes – crafting, listening, hosting and co-creating – which are explored though three artistic projects. The artistic project AweAre, a movement quintet, explores the act of listening, Community Walk explores the act of hosting and Conversation Costume explores the act of co-creating, while all three projects explore different aspects of crafting. As the themes are entangled, all three projects contain aspects of the four themes.
With this research I suggest that it is critical that in co-creative situations we cultivate our listening abilities with human and more-than-human others, and I argue that textile and costume materials is a medium that enable us to do so. With this research my ambition is to formulate ideas on co-creative methods that value material-discursive listening and where the hosting attitude is orientated towards communal doings. The aim is that listenings and communal hostings become tools for designers to gain a deeper understanding of how costume affects performers, and the boarder scope is that the research contributes to discussions on how teams can collaborate with humans and more-than-humans in more generous and inclusive manners. One example is that we acknowledge that our different disciplinary perspectives are creative possibilities in our common doing and that we recognise that how we share and exchange our differences has an impact on how we flourish co-creatively with our human and more-than-human co-creators.
ISBN: 978-91-88409-39-3
