Standing on Earth
(2020)
author(s): Grėtė Šmitaitė
published in: Research Catalogue
The research of March-August 2020 approaches environment and society as constantly in-formation, while one is opening one’s eyes upon them, always a participant of them.
The research was led by:
-rigorous practice of observing, adapting and dancing ‘out in the open’.
Seeking to uncover the dance that has the sizzling, restless feeling, the butterflies in the stomach. Dance that would primordially reveal connections between elements and in such way uncover the possibilities of experiencing what they are. Polyrhythms, joining consonant and dissonant were there as the access points.
-reading Tim Ingold and diving into the understanding of the world that is worldling, that is changing as the weather does.
-reading Contact Quarterly Contact Improvisation Source book, perceiving these meetings of letters as a platform that encourages to think around the power and various facets of contact; that inspires to build by staying in dialogue.
-weaving webs of sharing one’s doings with other artists - staying in dialogue in the form of letters and calls. With: mentor of the research Stephen Batts and the very inspiring colleagues Christine Quoiraud, Rūta Junevičiūtė, Hanna Kritten Tangsoo, Magdalena Meindl, Lyllie Rouvière, Forough Fami, Iivy Meltaus and others. Last to mention the exchange that happened without my prior understanding with Giedrė Šmitienė who at that time was researching relations through the letters of poet Janina Degutytė.
Dancing Recurrences
(2020)
author(s): Brynjar Åbel Bandlien
published in: Norwegian Artistic Research Programme
Dancing Recurrences – a performative practice within the field of dance and dance making
by Brynjar Åbel Bandlien
My research project aims to articulate and develop a performative practice that I have been working on over the last fifteen years. This practice can be applied to artistic processes within the field of dance and dance making.
When a creative process is fully underway, certain situations, events, actions, movements, and states can be recognized as recurrent within the process. Recurrences, rather than being created or produced, manifest or emerge from the dancer´s practice. Once they have been recognized they can be understood and pursued as a forming aspect of artistic processes.
The artistic aim has been to follow, participate, co-create and navigate in artistic processes using recurrences. The performative practice of recurrences is articulated by the presentations of #dancingrecurrences and the reflection materials of my dissertation. My two research questions are:
How can the practice of recurrences become a way to understand artistic work as it develops?
How can working with recurrences become both a performative practice within artistic processes and an artistic work in and of itself?
I have been researching these questions from the position of a dancer, and I have asked these questions in different ways; through dance, through drawing and by interviewing other artists, dancers and dance makers. I have initiated my own research process; #dancingrecurrences, together with four other dancer researchers, starting from practice and from there moving on to reflection. I approach recurrences both as a practice and a reflection, with the assumption that within a dancer´s practice the mind and body are so deeply connected that they cannot be considered separately. Reflection is a physical process as well as a mental one, and practice is a conceptualization process as well as a physical activity.
At the same time as I have been researching these questions on my own, they have been explored following the artistic processes of the project Amphibious Trilogies by Amanda Steggell, professor of choreography at Oslo National Academy of the Arts (KHiO). This makes the project an interesting collaboration both structurally and in content. However, in the final presentation of my work the focus will be on Dancing Recurrences and #dancingrecurrences.
The work has resulted in a final publication of my reflections based on the findings informed by the artistic processes. The performative practice has resulted in three public presentations.
How can a performance of Shostakovich’ piano quintet be dramatized by using words, movements, staging and lighting?
(2019)
author(s): Laura Lunansky, Coraline Groen
published in: KC Research Portal
Student Number
3026329
Supervisor(s)
Andrew Wright, Maggie Urquhart
Title
De Formule
Research Question
How can a performance of Shostakovich’ piano quintet be dramatized by using words, movements, staging and lighting?
Summary
This research was carried out in and through the practice and performances of ensemble ‘de Formule’, a piano quintet in which we both play the violin. As a result of this research, our goal was to perform the Shostakovich piano quintet in a dramatized way, which we did in 2018. The research text describes the internal research process. By looking at (historical) sources about the composer and the piece, and by analyzing the score we got an impression of the context and atmosphere of the quintet, and we created a story to go with it. We found that the piece fitted today’s very important topic about finding your identity within the (mass) society, knowing the history of Shostakovich’ own struggles and the expressions he creates in his melodies, harmonies, instrumentation etc.: sometimes searching, sometimes dragged along in sarcastic happiness and sometimes screaming for help. All these elements we used to conduct the research process, which included translation of the story lines and expressions into movements, words, light effects and different stagings. As a result of this dramatization, we noticed that the audience seemed to understand the music better, and for ourselves, the performance was a more meaningful experience.
Short Bio
Coraline Groen obtained a bachelor’s degree from the Royal Conservatoire in The Hague. Her teachers have included Vera Beths, Peter Brunt and Philippe Graffin in The Hague, and Rodney Friend at the Royal Academy of Music in London. Groen was a member of the Royal Concertgebouw Orchestra Academy 2018-2019 and played with the Bayrische Rundfunk Symphony Orchestra and the Residentie Orchestra. She was appointed principal of the second violins of the NJO, the RAM Symphony Orchestra and the Gustav Mahler Academy Orchestra. Groen is a member of the Volkmann Trio, De Formule, and a duo with bayan player Robbrecht Van Cauwenberghe.
Resurrecting Dead Darlings Exposition
(last edited: 2024)
author(s): Ryan Mason, Annamari Keskinen
This exposition is in progress and its share status is: visible to all.
Situated within the broader discourse of artistic research, Resurrecting Dead Darlings- A Palindromic Process of Artistic Rebirth amplifies the project's commitment to reinvigorating the dialogue between artists and spectators through the process of engaging with dead darlings. It introduces a multimedia archive tailored to enhance performances by allowing deeper insight into the artistic process—highlighting the evolution from initial concept to performance and the subsequent reinvention. This synthesis encapsulates the project's approach to fostering a dynamic interplay between viewing and creating, where spectators are invited into the intimate spheres of artistic reimagining, and creators are offered reflective distance to view their work through the audience's eyes.
This initiative recognizes the evolving nature of artistic research, emphasizing the move towards integrating research-focused methodologies and embracing diverse forms of creation. Doing so enriches the artist/spectator relationship, positioning it as a foundational element that drives the creative cycle forward. The exposition is a tangible interface for this engagement, offering a conduit for transdisciplinary exploration and a deeper mutual appreciation of the artistic journey. It reaffirms the project's role as a vibrant platform for collaboration, discovery, and the continual reshaping of the artistic experience, echoing Thar Be Dragons’ vision for a participatory and reflective artistic culture.
The exposition is a platform for the artists to document their work, acting as a supportive tool and a gentle invitation to convert embodied thinking into words, which can often prove challenging. It embraces a variety of approaches, including texts, sound recordings, and videos, all designed to exist in an adaptive format that accommodates constant evolution and development. The material within doesn’t necessarily explicate the contents of the exposition but rather works as a collaborative interlocutor. While the primary working language is English, Finnish is also occasionally used.
* Dead Darlings are ideas that, for one reason or another, have been set aside, abandoned, or otherwise not realized. They can be scenes, psychophysical movement spaces, modes of performance, or sets of actions based on fictional situations and settings.
Metamorphoses - The performance of process
(last edited: 2024)
author(s): Janne-Camilla Lyster
This exposition is in progress and its share status is: visible to all.
"Metamorphoses - The performance of process" is an exposition of choreographic objects. Operating in the realms of drawing, photography, and video, these objects each address a poetics of transformation.
The collections expose the simple materiality of change; the wind scattering paper pieces - or being transformed into sound by the paper walls of an accordion.
:::
Contextual note:
Metamorphoses is the first cycle of the choreographic project Love, polyphonic.
The Metamorphoses Cycle consists of four parts:
1. The Performance of Process
2. Performance object
3. International performance workshop tour
4. Choreographic Toolbox #1: Metamorphoses (publication)
The project Love, polyphonic extends over six years. The work approaches movement, sound, geometry and language through the concept of "love" as a prism. A force that can only be recognized indirectly. A tool for listening to the world; polyphonic.
The series "The Performance of process", which was shared on the Instagram account love_polyphonic and Black Box teater's websites through the spring of 2021, invites us into the process of Metamorphoses.
The performance object that premiered at Black Box Teater September 18th 2021 was a collaboration with cellist and composer Lene Grenager and dancer Cecilie Lindeman Steen. The performance was presented in collaboration with Ultima Oslo Contemporary Music Festival.
The collaborators for the international performance workshop tour was MAD, Firenze (IT), La Regarde du Cygnet, Paris (FR) and Dansekapellet, København (DK).
The Choreographic Toolbox #1: Metamorphoses (publication) was launched at Norma T in collaboration with Mette Edvardsen on March 7th 2023, and is distributed nationally and internationally by Tekstallemenningen.
:::
Janne-Camilla Lyster (b. 1981) is a Norwegian choreographer, writer and performer. She gained her artistic PhD with the project «Choreographic poetry: Creating literary scores for dance», and has a particular interest in pre-figurative practices, including scores, experimental notation and notation systems for movement. She has published a number of poetry collections as well as novels, plays, essays and performance scores.
Wolfe & Libertad
(last edited: 2024)
author(s): Laisvie Andrea Ochoa Gaevska
This exposition is in progress and its share status is: visible to all.
Wolfe and Libertad is a practice-led research project that combines choreographic and cinematographic ways of working with the aim to locate sources of female strength. Therefore, one strand of the project seeks to develop an expressive device from the kinetic interplay between dance and video projection. The other finds creative energy in the voice of young women instigating social change and in a wolves-inspired bodily state. One major inspiration is the tale La Loba (Wolf Woman) presented by Clarissa Pinkola in the book Women Who Run With the Wolves (1992). The psychoanalytic concepts of Extimacy (Lacan, 2014) and Listening with The Third Ear (Reik, 1956) are repurposed as creative methods that generate movement materials from somatic experiences. As well, those concepts became the analytical way to understand the research discoveries. As part of this project, the video-dance Becoming and the dance pieces WolFloW and Wolfe & Libertad, which involve real-time visual performance, were made. In addition, a vocabulary of interaction between live and mediated dance is presented in this Exposition. One key finding of the project is a potent state of presence nurtured with the use of spoken word and sign language. A variety of tensions emerges from the interaction between this presence and the presence of the projection.
Suzan Preliminary Research
(last edited: 2024)
author(s): Olga Balinska
This exposition is in progress and its share status is: visible to all.
Preliminary Research for 4th Year Bachelor of Choreography End Performance
SECOND COMING
(last edited: 2023)
author(s): Erik Valentin Berg
This exposition is in review and its share status is: visible to all.
SECOND COMING focuses on the role of mystery in choreographic practices, dancing and writing. The commitment, stemming from the need to partially understand the process of becoming in relation to my formation as a choreographer, departs from the question:
What combination of learnable skills, collegial support and obscure faith does an artist need in the age of uncertainty?
Performing Citizenship: Gathering (in the) Movement. The Choreographic Format of Circle Dancing and the Round Dance as a Matrix of Collective Action in the Context of Political Assemblies, Protests and Occupations.
(last edited: 2022)
author(s): Liz Rech
This exposition is in progress and its share status is: visible to all.
In the activist context of ‘movement’, the concept of movement with regard to the ‘moving body’ always involves three aspects: The political movement itself; the real physical, choreographic movement; as well as associated personal movement and connection to shared values. These three dimensions are aspects of a bodily practice, in which the collected bodies are present and vulnerable in assemblies like demonstrations or other acts of resistance in public space. These practices mark the field of study in which the political occurs on and in the ‘between-ness’ of the bodies. The article considers choreographic formats that appear in specific protest contexts: What insights can be discovered with regard to its generation of political dimensions? How can the role of the body and its ‘Response / Ability’ be defined within the context of political ethics? What practices of movement would respond to its necessities?
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This Chapter was published In: Hildebrandt, P., Evert, K., Peters, S., Schaub, M., Wildner, K., Ziemer, G. (Hrsg.): Performing Citizenship – Bodies, Agencies, Limitations. London 2019 (Palgrave). ISBN 978-3-319-97502-3
This open access book discusses how citizenship is performed today, mostly through the optic of the arts, in particular the performing arts, but also from the perspective of a wide range of academic disciplines such as urbanism and media studies, cultural education and postcolonial theory. It is a compendium that includes insights from artistic and activist experimentation. Each chapter investigates a different aspect of citizenship, such as identity and belonging, rights and responsibilities, bodies and materials, agencies and spaces, and limitations and interventions. It rewrites and rethinks the many-layered concept of citizenship by emphasising the performative tensions produced by various uses, occupations, interpretations and framings.
→ Open Acess: https://link.springer.com/book/10.1007%2F978-3-319-97502-3
Clitoriography
(last edited: 2022)
author(s): Nasreen Aljanabi Larsson
This exposition is in progress and its share status is: visible to all.
Choreographic Artistic practice based on artistic research.
Clitoris from my choreographic perspective is not only the anatomy of more than 8,000 nerve endings in the tip of the clitoris. In this research, I’m trying to map these nerves through body-based practices and reflect on the clitoris impact in many different aspects, which will manifest in three different art objects, that I am going to explain more, after considering the scientific background and personal conceptions. The three different art objects are:
1. Revival, a dance performance (embodied contemplation) that seeks to present and reinvent rituals for Sheela Na Gig. with a choreographic interpretation to anthropology and ethnochoreology.
2. Därnere, an educational performance, edutainment, for teenagers with the aim to broaden their knowledge about the clitoris and whole sexuality.
3. EBC: Empowered By Clitoris, a workshop with the aim to empower
people, using the energy of the clitoris, yoga and meditation.
100 MOVEMENTS
(last edited: 2021)
author(s): Gerko Egert
This exposition is in progress and its share status is: visible to all.
100 VIDEOS
100 x 100 MOVEMENTS
EACH VIDEO = ONE MOVEMENT = 100 SECONDS
NO EDITS
Pajęczyna ROZRUCHY BADAWCZO-ARTYSTYCZNE W SZTUKACH PERFORMATYWNYCH: ZBLIŻENIE NA TANIEC, RUCH, I CHOREOGRAFIĘ
(last edited: 2021)
author(s): Tercet ¿ Czy badania artystyczne ?
This exposition is in progress and its share status is: visible to all.
Przygotowany przez nas tekst dotyka problemu specyfiki badań artystycznych na gruncie sztuk performatywnych ze szczególnym uwzględnieniem praktyk ruchowych, tanecznych i choreograficznych, osadzonych w polskim kontekście. Do napisania tekstu zaprosiły nas osoby związane z Pracownią Kuratorską (Zuzanna Berendt, Anna Majewska, Maciej Guzy, Weronika Wawryk, Ada Ruszkiewicz) - z którymi intensywnie dyskutowałyśmy, konfrontowałyśmy wyobraźnie i konsultowałyśmy nasze pomysły dotyczące obranego przez nas kierunku prowadzenia narracji. Uważamy, że eksplorowanie i systematyzowanie (nawet nierygorystyczne) praktyk twórczo-badawczych, wymaga bliskiej współpracy z tymi, którzy tego rodzaju działań się podejmują. Dlatego do różnych etapów pracy nad tekstem zaprosiłyśmy do wymiany i konsultacji osoby blisko związane nie tylko z badaniami artystycznymi, ale również z szeroko pojmowanymi ruchem, tańcem, performansem.
Do and document, Phase 1
(last edited: 2020)
author(s): Nayeli Vazquez Bertely
This exposition is in progress and its share status is: visible to all.
This research explores the concept of harmony. The expected outcome is a deeper understanding of the key elements of harmony and how those could be integrated and manifested into my artistic work.
Harmony can be studied in different fields, however, I am focusing my attention on the following aspects: agreement of ideas, feelings, or actions, or a pleasing combination of different parts, a combination of separate but related parts in a way that uses their similarities to bring unity.
It is important to point out that I am sharing this document as a practice-led researcher under an artistic scope, and not as a theoretical-philosophical approach.
In this basic exposition, you will find the investigative activities and interventions that were carried on during phase 1 of the research.
The Art of Befriending a Tree
(last edited: 2020)
author(s): RUUKKU Voices: Britta Olsson
This exposition is in progress and its share status is: visible to all.
A portfolio documentation of a score based laboratory project focusing on human encounters with trees. The part of the project presented here was performed within the frame work of a master programme and a free standing course at Stockholm University of the Arts: Stockholm College of Dramatic Arts / Stockholm College of Dance and Circus.
Project Description Artistic Research Project n°2 (HALLO, MARSCH!, (Sept. 2017)
(last edited: 2019)
author(s): Liz Rech
This exposition is in progress and its share status is: visible to all.
This is the project description of my second artistic research project within the frame of the graduate school "Performing Citizenship" (HCU/Hamburg).
Title of the project:
"Hallo, Marsch! Kollektive Walkingperformance für Mit-Läufer und Schritt-Macher."
It was a participatory performance which was presented at the Hallo Festspiele on the 09.09.2017 as a walking performance from the Berliner Tor to the old Kraftwerk Bille at Hammerbrook / Hamburg, Germany. It startet at 3pm in the afternoon and took one hour.
After the performance the audience filled out a questionary.
Research & Performance: Liz Rech
Objects: Kathrin Affentranger
Project Description Artistic Research Project n°1 (Marching Session I-VI)
(last edited: 2019)
author(s): Liz Rech
This exposition is in progress and its share status is: visible to all.
This is the project description of my first artistic research project within the frame of the graduate school "Performing Citizenship" (HCU/Hamburg).
Title of the project:
Marching Session I-VI. Interaktive (Lecture-) Performance für Mit-Läufer und Schritt-Macher.
In the first phase I conducted six research workshops to research different topics:
I March and object
II March and film / documentation
III March and choreography
IV March and sound
V March and costume
VI March and voice
The outcome of the six research workshops was presented in a lecture performance at k3 - Choreographic Center in Hamburg/Germany (24.4.2016).
Research & Performance: Liz Rech
Objects: Kathrin Affentranger
After the lecture there was a physical workshop phase together with the audience. Finally the audience filled out a questionary.
SECOND COMING focuses on the role of mystery in choreographic practices, dancing and writing. The commitment, stemming from the need to partially understand the process of becoming in relation to my formation as a choreographer, departs from the question: What combination of learnable skills, collegial support and obscure faith does an artist need in the age of uncertainty?open exposition comments (0)
This research explores the concept of harmony. The expected outcome is a deeper understanding of the key elements of harmony and how those could be integrated and manifested into my artistic work. Harmony can be studied in different fields, however, I am focusing my attention on the following aspects: agreement of ideas, feelings, or actions, or a pleasing combination of different parts, a combination of separate but related parts in a way that uses their similarities to bring unity. It is important to point out that I am sharing this document as a practice-led researcher under an artistic scope, and not as a theoretical-philosophical approach. In this basic exposition, you will find the investigative activities and interventions that were carried on during phase 1 of the research.open exposition comments (0)
A portfolio documentation of a score based laboratory project focusing on human encounters with trees. The part of the project presented here was performed within the frame work of a master programme and a free standing course at Stockholm University of the Arts: Stockholm College of Dramatic Arts / Stockholm College of Dance and Circus.open exposition comments (0)
This is the project description of my second artistic research project within the frame of the graduate school "Performing Citizenship" (HCU/Hamburg). Title of the project: "Hallo, Marsch! Kollektive Walkingperformance für Mit-Läufer und Schritt-Macher." It was a participatory performance which was presented at the Hallo Festspiele on the 09.09.2017 as a walking performance from the Berliner Tor to the old Kraftwerk Bille at Hammerbrook / Hamburg, Germany. It startet at 3pm in the afternoon and took one hour. After the performance the audience filled out a questionary. Research & Performance: Liz Rech Objects: Kathrin Affentrangeropen exposition comments (0)