"Inseparable": Music and Dance in a Cross-Disciplinary Practice
(2024)
author(s): Kalina Vladovska
published in: KC Research Portal
The following research observes the artistic creative process of a cross-disciplinary theatrical dance and percussion performance, called “Inseparable”. It discusses and analyses the process and methods behind the creation of the piece; the pros and cons of dance-percussion collaboration, and of working as a team of performer-creators; the involvement of a director; the creation of the final performance with a technical crew (light & sound); and the emergence of a mutual artistic language.
The cast includes Zaneta Kesik and Matija Franjes - two dancers (doubling as choreographers), and Joao Brito and Kalina Vladovska - two percussionists (doubling as composers), creating the narrative, dramaturgy, choreography and (some of the) music on their own. The director, Renee Spierings, was invited to be an external coach. Teus van der Stelt and Maurits Thiel - light and sound artists - took care of the final presentation. The four performances took place during and thanks to Muziekzomer Gelderland 2023 and were produced by Jarick Bruinsma.
Furthermore, in the research I discuss the social impact of the project's themes – technology addiction and human communication - and I examine a number of reactions and feedback from audience members.
The chosen form of presentation is a research exposition.
A conversation about Studio Conversations
(2023)
author(s): VIS – Nordic Journal for Artistic Research
published in: VIS - Nordic Journal for Artistic Research
Filmed conversation between Gunhild Mathea Husvik-Olaussen, co-editor of issue #10, and Andrew Hardwidge, Chrysa Parkinson and Frank Bock, authors of “Studio Conversations”. During this conversation, the editor interweaves the essence of "Studio Conversations" with the overarching theme of "Circulating Practices." Through this talk, you'll get an insight into "Studio Conversations," a research project focused on ways of asking contemporary dance artists about the practices, working and knowing happening in their dancing. "Studio Conversations” was originally intended to be published as an exposition in VIS. In recognition of the project's specific approach, we decided in dialogue with the authors to depart from the conventional exposition format. Instead, we've chosen to present Studio Conversations as a video conversation. This decision stems from our commitment to presenting artistic research in a way that best reflects the purpose of the project and the vision of its creators. The discussion was filmed on Stockholm University of the Arts (SKH) premises at Filmhuset on 29 September 2023.
How to stay alive?
(2023)
author(s): Man Huen Christy Ma
published in: University of the Arts Helsinki
This research exposition is part of my MA research in Comparative Dramaturgy and Performance Research in Theater Academy, University of the Arts Helsinki and Goethe University. The other part is the artistic work “how are we still alive here? what about there?” consisting of a performance and exhibition which took place in Studio 1, Theater Academy in February 2023. The research is a response as well as an investigation on the impact of the Covid-19 pandemic on contemporary dance, how it affects my corporeality and my creative process in consideration to changes in spectatorship in the mediatized post-pandemic society. The literature review is an exploration of how different disciplines of knowledge intersect with my artistic practice, this exposition is best to be viewed along the artistic part for a better understanding.
A Singer’s Guide to Dance - A journey from classical vocalist to interdisciplinary performer
(2020)
author(s): Karin Timmerman-Deddens
published in: Codarts
This research project focuses on the relationship between choreographed dance and the voice, and seeks to discover how dance can co-exist alongside a classical vocal performance as an additional channel or avenue of personal and musical expression. This research was motivated by my desire as a classical vocalist to become more connected with my body, and to better understand and train my voice as a living, breathing instrument. Additionally, this research was motivated by the possibility for dance to provide me with a wider range of expressive possibilities. In this research project I therefore explore how I, as a classical vocalist, could experiment with contemporary dance in a vocal-dance performance of Ravel’s Shéhérazade, which served as the final artistic result of this research. In this report, I first provide an overview of my musical and dance preparation. Second, I provide an analysis of the effects of dance on my musical expression and vocal technique. Third, I examine the use of improvised dance elements versus structured choreography. Lastly, I examine and discuss how I was able to bring all of these elements together and further develop my skills as an interdisciplinary performer. In my discussion and analysis, I draw on a variety of sources of data, including experimentation, interview data, personal coaching, and literature research This report also provides a complete overview of the research ‘intervention cycles’, which explain in detail the research process and development of my final artistic result. As the contemporary performance environment increasingly demands innovative and multifaceted performers, this research can help to inspire and encourage other classical vocalists to consider the incorporation of dance as a valuable way to develop their vocal technique and musical understanding.
Furthermore, for classical vocalists already interested in incorporating dance into their vocal performance, this research can provide a number of valuable practical tools and insights, and help them to become more interdisciplinary performers.
Re-imagining: A Case Study of Exercises and Strategies
(2019)
author(s): Hanna Järvinen
published in: RUUKKU - Studies in Artistic Research
Exploring a case of a historian collaborating with dance makers on the contemporaneity evident in a past work, this exposition outlines how the corporeal methods of dance practice can assist a historian in their archival inquiry just as the historian's methods can subvert dominant ways of understanding re-performance of past dance. Interest in how past performances survive and are made to re-signify in the present and what is the role of the archive in a performing art are growing trends in both dance and performance scholarship and in performance practice. Drawing from this scholarship and critical performances, I distinguish between reconstruction (re-creation of dance from the archive) and re-imagining (working from the present practice towards corporeal relationship to past dance) to argue that any performance holds potential to uphold and conserve as well as question and subvert predominant histories of the art form. In contrast to theories of performance that juxtapose performance with history, repertoires with archives, I argue that it is possible to perform the epistemological questions through emphasis on what is not known. The practical exercises used in the studio and the strategies in the performance of Jeux: Re-imagined (2016) offer one example of destabilizing earlier claims to knowledge about a historical work. The seven pages of this exposition follow the structure of the seven events of the performance.
En søken etter en utvidet fysisk tolkning av vokal samtidsmusikk og av opera
(2019)
author(s): Silje Marie Aker Johnsen
published in: Research Catalogue
"En søken etter en utvidet fysisk tolkning av vokal samtidsmusikk og av opera" er Silje Aker Johnsens kunstneriske doktorgradsarbeid ved Operahøgskolen, Kunsthøgskolen i Oslo.
Det kunstneriske doktorgradsarbeidet fokuserer på kombinasjonen av bevegelse og vokalutøvelse i forskjellige sammenhenger og i ulike uttrykk. Silje Aker Johnsen har bakgrunn fra det klassiske musikkfeltet, opera og samtidsmusikk, men også som danser og i tverrkunstnerisk scenekunst.
Hovedlinjene i prosjektet følger prosesser og refleksjoner rundt material- og verkutvikling og den tverrfaglige utøverens potensielle roller i ulike utviklingssituasjoner. Refleksjonsarbeidet diskuterer ulike plasseringer i sjangere, grader av medskapende virksomhet, aspekter av forberedelse, trening og improvisasjon i utviklingen av en praksis.
Disposisjonen beskriver, og reflekterer rundt, prosessene i hovedverkene i prosjektet:
Her
av Erik Dæhlin og Silje Aker Johnsen.
Dette verket har gått som en rød tråd gjennom doktorgradsarbeidet og blitt bearbeidet og vist i flere versjoner. "Her" er også en del av komponist og regissør Erik Dæhlins kunstneriske doktorgradsarbeid ved Norges Musikkhøgskole, "Shared Space - mot en relasjonell, prosessuell og intermedial kompositorisk praksis."
Her, KHiO, 2017
Her, Scene 2, Den Norske Opera og Ballett, 2018
Her, utdrag, KHiO, 2018, som en del av Aker Johnsens avsluttende presentasjon av sitt doktorgradsarbeid, forestillingen "En søken.. "
I forestillingen "En søken…" arbeidet Aker Johnsen med tre ulike samarbeidspartnere og innganger til sammenføyningen av vokalutøvelse og bevegelse: I tillegg til samarbeidet med komponist og regissør Erik Dæhlin, inkluderte dette et verk i samarbeid med koreograf Mia Habib og en adapsjon av et koreografisk partitur av Janne-Camilla Lyster:
Sedimenter
av Mia Habib og Silje Aker Johnsen
Tulipan
Koreografisk partitur av Janne-Camilla Lyster, Adapsjon av Silje Aker Johnsen
Opera:
Ballerina
kammeropera, av komponist Synne Skouen, librettist Oda Radoor og regissør Hilde Andersen, er blant hovedverkene innen opera. Operaen ble bestilt av Den Norske Opera og Ballett og oppført ved Den Norske Opera og Ballett i 2017.
Disposisjonen benytter en kombinasjon av ulike tekster og videorefleksjoner, samt videodokumentasjon av utvalgte verk, til å kommunisere refleksjonsarbeidet.
MY PUBLIC STAGE
(last edited: 2024)
author(s): Ioannis Karounis
This exposition is in progress and its share status is: visible to all.
"My Public Stage" is not merely an artistic practice; it is a dynamic fusion of performance art and civic engagement that transcends conventional boundaries. At its core, this practice navigates the intricate relationship between the artist and the public sphere, offering an unconventional perspective on how art can reshape our understanding of the world.
The essential aspect of this artistic journey lies in the intentional placement of artistic interventions and performances within public spaces, where the encounter with viewers is not a predetermined spectacle but a meeting. This deliberate approach seeks to dissolve the traditional separation between the artist and the individual, fostering a unique connection that is spontaneous and genuine.
I view public space as not only a material but also a social environment that is produced, reshaped and restructured by the citizens through their experiences, their intentions for action and the relations they develop in it. My project draws on Lefebvre’s (2019) approach to urban public space not as a neutral container of social life, but as a fluid entity, both constructed and produced by social practices. Lefebvre’s approach confirms and expands my view that public space is not fixed, yet it requires a conscious effort to intervene in its production.
The philosophy driving "My Public Stage" aligns with the concept of civic engagement. By presenting long durational performances in the heart of everyday life, the artist consciously assumes the role of a creator, using performance art as a medium to unveil the interconnected elements that bridge art with life. This philosophy echoes the sentiment of Joseph Beuys, who believed that everyone is an artist, actively sculpting the intricate sculpture we call life.
In embracing the public sphere as its canvas, this practice transcends the conventional boundaries of art and daily reality. It becomes a catalyst for a different perspective on how individuals perceive and engage with their surroundings. The transformative power of performance art is harnessed to reveal the latent artistic potential within each person, emphasizing the symbiotic relationship between art and life.
THE IDEA OF YOU
(last edited: 2023)
author(s): Francesco Collavino
This exposition is in progress and its share status is: visible to all.
How can a physical dramaturgy generate transdisciplinary choreography and at the same time how is it influenced by new media?
first studio
Lost (& found) in Translation
(last edited: 2023)
author(s): Tamar Porcelijn
This exposition is in progress and its share status is: visible to all.
This is a guide to the live exposition LOST & FOUND IN TRANSLATION, presented by Tamar Porcelijn on May 13th 2023 in Amsterdam.
This guide gives an overview of the artistic research into the question:
“How can I connect dance, music and story to communicate on a physical and intuitive level?
Looking at my choreography as a craft, through the lens of filmmaking. “
It exposes the research process and the events leading up to it and discusses the different dance styles and cultural fields in which the artist operates. It explains how the key insights, multi-modal communication and story structure, led the artist to approach her choreographic craft through what she came to call “the filmmakers’ mindset”, eventually leading to the creation of a choreography in which elements of flamenco and contemporary dance where combined.
It is important to note that this online exposition is an appendix to the live presentation, and is to be approached as such.
CATASTROFE
(last edited: 2021)
author(s): Francesco Collavino, Michele Taglialegne
This exposition is in progress and its share status is: visible to all.
This project focuses on the concept of catastrophe as deviant event of a translation process.
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Connected Solitude (Gem-Einsam-k/heit)
(last edited: 2021)
author(s): Magdalena Eidenhammer
This exposition is in progress and its share status is: visible to all.
Contemorary dance piece for seven dancers on the grimms fairytale THE STAR MONEY
-abstract choreography opens space
-exploring pictural language of fairytales
-researching movement language of neutral masks
Revisiting MAMA
(last edited: 2020)
author(s): Mafalda Deville
This exposition is in progress and its share status is: visible to all.
The journey of women in society. The Journey of being a mother and what does that represent in society. How do we have to behave? What is expected from a women, an artist, a wife, a mother and how separated are them?
CALL ME WHEN YOU'RE HOME
(last edited: 2020)
author(s): Francesco Collavino
This exposition is in progress and its share status is: visible to all.
L’idea di questo lavoro è quella di utilizzare l’immagine degli astronauti e delle loro esplorazioni come metafora di un rapporto umano che si realizza nella spazio di una separazione.
Il titolo infatti è una frase che viene detta sulla soglia, nella partenza, è una formula di protezione che ci accompagna per tutto il viaggio come una grande dichiarazione d’amore.
In un altro livello riflettiamo sulla crisi del linguaggio di situazione satura, dove la comunicazione si è ormai rappresa, il linguaggio crolla su se stesso e cessa il dialogo. Si parla, ma non ci si comprende più perciò è necessario partire, lasciarsi per trovare modalità di comunicazione più efficaci.
In scena saranno presenti due interpreti, due individui, tra i quali non ci sarà una vera e propria interazione, se non la relazione che si viene a creare tra i loro corpi sospesi in uno spazio comune.
Il lavoro è impostato come fossero due soli distinti, ma che muovendosi possano creare un’unica opera d’insieme e magari questo porterà anche a un incontro.
CONNECTING THROUGH CODE
(last edited: 2020)
author(s): Tim Sayer
This exposition is in progress and its share status is: visible to all.
300 word supporting statement
The output from this practice-led research submission is the generative soundtrack, which accompanies the interdisciplinary work Breath Pieces, conceived by Rosanna Irvine. This output has led to the generation of new knowledge in the area of creative collaborative, through it’s novel use of a live coding environment, as a means of mediation between artists with differing levels of coding/technical literacy.
The contextual information submitted in this exposition includes:
• a video which provides an insight into the how the
generative soundtrack was developed using a reduced
parameter space negotiated by the artists.
• the evolution of the piece, by supplying all 12 versions
of the code, from initial sketches to finished product.
• extensive documentation of the discourse, which
supported the development of this new working
methodology.
The work, performed at Tramway Glasgow in June 2018, was commissioned by Creative Scotland, with support from The Work Room, City Moves, Cove Park and Scottish Dance Theatre. Proposals for a conference presentation and short paper entitled ‘Connecting through code: Using code as a medium to construct a generative musical score by collaborating artists with differing levels of coding literacy’ has been submitted to AISB 2020 symposium on Computational Creativity (CC@AISB’2020) St Mary’s University, Twickenham and the Journal of Web Semantics (JWS) special issue on Semantic Technologies in the Creative Industries.
Within the arts there is sometimes a form of cultural mystique, which surrounds the practice of computer programming, which can form an exclusion zone for artists who have not acquired the requisite vernacular to engage in discourse or practice in this field of endeavour. This research suggests a model of collaboration that uses code as a means of formalising mutual understanding and could potentially be applied to any collaborative context to bridge a gap in coding literacy between the collaborators.
Deer, Tigers, Perec and The Everyday - a choreographic approach
(last edited: 2019)
author(s): STELLA MASTOROSTERIOU
This exposition is in progress and its share status is: visible to all.
My research focuses on the interrelations between different types of spaces and the types of movement they encourage or impose. The research is inspired by the writings of writer Georges Perec and informed by concepts and methods from the fields of sociology, anthropology and architecture.
This portfolio supplements the written exegesis of my practice-led research process, which revolves around two interwoven strands / projects, and serves as an analysis of the artistic outcomes and as documentation of the artistic processes. The practice research has been constantly informed by theoretical concepts deriving from an extensive theoretical research, which will be selectively reported. Several smaller projects, experiments and workshop processes that I will briefly delineate in this paper, led into forming two more elaborate projects that I have been developing in the past year and will be more extensively reported in this paper.
The first strand has to do with working in the public space and aims to devise ways of thinking and creating in and for the public space. Under the title I DON’T SEE DEER, I work with observation and writing as a tool for studying everyday life and movement in the public space, in order to highlight existing aspects of the city and propose new site-specific situations. Both the research process and the artistic outcomes were located outside – in the urban space. The process and the outcomes of this part of the research have so far been translated into various forms: a video work, a live performance, a photographic series, a workshop, and most importantly the outline of a flexible way of working that I can bring into different places and groups.
In the second strand, I attempt to incorporate concepts, tools and findings from working in the public space into choreographic research and creation for the stage. While keeping observation of street life as one of my main tools, the practical research here was mainly studio-based. This strand led to the creation of the work WE ARE NOT TIGERS that I presented as my final project for the master.
The two strands did not follow any successive chronologic line. Instead they emerged and were developed concurrently, as autonomous processes that constantly affected and informed one the other, throughout the past year. In this paper though, I will mainly follow the chronological order of how my research path evolved, while linking the practice-led research to the theoretical research.
Song of the Cuckoo
(last edited: 2019)
author(s): Joost Vrouenraets
This exposition is in progress and its share status is: visible to all.
How are madness, the spine and Hamlet related to each other in a choreographic process? This exposition displays the collection of documentation of the research. The exposition functions as the contextual backbone for the project 'Song of the Cuckoo', an experimental Practice as Research project in the form of a soliloquy performed by two dancers: Joany Uranka; dancer, assistent researcher, co-creator and myself. The nexus of the project is formed by the three strands originating from (1) an understanding of madness as a performative concept and philosophical perception, a phenomenon of indwelling and study of the transformative nature of creativity, supported by Michel Foucault's thesis History of Madness,(2) the human spine as a choreographic, kinesthetic, (imaginative) anatomical concept as well as an existential metaphor for the idea of becoming, inspired by the embryological phases of birth. And (3), Shakespeare's play Hamlet which is researched as a poetic, literary source functioning as the main inspiration and theatrical search of the totality of the project. The appearance of the character Ophelia in this play is re-purposed and re-imagined for the construction of the narrative and dramaturgical line of the project. The symbolical interpretations of the flowers which Ophelia gives to other characters in the play are translated into specific emotional and physical states of the performance.
The nexus of the project is experimentally embodied by the author of the project and research, myself. The project itself is a practice as research on the above described research question, as well as an emerging meta-reflection on the relation between the author and his work.
This research exposition is part of my MA research in Comparative Dramaturgy and Performance Research in Theater Academy, University of the Arts Helsinki and Goethe University. The other part is the artistic work “how are we still alive here? what about there?” consisting of a performance and exhibition which took place in Studio 1, Theater Academy in February 2023. The research is a response as well as an investigation on the impact of the Covid-19 pandemic on contemporary dance, how it affects my corporeality and my creative process in consideration to changes in spectatorship in the mediatized post-pandemic society. The literature review is an exploration of how different disciplines of knowledge intersect with my artistic practice, this exposition is best to be viewed along the artistic part for a better understanding.open exposition comments (0)
How can a physical dramaturgy generate transdisciplinary choreography and at the same time how is it influenced by new media? first studioopen exposition comments (0)
This project focuses on the concept of catastrophe as deviant event of a translation process. 01100011 01100001 01110100 01100001 01110011 01110100 01110010 01101111 01100110 01100101open exposition comments (0)