Research Catalogue

an international database for artistic research

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  Revisiting Ballet through Groove (2025) author(s): Julie Pecard published in: Research Catalogue
  How can groove influence ballet language to bring forth movement signature and support new meaning? I aim to uncover how groove can bridge classical form and movement signature by developing a method based on groove, revisiting ballet terminology, and allowing the performers to find their movement signature. Resilience has emerged as an accompanying concept that provides a base when generating movement. I research, create, and perform work that is anchored in Western Contemporary Dance. In my practice, I search for connections between the dancers, the concept, the music, the rehearsal process, and the performance. Questions I ask myself are: What are threads that help all involved connect to the work meaningfully? And how do we all come out of the creation with a sense of authorship? I often invite personal memories of the dancers into the work to make it more relatable, finding that commonalities emerge to connect us. The themes I base my concepts around are identity, finding a place of belonging, home, and womanhood. I have chosen to approach this research with varying lenses: my personal experience both in life and in the studio, through poetic writing, relating to thinkers and choreographers, and through the creation of Lost Threads. There is an analytical approach through depicting what in groove can serve ballet. I have based my research on music theory and transferred knowledge to an embodied practice around groove. I have analyzed the biomechanics of ballet movements, precisely 8, adding how language can contribute to another level of experiencing movement. I define resilience as the process of finding one's centre, and how the process toward equilibrium can be used to generate drive and inspiration, relating this process to choreographic scores and improvisation. The counter side of this research is the poetic approach I have taken through writing and sketching. This world offers further possibilities to uncover more knowledge on the connection of ballet and groove, performers and movement signature, resilience and improvisation. I’ve come back to my roots of ballet and gone deeper into the ground, emerging with an innovative practice through groove. Daring to search for innovative ways of bending classical form. Fontys Academy of the Arts, Codarts, Master Choreography COMMA, Master Arts, Cohort 4: 2023-2025
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• Second Semester (2025) author(s): Leà Deppner published in: Research Catalogue
  Second Semester Fashion Design KABK 2025
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• Holding Open Space (2025) author(s): Nicola Visser published in: Research Catalogue
  This practice-as-research (PaR) project explores how we use our eyes in seeing and being seen within the context of the mover and witness roles, as practiced in the ‘open space’ segment of Contemplative Dance Practice (CDP). As a dance artist-researcher, I am interested in how a witness holds space for another in ways that go beyond the concept of ‘non-judgement’. My PaR was animated by the question: How do we hold ‘open space’ across distance? Framed in the context of Covid-19 social distancing, it opened up a research inquiry into practices of looking for the witness and leads me to propose that witnessing is not only an embodied technique but an improvisational skill. Witnessing is a co-creative act, how we look changes what we see. My study was invigorated by the theoretical frameworks and writings of key thinkers—including Erin Manning on the Minor Gesture (2016, 2022, 2023), Eugene Gendlin’s practice steps of a Process Model (2017), and Lauren Berlant on transformational infrastructure (2017)—and finds re-orientation with/in the project of decoloniality. My methodology includes studio practice of MoverWitness relation in the open space segment of CDP, parallel methods of close reading, close talking (Schoeller 2022), ‘close drawing’ and ‘close dancing’, and interviews with artists about how they use their eyes in their practices. Ultimately, my PaR project formulates a principle and practice that I term Slow Seeing. The study of looking, attention and perception lead me to detail findings that contribute to ways of seeing as an epistemological concern. The insights are arranged into three broad fields. These include, first the practice as it pertains to contemplative dance training, where I propose a unit of embodied technique called ‘easy eyes’ and an improvisation score for the witness in a MoverWitness relation. Second, a reframing of CDP as a transformational infrastructure and a place of radical hospitality for fugitive gestures. And third, reflections on the socio-political implications of this eye practice and its potential to delink dance praxis as part of the project of decoloniality. A key insight is the notion that the eye technique and practice levers a shift in the sediment of our habitual unquestioned ordering of the world and cultivates courage in doing and knowing other-wise. It is strikingly significant because it wedges up a fulcrum and shifts the way we perceive small and big things —where we sit, how we stand, which tea we buy, movement, relation, migration, borders, identity, capitalism, power paradigms, ideology, the far away-nearby, love, everything-everything. So small. It makes a rupture, a crack, a glitch, and a fertile place for lively possibility
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  Decatastrophizing Failure Through Playfulness (2025) author(s): Nicholas Cornia, Arabella Pare published in: Research Catalogue
  This is an invitation to generate your own article about playfulness and its power to reconceive failure in artistic research, through a simple game of chance and knowledge. This text contextualises the game within the experiences of the authors, researchers at Orpheus Instituut, who have been engaged in creating explorative spaces for new types of collaboration, using the principles of playfulness. Through a combination of artistic and theoretical work and practical experience with iterative case studies in which game mechanics are tested, refined, and tested again, the authors are engaged in a process of discovery within a “magic circle”. Open-ended experimentation and collaboration are central areas of focus. Failure is re-conceived as a learning process and its catastrophic effects are integrated into the make-believe space of the game, while the insights and experiences drawn from these failures are retained once we step out of the magic circle.
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  Collaborative Filmmaking - Filmdevising (2025) author(s): Ylva Gustavsson published in: Research Catalogue
  This is the first part of the artistic research project Collaborative Filmmaking. It was made during a series of workshops in the period 2014-2016. The aim was to use devising, a way of working non-hierarchical in the performing arts, as a method for Filmmaking.
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  As long as the Sun lasts (2025) author(s): Erica Bardi published in: Research Catalogue
  As Long as the Sun lasts was published in 2025 in form of artist book in collaboration with Chippendale Studio. It is a research about comets' behaviour and their capacity of switching on and off in relation to their proximity to the Sun, transforming themselves from cold asteroids into luminous objects with their comas and tails. So I started looking for comets in my daily reality, investigating a connection between me and them, building a narrative on several temporal and physical levels. I began by observing comets as cold, rocky objects until their transformation into luminous bodies, recreating them with objects from my everyday life, trying to identify with them during their journey towards the Sun.
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