Research Catalogue

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  The Choreography of Gender in Traditional Vietnamese Music (2019) author(s): Nguyen Thanh Thuy published in: Research Catalogue
  This Ph.D. project in artistic research is concerned with the function of gesture in traditional Vietnamese music. Building on gender analysis of musical performance in TV shows, and further on autoethnographic inquiry throughout the artistic projects, the artistic output articulates a critical understanding of these practices. The aims of the project are to investigate the social function and meaning of musical gesture in traditional Vietnamese music, and to develop artistic responses that articulate an individual voice. The research questions that emerge from these conceptual and artistic aims are: 1. What gender conventions can gesture analysis of musical performance unveil? 2. In what ways can music created through the choreographic structuring of movement reveal and question gender conventions in musical performance? 3. How can my performance, in intercultural and interdisciplinary artistic collaborations, challenge current gender norms and instigate change in practices of traditional Vietnamese music? The method and design of this Ph.D. project builds on qualitative analysis of gesture in musical performance, with particular emphasis on employing a gender perspective in this analysis. In the artistic work, analysis of gesture has constituted a point of departure for the creation of a series of intermedia works that seek to develop methods that combine the practices of choreography and musical composition. Intercultural collaboration has provided particular challenges and possibilities in the development of each of these works. The results of the artistic work are published online in The Research Catalogue. The outcomes of the project outline how gendered gesture is taught in higher music education in Vietnam, and taken together with the historical overview of how nationalism and communism has shaped the country, that this teaching has an immediate relation to nation branding. The teaching of traditional music is equally related to the commercialised views of women as it is grounded in the preservation of tradition. Further, the development of a practice of composing music using gestural-sonorous objects as material became the central artistic method throughout this Ph.D. project. It has offered novel possibilities of approaching gestural materials and creating new choreographies and music based on a critical approach to the image of women in popular media. The results finally suggest that intercultural and inter-disciplinary artistic practice can propose social change, and provide counter images of traditionally gendered behaviour.
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  Points of View: Kista (2019) author(s): Mostyn de Beer published in: Research Catalogue
  A visual research project carried out in Kista, a suburb of Stockholm. While visiting the area, the author came up with rules that governed how the fieldwork would be carried out. In this exposition, a system is used to randomly order the resulting material, with a view to conveying the sense of movement within constraints that characterised the project in Kista.
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• THE POETICS OF A MULTIPHONIC LANDSCAPE (2019) author(s): Niclas Hundahl, Torben Snekkestad, Torben Snekkestad connected to: Rhythmic Music Conservatory Copenhagen published in: Research Catalogue
  The project is an artistic research project focusing on the saxophone􏰁s ability to produce multiphonics (multiple sounds on an instrument considered monophonic). It is a personal artistic exploration into the process of unfolding the poetics of these complex sonics and a reflection over the process, methods and the creation of an album trilogy, consisting of acoustic solo music recorded during the research period. The main question I have been asking myself during this project has been: What happens if the raw musical material, in the creation of a set of solo saxophone works, is based on the multiphonics only and what this material in itself suggest – possibly independent of any stylistic affiliation? 
My main objective was to examine why the saxophone’s multiphonics have such a captivating effect on me. How could I possibly explore their intrinsic qualities and unfold the poetic potential in them? By the same token, my ambition was to find a suitable artistic context for this enamored relationship that so heavily has stirred the waves of my imagination. In the reflection text on the project, I disclose how some unexpected paths during this pursuit revealed themselves. From sprouting interest toward underwater soundscapes, to the making of a hybrid instrument called reed-trumpet; and how my personal catalog of multiple sounds found its place, not in a public pdf-document or book release, but in a German wooden archive box. I relay in what way I began to take on the intrinsic qualities of the multiphonics and the reason why an oscillation between artistic intention and action is so pivotal for an improviser. To make sure that the project had this focus at all time I sat up a dogma that contains a list of eight fundamental criteria that manifest the intentions and structure as well as sharpen the working methods.
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• Mediating "Eugene Onegin" (2019) author(s): Viktoria Volkova published in: Research Catalogue
  “The sun of Russian poetry”, Alexander Pushkin, wrote his novel in verse “Eugene Onegin” from 1823 to 1831. Since then it has been regarded as a masterpiece of literature and Pushkin’s key work. From the school curriculum every student is familiar with Pushkin’s famous iambic tetrameter, an unusual rhyme, which is also famous as the “Onegin stanza” or the “Pushkin sonnet”. But what still has been disputed by Pushkin researchers, is the query, what is it which is so unique about “Onegin”: is it the poetic structure of the novel, and the tempo-rhythm which the poetic structure produces while reciting and acting on stage? Or is it the national cultural content, called by the Russian critic Vissarion G. Belinsky "the encyclopaedia of Russian life”? There were many attempts to interpret the novel. But to interpret Pushkin is not the same as to recite him. That is why the former director of Taganka Theatre in Moscow Yuri Lyubimov (1917-2014) staged “Onegin” in 2000 focusing on the tempo-rhythm of the Pushkin stanza. However, “Eugene Onegin” remains undoubtedly “the encyclopaedia” where national manners, customs, and cultural traditions from every field of life are described with brilliant virtuosity. In this connection, Alvis Hermanis’ (1965-) interpretation of “Eugene Onegin” at the Schaubühne Berlin in 2011 should be mentioned. Hermanis concentrated particularly upon Russian cultural embodiment. Five actors embodied the main characters of the novel and were both its narrators and historians who allowed the audience to the backstage of Russian and European everyday life. So it was the actors themselves who embodied the “encyclopaedia of Russian life” in Belinsky’s sense on stage. Both, Lyubimov and Hermanis, chose heterogeneous forms of mediation for their performances. In my paper I investigate mediation practices applied to preserve the tempo-rhythm on the one hand, and to reveal cultural traditions on the other.
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  My Brother Heroin - Research Cartography (2019) author(s): Trifilo Gianluca published in: Research Catalogue
  Meine Arbeit ist eine Suchbewegung entlang von Zusammenhängen, die sich mit Dringlichkeit in unserer Gesellschaft zeigen. Es sind vor allem jene Felder in denen der Mensch sich zwischen Überforderung, Abhängigkeit und Isolation oder Sehnsucht nach Entgrenzung bewegt: Drogen, Religion, Social Media. Meine Kindheit gab mir prägende Erfahrungen mit, durch meine beiden Brüder, die dem Heroin erlagen. – Seit 2014 setze ich mich mit diesen Inhalten mittels 3D Technologie, in Form von interaktiven Videos, mit Sprache aber auch mit Objekten auseinander. Mich beschäftigen Fragen des Vergessens und der Wiederholung. Wie kann ich Vergangenes in einen Zustand transferieren, der nicht in der ursprünglichen Situation gefangen bleibt? Kann ich der Überflutung von Bildern und Information entkommen und den Fundus produktiv nutzen?
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  Habitual touches (carvings) of beings (2019) author(s): eli eli published in: Research Catalogue
  This is a story of consecvenses of concecvenses of concekvences of concecuences of consequenses of consequences of concequenses and how i almost learned to spell this word. Its a never ending story. I study what was before us, i draw lines and connect. Some lines are direct, others are nonlinear and take crooked paths, where we cannot trace where it all started.
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