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The expanded cinema performance ‘Palestinian Wildlife Series’ parallels posthuman and postcolonial circumstance, using appropriated imagery of African animals shot directly from a television set in Palestine. Chronicling the experimentation and process that went into this work of ‘animal-video choreography’, the author interweaves research on Palestine, materialist film, and Afrofuturist thought. The exposition reflects on the impact upon Khalil’s work of women performance artists and avant-garde jazz musician Sun Ra, presenting a journey from text-based and signifier-heavy early experiments to the wordless and open-ended cinematic outcome the author comes to defend. Drawing on her transition from live performance to moving image production, this exposition will interest those concerned with interdisciplinarity and embodiment in digital imagery. It examines alternative modes of art activism and political uses of abstraction and experimentalism in art, specifically where critical ethnic and postcolonial studies are concerned. It supports discussions of rights and representation within artistic research and beyond from a diasporic perspective.

Name: Samuel Tirado Villaescusa Main Subject: Classical Piano Research Supervisor: Bart van Oort Title of Research: Nights in the Spanish Gardens: Meaning and inspiration Research Question: Which are the most important sources of inspiration in the piece Nights in the Spanish Gardens and how all of them affect the performance of the soloist and the orchestra? Summary of Results: Manuel de Falla's piece Nights in the Spanish Gardens has become popular during the last twenty years. Several of the greatest performers have recorded it achieving impressive results. However, the piece presents key aspects from the Spanish folklore and French impressionism that, usually, are not taken into account. Searching information for my research, I discovered that the most important sources of inspiration come from »cante jondo« (a Spanish primitive chant), the Spanish guitar and the music of Claude Debussy. Thus, I found several examples that prove the connection and help the performer to make the interpretation as coherent as possible. The research process changed my vision about topics such as the role of the soloist, the interpretation of ornaments, melodic lines and rubato as well as the imitation of the guitar in De Falla's music. Furthermore, this information could also help not only pianist performing Nights in the Spanish Gardens, but also any musician playing Manuel de Falla's music. Biography: Samuel Tirado begins his studies in Salamanca, where he completed a bachelor degree with Patrin Garcia Barredo. He has participated in masterclasses with teachers like Claudio Martinez Mehner, Ferenc Rados, Edith Fischer, Kennedy Moretti and Galina Eguiazarova among others. He has performed as a soloist and chamber music member and in places such as the national auditorium in Madrid, auditorium of Cuenca and theaters in Salamanca, Ciudad Real and Ávila. He has also played in countries such as Holland, France and Austria.

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