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.

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

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? °°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°° 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

Between 2012 and 2017, two cultural institutions and two universities in Hamburg collaborated in an experiment in the growing field of artistic and art-based research: Within the programmes Assemblies and Participation (2012-2014) and Performing Citizenship (2015-2017), they explored forms and formats of research in between art, academia and society. PABR (Participatory Art Based Research) understands research first and foremost as a triangular relation and interaction between art, science and society. This field of art-based research experiments with formats that involve not only artists and researchers, but also members of other communities such as children, neighbors, activists, experts, (non-)citizens. Artistic practices are thereby the crucial resources to change the relationship between research and the public and to create research practices in and for society. Fifty research projects have been designed and conducted so far to weave participatory research, participatory art, and cultural studies into a methodology that could be called the "Hamburg School" of participatory art-based research (Peters et al. 2020). In PABR, other forms of knowledge, which, for example, come from everyday practices, or exist as body or experiential knowledge, are valued as equal to academic or artistic knowledge. Methodologically, the research setups that have been used by Liz Rech in the context of her performative research projects can be assigned to the field of PABR. The text "Hosting Togetherness as a Tool for Future Resistance. Research format Testing in Performance" is part of the online publication on PABR https://pab-research.de.