Nareeporn Vachananda

Dance maker | researcher
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Australia °1968
research interests: temporality, performer-audience relationship, solo dance practice, Noh theatre, time, improvisation, granularity, indeterminacy, relationality
affiliation: Faculty of Fine Arts and Music, University of Melbourne
orcid: 0000-0002-0346-9037
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Based in Melbourne, Naree’s dance practice is drawn from somatic practice, Noh Theatre and movement improvisation. Her PhD research project investigates the link between time and intersubjectivity in the performance of solo dance improvisation, incorporating Noh’s temporal concepts of jo-ha-kyū 序破急 and ma 間 with aspects of phenomenology and basic principles of quantum mechanics into her improvisation practice.


Graduated with a Bachelor of Dance from the Victorian College of the Arts in 1997 and Master of Fine Arts in 2018, Naree have collaborated with artists and practitioners across diverse disciplines, including fashion designers, visual artists, sound designers, dramaturgs, and fellow dance/improvisation practitioners. In 2009, 2011 and 2015, Naree travelled to Kyoto, Japan, to study Noh with the late Master- actor Udaka Michishige, one of the lead actors of the Kongō Noh School, with the support of the Australia Council Dance Board, the Victorian Government and Arts Network Asia (Singapore). In 2019, Naree continued her Noh study with Michishige-sensei’s sons, Udaka Tatsushige and Norishige of the Kongō School, with the support of the Norman Macgeorge Travelling Scholarship, as part of her PhD research project. Through the Faculty of Fine Arts and Music, Univeristy of Melbourne, her doctoral degree was conferred in June 2023.


https://nareevachananda.net/

research

research expositions

  • Improvising Time: An investigation into the link between time and intersubjectivity in the performance of solo dance improvisation (2025) author(s): Nareeporn Vachananda published in: Journal for Artistic Research
    Improvising Time is a practice-led research project investigating embodied temporality in the performance of solo dance improvisation. It explores two temporal concepts in Japanese Noh theatre — the sequencing concept of jo-ha-kyū 序破急 and the notion of ma 間, defined as interval — investigating how jo-ha-kyū and ma can be embodied for the temporal organization of solo dance performance when improvised before an audience. Grounded in praxis where theory is imbricated in practice, Noh performance theory is brought into a dynamic interaction with the fundamental theory of time in physics and a phenomenological approach to intersubjectivity. Using a multi-voice dialogic approach as a key methodology, the studio research examines the experience of improvisation from both sides — as improviser and as watcher — in collaboration with solo dance practitioner Janette Hoe. The research shows how, in the act of improvising, an embodied temporality of the improviser is created not only by an awareness of embodied processes but also by the potentiality of unknown improvisational material. Culminating in a major project, Solo Dialogue (2021), the research proposes a new framework of embodied temporality offering an insight into how improvisation can be temporally shaped and organized by prioritizing attentiveness and attunement to diversify performance material and enhance the intersubjective experience between improviser and audience. Download Accessible PDF
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