In this practice-based research I applied a combination of different qualitative methods and strategies throughout the three distinct main blocks of the research: the theoretical framework of choreomania (Chapter 2), a case-study on DOOR Foundation’s Residency (Chapter 3), and an experimental playground (Chapter 5). As a part of the third block there is also an introductory chapter on the process of shaping collaborative performances (chapter 4). The combination of methods and strategies used includes reviews of literature and audiovisual sources, interviews, external observation, participatory observation, description of the process, and other auto-ethnographical strategies, such as description, comparative analysis and reflection on performances, a field notebook and further documentation of the artistic practice.
During the first block of the research, I conduct a literature review, including medical, historical and anthropological archives, academic writings, and multimedia material, as well as a subsequent analysis and reflection, to articulate a better understanding of the shifting concept of choreomania. By doing so, idiosyncratic elements - or concepts associated with the broader notion of choreomania - are identified, highlighting their potential to serve as catalysts for my own practice. Instead of writing an extensive text on the history of choreomania, a big effort was put in evaluating different ways in which this phenomenon can resonate with current artistic or social practices. While this choice inevitably offers a less detailed understanding of the historical events, its main aim is to ultimately provide a link towards my process and creations in the practice-based block.1
In the second block, I conduct a case study on the DOOR Foundation’s Residency. The chosen method of documentation is the use of a field notebook, which collects field notes in a descriptive or neutral tone, and field diary entries in a subjective tone, capturing the emotional experience of the research (López-Cano and San Cristóbal 2014, 110). My day-to-day routine at the residency is documented through external, direct observation. This term describes an observer who does not participate in the event being studied and is therefore external, yet remains present during the events, making them a direct observer. Sometimes, these observations are aided by audio recordings or videos ex profeso for the study (idem, 111). Additionally, I carried out interviews with the artists three months after their experience to capture processed reflections. These semi-structured interviews permitted flexibility and minor deviations (idem, 115). They were audio recorded, and I transcribed them, refining the line of thought for coherence and clarity.
Throughout the third block, the experimental playground, the field notebook documentation method is still present. However, this personal journal began well before the internship, originating with the initial ideation of the research in September 2023. To ensure clarity and relevance to the topic, only selected excerpts from this journal are included in this thesis.
Although I use the term experiment, it does not refer to the scientific experimental method with controlled variables and hypotheses. Instead, it denotes an open-ended, exploratory process within artistic practice, where trial, observation, and reflection shape the development of ideas through three distinct performance try-outs. Each try-out features its own documentation, description of the process, and reflection. In the second and third try-outs, I also made a comparative analysis identifying divergences and similarities between the current and previous performance. The observation process is participatory, as I am directly involved in my performance try-outs. Sometimes, a distinction is made between participatory observation and observatory participation: participatory observation refers to a researcher who continues a practice that he already began before the research, while observatory participation involves a researcher who begins practicing something new due to their research (idem, 112). In the case of the try-outs, both forms of observation are present.
The comparative analysis methodology for try-outs number two and three, involves reviewing audiovisual recordings, examining the journal, and is aided by the Map of Components, developed by Joel Gester in his research Constructing a Framework for Interdisciplinary Performances Featuring Classically Trained Musicians and Dancers or Actors (2021). This approach is further complemented by additional description of the creative process.
Although this research is structured into three distinct phases, the methodology itself did not follow a strictly linear progression. Instead, the three lines of investigation unfolded simultaneously, overlapping, influencing, and disrupting one another in an organic and evolving process. This humanistic approach fosters a dynamic exchange between research and practice, allowing ideas to develop fluidly rather than being confined to rigid sequences.
The concept of the rhizome, as developed by Gilles Deleuze (1925-1995) and Félix Guattari (1930-1992) in A Thousand Plateaus: Capitalism and Schizophrenia (1980), provides a crucial theoretical framework for articulating this methodology. Unlike hierarchical structures that follow a clear beginning, middle, and end, the rhizome represents a network of interconnected points where knowledge emerges through multiplicity, decentralisation, and constant transformation. By applying this concept, the research embraces a model where insights arise through unpredictable connections, non-sequential developments, and interdisciplinary cross-pollination - mirroring the complexity of artistic practice itself.
However, for the sake of clarity and accessibility, the research is organised into three distinct blocks. This structure allows readers to navigate directly to specific areas of interest while also facilitating the systematic collection, documentation, and analysis of material.
Practical and ethical considerations
On a different note, significant efforts have been made to uphold both practical and ethical considerations when collaborating with other artists. During my time at DOOR’s residency, specific precautions were taken in coordination with the artists and the curator to ensure ethical research practices. First, I obtained permission to take notes for research purposes during the residency, including discussions about their creative process and audio recordings of key moments for later reference. Additionally, I allowed them to review any material about them included in my journal before publication, giving them the opportunity to rephrase certain parts. This ensured that informal conversations, which may carry a different tone in speech, were accurately and respectfully represented in written form. Building on the informed consent forms presented by Caroline Hermans in her PhD thesis (2023), I sought permission to include the artists' insights, thoughts, and ideas - particularly those related to their creative processes - informing them that this material would be published in my thesis. For the artists I collaborated with during the practical phase, I followed the same approach - obtaining their permission and ensuring they approved everything written about them. I also dedicated a section to collaboration within the practical phase, introduced in Chapter 5, where I reflect on this topic through a literature review.
Furthermore, all audience members from the performance try-outs were warned before each performance and gave permission to use their image for academic or research purposes. The feedback provided by audience members was approved for use in my research project. However, to ensure privacy, individual names are not disclosed unless their mention was relevant and/or explicit permission was obtained.
The field notebooks (DOOR Residency Personal Journal and Master Project Journal) are structured as dated entries, combining fragmented notes with reflective passages to create a spontaneous and raw collection of thoughts. They document only relevant observations from my residency internship and the development of the try-outs, balancing concise, functional points with introspective writing. In an effort to stay true to the process, I have preserved spontaneous thoughts, unfinished phrases, and fragmented ideas - some underdeveloped, others more reflective - rather than presenting a polished, linear account. This approach avoids the illusion of a streamlined process and instead captures its natural fits and starts. A curated selection has been made based on its relevance to the artistic process and insightful reflections.
In this research, AI image generators from DeepAI and Pixlr were used to create a mood board for try-out 3. Additionally, AI was regularly employed as a quick reference tool for checking language use, streamlining the writing process. However, AI has not been used to structure the research or to write its contents, ensuring that all analysis, interpretations, and conclusions remain entirely my own.