Amy Voris is a dance-maker based in Manchester. Her practice is process-oriented and collaborative, driven by the desire to develop enduring relationships with people and with movement material. Her doctoral research (University of Chichester) is investigating the process of forming, returning to, and deepening the relationship with movement material over an extended period of time. Alongside her studio practice, Amy has worked in higher education since 1999 delivering a range of dance-related subjects within conservatoire and university settings. he completed training in Integrative Bodywork and Movement Therapy with Linda Hartley in 2012, an approach to the body that underpins her holistic and enquiring approach to dance-making. www.amyvoris.com
Paula Kramer & Emma Meehan About AdequacyMaking Body-based Artistic Research Public
Artistic research requires the ability to continuously tune and (re-)calibrate how to share work with people outside of the process, while still maintaining an adequate relationship to the project and the context in which it is developed. The doctorate is a good example of this process, as it is a significant multi-year project that requires artistic researchers to interface with a public at various stages. The academic framework places very particular demands on the researcher, to which this text attends whilst also being relevant to and aware of articulations of artistic research practiced elsewhere. A key question is how to respond to any kind of external requirements without losing the thread or the connection to one’s artistic practice. We push against common notions of compromise here and instead encourage artistic researchers to develop and argue for formats that have high resonance and a dense relationship to their research processes. As authors working with(in) movement/dance practices and performance, we attend in particular to processes of publicly sharing body-based artistic research.
Amy Voris Forming and ReturningDance-Making with Authentic Movement
This article reviews the methodological concerns of my doctoral research which was concerned with articulating the experience of forming movement material within a solo, contemporary dance-making practice. In order to do this in a way that best expressed and communicated the uniqueness of the practice itself, I adopted certain aspects of Authentic Movement (Adler 2002) as the basis for my methodology. As I am also a practitioner of Authentic Movement, the deep synergies it already has with my dance-making practice allowed me to develop out of it a reflective framework that still speaks directly from the voice of the dance-maker. The making of a solo dance work called perch and the development of the methodology by which I communicated the experience of making it became two sides of the same process.