Jane is a Jungian Analyst, Focusing Trainer and Teacher of the Discipline of Authentic Movement. She was part of the UK Higher Education development of practice-as-research in performance. She is interested in the development of unique methodological approaches developed by artist researchers through and by practice. She is co-editor of Choreographic Practices Journal and co-Director of the Choreographic Lab. Recent publications include: ‘Informed by the goddess: Explicating a processual methodology’, Dance, Movement & Spiritualities, 4:1, 2017; ‘Authentic Movement: a field of practices’, Journal of Dance and Somatic Practices, vol 7.2, 2015; ‘Authentic Movement as wellbeing practice’, in Oxford Handbook for Dance and Movement for Wellbeing 2017, 149–164; Creative Articulations Process, (with Midgelow, V.). In Articulations, Choreographic Practices Vol 5.1, 2014; ‘Embodied and Direct Experience in Performance Studies’, in Contemporary Ethnography and Performance Studies, 2013.
Jane Bacon Processual Attention in Somatic Practice as Research / Artistic Research
When you work with your body as your tool, skill set, instrument, or inspiration you – in some way – will be undertaking a subjective endeavour that will struggle to thrive in the objective terrain of the objective-thirsty academic world. Even as you draw in knowledge and practices from your ongoing and past training and education to clarify the context and methods for your research, you will be drawing on something that is unique to you. This chapter is concerned with that particular uniqueness situated within a larger research context. The chapter proposes that the development and articulation of a methodological approach that is both unique to the individual’s practice and can be situated within a larger theoretical and artistic framework is essential to the success of an Artistic Doctorate. The focus here is on a methodological approach that attempts to situate itself within practice research – from the uniqueness of the individual practice research – and allows a flow between broader theoretical and artistic concerns. This approach requires the individual to pay attention to moment-to-moment experiences both internally experienced and externally manifested. In this sense, this is a study into the process of paying attention – attention to the practice of reading, making, performing, thinking, doing, living.
Jane Bacon & Vida L Midgelow Creative Articulations ProcessEmbodied Awareness and Creative Languaging
A workshop introduction to ‘Creative Articulations Process’, for working with practice research offered to PhD candidates attending the week long teaching intensive, Univeristy of Chichester, June 2019.