Paula Kramer is a dance researcher and movement artist living and working between Berlin and Helsinki. She has a background in Political Sciences (M.A. 2005) and holds a practice-as-research PhD in Dance from Coventry University (2015). Her work focuses on site-specific movement practices and she is currently a postdoctoral researcher at the Centre for Artistic Research (CfAR), the University of the Arts in Helsinki. She explores outdoor dance and movement practices in the light of new materialist thought, collaborating with materials of many different orders as active agents in the creation of movement, performance, daily life practices and sense making. She is part of the editorial board of the Journal of Dance and Somatic Practices, a founding member of AREAL (Artistic Research Lab Berlin) and part of the research team of ADiE – Artistic Doctorates in Europe. www.paulakramer.de
Paula Kramer & Stephanie Misa Artistic Research as a Tool of Critique
In this text we inquire about and develop the potentials of critical thought and practice within artistic research in the performing arts. Doctoral projects have a unique position in what we might call ‘future academia’ – a say into what academia could become. A lot of thought and development activities flow into doctoral education, across disciplines, to ensure that the work emerging through doctorates is relevant, of high quality and meaningful to the researcher. Simultaneously projects have the potential to challenge, push and influence academic discourses, traditions and habits. So how can we develop and position our works so they do not stabilise the status quo, but push thinking and practice within artistic research in a critical and change-oriented way? This is the question we attend to here, offering contextualisation and some practical questions and considerations to ask oneself in the process of developing and following through with a doctoral project in the performing arts.
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.