choreography – Researching (in/as) Motion

Adesola Akinleye Play‘ideas are statements not of what is or what has been but of acts to be performed.’¹

Adesola Akinleye Play‘ideas are statements not of what is or what has been but of acts to be performed.’¹
In this chapter I challenge the perceived divide between doing and thinking, inherited from a Western dualist divide between body and mind. I suggest playful acts of choreography to transgress the separation of physical and mental in the process of creating a theoretical framework for research study. Using what I am calling ‘choreo-thinking’ I offer possibilities of new methodologies for meaning making beyond the static of writing at a desk.
Eleanor Bauer No Time for Judgement / More Time for Judgement

Eleanor Bauer No Time for Judgement / More Time for Judgement
In conversation with colleague Ellen Söderhult, Eleanor Bauer discusses her PhD Artist Research Project, choreo|graphy, addressing the relationship between thought in language and thought in dance through various metaphorical operations regarding vocabulary, syntax, grammar, structure, and culture.
Carol Brown Field Guide for Choreography as Research¹

Carol Brown Field Guide for Choreography as Research¹
A field guide for wayfaring through the creative and institutional spaces of choreographic practice as research must necessarily be mutable, mobile and capable of weathering change. Through Choreography as Research Practice, the traditional character of knowledge is usurped by a refusal to distance thinking from moving, knowing from being, thought from the material specificity of bodies. This work recognises that knowledge always has a material as well as conceptual reality. In posing problems through dance as aesthetic, ethico-political and intellectual enquiry, research becomes activated through diverse terrains requiring topographical know-how. Becoming a wayfarer proposes a choreo-philosophy that involves mobilizing, mapping and writing simultaneously in relation to spaces and kinesthetic topographies.
Scott deLahunta The Confusing Evidence(evidence that confuses)

Scott deLahunta The Confusing Evidence(evidence that confuses)
talk on four topics, the publishing of choreographic ideas, communicating what happens in the studio in the absence of the body, annotation and process documentation, and dance becoming data.
Marie Fahlin Wridden– wringing writing and riding

Marie Fahlin Wridden– wringing writing and riding
Wridden is a text collage, join(t)ing the concepts of writing and riding using past (was wridden yesterday) and future perfect (will have been wridden tomorrow) tense to reflect on the now of writing and riding (choreographing). The title Wridden also alludes to the Swedish word ‘vriden’; twisted or wringed. The text collage uses twisting, turning and wringing; letters, words, concepts and images. The circle and semicircle, broken circles and double circles, will be used as visual forms to bend the readers eye and the writer’s I. Wridden is a form of writing that simultaneously looks at itself as it is in the midst of becoming, its own past and future, now. Involved is: The rider. The reader. The eye. The writer. The I.
Kirsi Heimonen & Leena Rouhiainen Notes on and Examples of Embodiment in Artistic Research of Dance and Performance

Kirsi Heimonen & Leena Rouhiainen Notes on and Examples of Embodiment in Artistic Research of Dance and Performance
The essay discusses the problem of embodiment in artistic research dealing with dance and performance and offers some conceptual and methodological insights that can be of help in crafting new doctoral research in the area. It introduces previous notions related to embodiment within dance studies, especially phenomenological dance research, and offers some topical views from body studies. All of them bear significance to the cases of artistic doctoral research that are likewise discussed. Through the mentioned research examples, the essay aims to highlight how artistic research, performance practice, and conceptions of embodiment can inform each other. The specific interest is in how their intertwinement fosters understanding, as well as ways of working with and exposing dance and performance. The overall aim of the essay is to offer readers insights that serve designing and conducting artistic research whose focal concern is related to the performing body, mainly from the perspective of dance and choreography.
Thomas Kampe Body-Soma-SelfRe-embodying Dance Research

Thomas Kampe Body-Soma-SelfRe-embodying Dance Research
This chapter discusses possibilities and workings of critical somatic arts research from a practitioner perspective. The author debates questions, processes and problems concerning his research towards the integration of somatic processes within performance- making and training contexts. The chapter gives an insight into issues arising from the application of Feldenkrais Method®, a key twentieth century somatic modality, as preparatory, enactive tuning and emancipatory ethical process within performing arts research.
Susan Kozel, Margrét Sara Guðjónsdóttir, Jeannette Ginslov, Keith Lim Conspiracy Archives a process archive of an archival process

Susan Kozel, Margrét Sara Guðjónsdóttir, Jeannette Ginslov, Keith Lim Conspiracy Archives a process archive of an archival process
This resource reflects artistic research into archiving a choreographic process using digital and analogue materials (including bodies). It is a process archive of an archival process, structured around Critical Questions, Process Notes (taking the form of phenomenological writing and visual imagery) and Design Prototypes. The artistic research at the centre of this resource is the production of a Mixed Reality (MR) archival complement to Margrét Sara Guðjónsdóttir’s performance of Conspiracy Ceremony – HYPERSONIC STATES. The archival work is called Conspiracy Archives and it is currently in its final prototype phase, almost ready to tour either independently or along with the live performance. It is created by the collaborative team of Margrét Sara Guðjónsdóttir (choreography), Jeannette Ginslov (visual capture and editing), Keith Lim (visual processing and programming) and Susan Kozel (project coordination, philosophy and concept). This resource integrates the voices of the collaborators using words, still images, video and design prototypes.
Peter Mills No Answers Questions Only

Peter Mills No Answers Questions Only
What if this collective choreographic practice asks that everyone speak only in question form? What if this collective choreographic practice allows no singular authority to be upheld? What if this collective choreographic practice encourages an individual to go with the collective choreography? What if this collective choreographic practice encourages an individual to oppose, undermine, suggest an alternative or propose reluctance as part of a collective choreography? What if this collective choreographic practice produces the possibility for practicing collective choreography? What if this collective choreographic practice creates a commitment to practicing choreography collectively?
Zoë Poluch & Cara Tolmie Sensory Literacy

Zoë Poluch & Cara Tolmie Sensory Literacy
Sensory Literacy is a moving-into-writing-into-speaking score practiced and developed by dancer and choreographer Zoë Poluch and Cara Tolmie, artist working with performance, experimental music and moving image. The score offers a way of translating embodiment, of documenting the sensation of experience, of materializing time travel. In practicing and performing the score (it was used in the performance “Aphelion Slip”) we wonder how the sensory choreography given by the composer is a form of writing and if the sensory experience had by the receiver a form of ‘reading’. How might we see the material produced from this practice as a map of associations, of potentiality and translation? What might this tell us about the condition of our bodies both as readers and writers? What do we lose or gain through this mediation via individual interior experience? What does it mean to relate to this mediated testimony?
Amaara Raheem Speaking Dancer in-residence

Amaara Raheem Speaking Dancer in-residence
Speaking Dancer is a ‘persona’. She emerged from my practice, from years of moving, and speaking, and perhaps she also emerged from my art/life relations. As a female, brown, immigrant, independent, dance artist I am of multiple belongings. I have strong allegiances with more than one place, inhabit more than one ‘home’, more than one social, cultural, disciplinary belonging. My experience of ‘home’ and ‘identity’ – as a person, as a dancer – is not fixed, rather continually made and unmade by relations.
Amy Voris Forming and ReturningDance-Making with Authentic Movement

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.

Keywordchoreography

Adesola Akinleye Play‘ideas are statements not of what is or what has been but of acts to be performed.’¹

Adesola Akinleye Play‘ideas are statements not of what is or what has been but of acts to be performed.’¹

Eleanor Bauer No Time for Judgement / More Time for Judgement

Eleanor Bauer No Time for Judgement / More Time for Judgement

Carol Brown Field Guide for Choreography as Research¹

Carol Brown Field Guide for Choreography as Research¹

Scott deLahunta The Confusing Evidence(evidence that confuses)

Scott deLahunta The Confusing Evidence(evidence that confuses)

Marie Fahlin Wridden– wringing writing and riding

Marie Fahlin Wridden– wringing writing and riding

Kirsi Heimonen & Leena Rouhiainen Notes on and Examples of Embodiment in Artistic Research of Dance and Performance

Kirsi Heimonen & Leena Rouhiainen Notes on and Examples of Embodiment in Artistic Research of Dance and Performance

Thomas Kampe Body-Soma-SelfRe-embodying Dance Research

Thomas Kampe Body-Soma-SelfRe-embodying Dance Research

Susan Kozel, Margrét Sara Guðjónsdóttir, Jeannette Ginslov, Keith Lim Conspiracy Archives a process archive of an archival process

Susan Kozel, Margrét Sara Guðjónsdóttir, Jeannette Ginslov, Keith Lim Conspiracy Archives a process archive of an archival process

Peter Mills No Answers Questions Only

Peter Mills No Answers Questions Only

Zoë Poluch & Cara Tolmie Sensory Literacy

Zoë Poluch & Cara Tolmie Sensory Literacy

Amaara Raheem Speaking Dancer in-residence

Amaara Raheem Speaking Dancer in-residence

Amy Voris Forming and ReturningDance-Making with Authentic Movement

Amy Voris Forming and ReturningDance-Making with Authentic Movement

Adesola Akinleye Play‘ideas are statements not of what is or what has been but of acts to be performed.’1

Eleanor Bauer No Time for Judgement / More Time for Judgement

Carol Brown Field Guide for Choreography as Research1

Scott deLahunta The Confusing Evidence(evidence that confuses)

Marie Fahlin Wridden– wringing writing and riding

Kirsi Heimonen & Leena Rouhiainen Notes on and Examples of Embodiment in Artistic Research of Dance and Performance

Thomas Kampe Body-Soma-SelfRe-embodying Dance Research

Susan Kozel, Margrét Sara Guðjónsdóttir, Jeannette Ginslov, Keith Lim Conspiracy Archives a process archive of an archival process

Peter Mills No Answers Questions Only

Zoë Poluch & Cara Tolmie Sensory Literacy

Amaara Raheem Speaking Dancer in-residence

Amy Voris Forming and ReturningDance-Making with Authentic Movement

Adesola Akinleye Play‘ideas are statements not of what is or what has been but of acts to be performed.’¹

Carol Brown Field Guide for Choreography as Research¹