Keywordembodiment

  • 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.

  • Jane Bacon & Vida L Midgelow Creative Articulations ProcessEmbodied Awareness and Creative Languaging

    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.

  • Eleanor Bauer Documentation / Examination

    Eleanor Bauer Documentation / Examination

    In a rumination on artistic research processes and their documentation, Bauer addresses notions of memory, process, and preservation in the experimental form of  “annotated poem.” Separating the articulation of an idea which considers its form from the explanation and unfolding of its connections to others through citations and anecdotes.

  • Sara Giddens Some Thoughts about Writing…for Those about to Embark on a Practice-Based PhD

    Sara Giddens Some Thoughts about Writing…for Those about to Embark on a Practice-Based PhD

    A PhD demands languaging. As makers and researchers, we must find ways that speak of, alongside and out of the body, particularly within such a text-based academic economy. As such, this writing is intended as an invitation. An invitation to consider the need to write about and from practice, from a makers’ point of view. To wrestle with and adequately articulate experiential somatically based practices, so that the body doesn’t simply disappear.

  • 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.

  • Paula Kramer & Stephanie Misa Artistic Research as a Tool of Critique

    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.

  • Kate Marsh This much I knowIdentity and Experience in Auto-Ethnographic Dance Research

    Kate Marsh This much I knowIdentity and Experience in Auto-Ethnographic Dance Research

    What does it mean when a researcher locates themselves as indigenous to a particular community or collective of people? This chapter outines the auto-ethnographic research of a disabled artist-researcher exploring her own position in the contemporary dance sector and the position of others identifying within a community of disabled artists.

  • Paula Kramer & Emma Meehan About AdequacyMaking Body-based Artistic Research Public

    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.

  • 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.

  • Joanne ‘Bob’ Whalley & Lee Miller Thing’ness and Object Oriented Ontology’

    Joanne ‘Bob’ Whalley & Lee Miller Thing’ness and Object Oriented Ontology’

    This workshop was facilitated as part of the ‘Researching (in/as) Motion’ research intensive at University of Chichester, June 2018. The session invited listening, talking, thinking and doing of/for practice as research processes.

  • 10Nivel2019
  • Researching (in/as) Motion978-952-353-012-6 © 2019 Theatre Academy of the University of the Arts Helsinki Accessibility statement
  • ADiE is a partnership between Zodiak Centre for New Dance, Kiasma Theatre Museum and University of the Arts Helsinki (FI), Weld and Stockholm University of the Arts (SE), and Dance4, University of Chichester and Middlesex University (UK), funded by Erasmus+.