ethics – Researching (in/as) Motion

Fiona Bannon Mind the GapSteps Towards Ethical Practice (stEP)

Fiona Bannon Mind the GapSteps Towards Ethical Practice (stEP)
To embark on any discussion of ethics; an idea with no fixed identity, offering no universal givens, and existing in complex relations between people can encourage our use of doctrinary constructs. As we embark upon research projects we need to learn ways to accommodate the constancy of change in relation with the context we work in, the ideas we explore and those we work alongside. Ethical relations are lively; they exist beyond any written and approved plan and any institutional protocol for research. This is where ethics become interesting, this is where we have research practice and behaviour to explore.
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.
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.
Vida L Midgelow Practice EthicsModelling posthuman entanglements and care in artistic doctorates

Vida L Midgelow Practice EthicsModelling posthuman entanglements and care in artistic doctorates
Drawing together insights from somatic approaches to movement, improvisation, care, and posthumanism this writing proposes ‘Practice Ethics’ that are activated in and by artistic research. Four thematic territories give shape to intersecting and overlapping areas of attention in Practice Ethics, namely: ‘Self-care and Attentiveness’, ‘Other-relatedness and Agency’, ‘Meshwork and Nesting’, ‘Repairs and Eco-ethics’. Through a series of exercises/scores the writing seeks to enable the ‘modelling’ of ethical practices, foregrounding concerns and dilemmas that may arise in embodied research. These ‘modellings’ offer space for undertaking ‘thinking doings’ and might be thought of as training grounds, or as reflective practicums (after Schon), through which it is hoped ethical attentions may be honed as a posthuman matter of care and as a practical, entangled, ongoing activity.
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?
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.
Norah Zuniga Shaw & Vida L Midgelow Posthuman Entanglementspracticing an ethics of care in body based research

Norah Zuniga Shaw & Vida L Midgelow Posthuman Entanglementspracticing an ethics of care in body based research
This workshop was facilitated as part of the ADiE ‘Researching (in/as) Motion’ research intensive at University of Chichester, June 2018. Following a ‘community building’ warm-up, the session invited participations to engage in a ‘movement storming’ process (see Norah Zungia-Shaw in this collection) as a way to explore ethical concerns. For further explication of the materials shared with participants of the workshop, see the essay and scores by Midgelow in this same collection.