Keywordmethodology

  • 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 Processual Attention in Somatic Practice as Research / Artistic Research

    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

    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.

  • 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.

  • Franc Chamberlain Start SomewhereMemories, Sensations, Speculations, and Practice Research

    Franc Chamberlain Start SomewhereMemories, Sensations, Speculations, and Practice Research

    Starting ‘somewhere’ and modelling some of the things we might do at the beginning of a practice research project in order to put things in motion, this self-reflexive text draws on autobiographical memories to suggest ways in which these might be used in generating further lines of embodied inquiry.

  • Carlos Alberto Ferreira da Silva Blind Flâneurs– the research laboratory of Cidade Cega (Blind City)

    Carlos Alberto Ferreira da Silva Blind Flâneurs– the research laboratory of Cidade Cega (Blind City)

    This text was written with the concern of how to understand methodological practices to proceed during an artistic/creative process with visually impaired performers. The creative process is described in its somatic influences, especially Authentic Movement and somatic-performative research. From this perspective, aesthetic principles of the somatic-performative urban event Cidade Cega are exposed in the context of its practical research laboratory. The main theme of the urban event is the potential of the other senses (touch, hearing, smell, and taste), beyond sight, as a means for the perception of the city of Salvador, in the state of Bahia, in Brazil, empowering the visually impaired as autonomous and able subjects who could guide others in a sensorial and collective exploration of the city.

  • Pil Hansen Interdisciplinary Research StrategiesWorking Across Artistic Research and Dance Scholarship, Dance Psychology, or Dance Science

    Pil Hansen Interdisciplinary Research StrategiesWorking Across Artistic Research and Dance Scholarship, Dance Psychology, or Dance Science

    Hansen offers a doctorate-level introduction to a series of challenges and benefits involved in interdisciplinary dance research that is (co-)led by an artistic researcher. Strategic approaches are shared, the importance of methodological communication and choice-making is discussed, and the relationship between such choices and the impact of the knowledge produced is emphasized with reference to examples from the author’s research praxis. More specifically, the contribution addresses the following subjects: interdisciplinary collaboration and communication; negotiation across knowledge paradigms and criteria of validity; differences between multidisciplinary stratification and interdisciplinary transfer and integration; documentation and data sharing strategies; resource-effective inquiry across multiple projects; and enhancement of reach and impact through multidisciplinary articulation.

  • 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.

  • Chrysa Parkinson Art Practice as Eco-System Questionnaire

    Chrysa Parkinson Art Practice as Eco-System Questionnaire

    A questionnaire designed to research and document the ecology of sense-making in an ongoing artistic practice.

  • 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.

  • 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.

  • Marisa Zanotti Scores, Stills and ScreensDocumentation in Artist Doctorates

    Marisa Zanotti Scores, Stills and ScreensDocumentation in Artist Doctorates

    This reflective essay considers how documenting might be made to work strategically in the doctoral process. The writing explores three functions of screen documentation: Documentation as a research practice; documentation as evidence of a performance or process; and documentation as an integral strategy in the final presentation/ defence of a thesis. The essay draws on thinking about documentation and subjectivity by artists and documentarians such as Babette Mangolte (1978) and Becky Edmunds (2007) and cites examples of documentations of different kinds of live events. The essay includes original scores that link recording technologies to creative process, these scores are designed to open up thinking about documenting in both studio research and recording final performances.

  • Marisa Zanotti & Simon Ellis Habbits of Attention

    Marisa Zanotti & Simon Ellis Habbits of Attention

    Habits of attention: was a conversation between Marisa Zanotti and Simon Ellis exploring documentation in artistic doctorates in relation to different audiences. The dialogue was delivered as a paper by Marisa Zanotti.

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  • 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+.