politicising – Researching (in/as) Motion

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.
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.
Maipelo Gabang 10 Things to Considerif You are an Artist of Colour Entering an Academic Research Institution

Maipelo Gabang 10 Things to Considerif You are an Artist of Colour Entering an Academic Research Institution
These 10 Considerations are offered as a resource to anyone entering, or already ensconced in, an Academic Research Institution, a reminder that inclusion is something to work on together, all the time and in every way imaginable. The text has been informed by the written reflections of seven Southern African Academics/Artists of Colour, who prefer to remain anonymous. It was developed using the 10 Statements structure from Everybodys Toolbox. everybodystoolbox.net/index.php?title=STATEMENTS
Maipelo Gabang ANOTHER BIBLIOGRAPHY

Maipelo Gabang ANOTHER BIBLIOGRAPHY
Curated by Maipelo Gabang, ANOTHER BIBLIOGRAPHY is compiled from the reference lists generated by seven Southern African dance and performance scholars during the course of their artistic research studies. ANOTHER BIBLIOGRAPHY is offered here with the hope that in sharing references and perspectives from the Southern African research we are contributing to an international artistic research future that is adaptable and inclusive, one that incorporates Artists of Colour as producers of knowledge. It is also offered as a prompt or a challenge to readers to consider their own references, their bibliographies, and to question who/what it represents.
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.
Josephine Machon Thinking through Theory

Josephine Machon Thinking through Theory
Drawing on my own experience as a doctoral researcher in contemporary performance as well as my practice as a doctoral supervisor, this article engages with reflections and provocations related to encountering, unpacking, selecting, and applying theoretical materials within the artistic PhD. It pays close attention to; how theory is fundamentally in a symbiotic relationship with practice; how one might inform and modulate the other; how both should be mutually inclusive in process and outcome when researching in the arts. Overall, the article aims to foreground for the artist-researcher the continuum that is thinking in-around through-and-about practice, offering ways to approach articulating those thoughts in writing.