Keywordsomatic

  • 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.

  • 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.

  • 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.

  • 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.

  • 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.

  • Alys Longley Reflections on Smudge Skittlean inventory of resources entangling artistic practice and writing

    Alys Longley Reflections on Smudge Skittlean inventory of resources entangling artistic practice and writing

    In artistic research, the value of intuitive, playful and unpredictable studio methods is well accepted (Ellis 2016, Melrose 2007). In some circumstances, traditional academic forms of writing and the values underpinning them – of proof, explanation, analysis and rational linear argument, may constrain, rather than enable, creative research. This resource reflects on writing practices that could be particularly suited to practice-led researchers, emphasizing the vitality of language and interdisciplinary approaches merging writing with drawing, photography or page design which offer playful alternatives to the pre-set rules of thesis structure.

    Smudge Skittle (Longley 2018), explores methods of writing that support studio practice through a series of writing tasks, based around 10 provocations for artist-researchers. In 2018, it has been published as 1) A deck of cards 2) A digital website/game 3) the present text in which I discuss this resource in relation to its critical context in the field of artistic research.

  • 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+.