Theorising, Processes and Reflection – Researching (in/as) Motion

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.
Eleanor Bauer No Time for Judgement / More Time for Judgement

Eleanor Bauer No Time for Judgement / More Time for Judgement
In conversation with colleague Ellen Söderhult, Eleanor Bauer discusses her PhD Artist Research Project, choreo|graphy, addressing the relationship between thought in language and thought in dance through various metaphorical operations regarding vocabulary, syntax, grammar, structure, and culture.
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.
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.
Laura Gröndahl & Leena Rouhiainen Getting Started with Networking and Presenting Doctoral Artistic Research

Laura Gröndahl & Leena Rouhiainen Getting Started with Networking and Presenting Doctoral Artistic Research
The chapter aims to support artistic doctoral candidates in the initial stages of their research in presenting and publishing their work. It does this by mapping some of the main research communities, events and journals within artistic research related to the performing arts. In addition to introducing some of the central international platforms, the focus is on offerings in the Nordic countries, owing to the fact that the authors are based in Finland. The chapter intends to provide useful advice on how a newcomer to artistic research can approach and utilise the existing opportunities in order to advance her or his research and become an active member of the larger community of artistic research. The chapter ends with a summary of the relevant organisations, publications and events in the field.
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.
Rebecca Hilton You Have Exactly Fifteen Minutes

Rebecca Hilton You Have Exactly Fifteen Minutes
A simple temporal frame endorsing the use of the ‘gap’ or the ‘space between’ as a resource within the conventions of any movement practice, PhD project or day. Use it as reset, rest or ritual. Set a timer and apply as often as required.
Hanna Järvinen & Liisa Pentti On Writing as a PracticeCollaboration and Collaborative Processes

Hanna Järvinen & Liisa Pentti On Writing as a PracticeCollaboration and Collaborative Processes
Written as a dialogue between two collaborators in a choreographic project re-imagining a past dance, this text addresses the role of articulations in collaboration and in the aftermath of collaboration pertinent to doctoral research in the 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.
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.
Susan Melrose with Stefanie Sachsenmaier Writing ‘Practice’ /Practising/ ‘Writing’(in the doctoral research context)

Susan Melrose with Stefanie Sachsenmaier Writing ‘Practice’ /Practising/ ‘Writing’(in the doctoral research context)
In this paper we outline some of the issues involved in the ‘practice research’ context and make a few suggestions as to ways to tackle these in a Practice-as-Research (PaR) undertaking. We begin by writing about the ‘problem with writing’ for all researchers whose primary interest lies in creative processes, and about the question of research metapractices. We then focus on those ‘mixed-mode’¹ research metapractices and how they might be addressed in the combined PaR submission. Our interim conclusion is that research writing is best produced dialogically, with the ongoing
Joanne ‘Bob’ Whalley & Lee Miller Somatics / Intersubjectivity‘Moving Thoughts on Intersubjectivity’

Joanne ‘Bob’ Whalley & Lee Miller Somatics / Intersubjectivity‘Moving Thoughts on Intersubjectivity’
This writing seeks to reflect upon the space in-between the work and its reception in order to consider how knowledge is created and exchanged. The principle of the ‘in-between’ is central to this writing, recognising as it does the spatial dynamic that is often overlooked in the co-creation of knowledge. Thus, ‘knowledge’ is positioned not as a solo offering, but as a communicative and vibrant act of exchange. In this context, the knowledge generative possibilities of arts practice become clearer, as the intersubjective is a more evident terrain of enquiry than might be the case in more ‘traditional’ forms of knowledge dissemination that might more typically be understood as having a singular direction of travel.
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.
Norah Zuniga Shaw Movement Storming

Norah Zuniga Shaw Movement Storming
Movement Storming is a creative facilitation practice invented as an alternative to brainstorming. It works well as a kick-off process for researchers seeking to build collaboration or shared references and a nice opener for conferences or events. It is even better as an interruption or refresh along the way in virtually any research endeavor when things have become too narrowly defined, the process feels stuck or there is a need for connection. It is also great as the basis for a writing jam to get a few pages crafted or pen initial ideas. This short offering outlines the score for creating a Movement Storm and a few reflections from participants.

TopicTheorising, Processes and Reflection

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

Jane Bacon Processual Attention in Somatic Practice as Research / Artistic Research

Jane Bacon Processual Attention in Somatic Practice as Research / Artistic Research

Eleanor Bauer No Time for Judgement / More Time for Judgement

Eleanor Bauer No Time for Judgement / More Time for Judgement

Carol Brown Field Guide for Choreography as Research¹

Carol Brown Field Guide for Choreography as Research¹

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

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

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)

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

Maipelo Gabang ANOTHER BIBLIOGRAPHY

Maipelo Gabang ANOTHER BIBLIOGRAPHY

Laura Gröndahl & Leena Rouhiainen Getting Started with Networking and Presenting Doctoral Artistic Research

Laura Gröndahl & Leena Rouhiainen Getting Started with Networking and Presenting Doctoral Artistic Research

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

Rebecca Hilton You Have Exactly Fifteen Minutes

Rebecca Hilton You Have Exactly Fifteen Minutes

Hanna Järvinen & Liisa Pentti On Writing as a PracticeCollaboration and Collaborative Processes

Hanna Järvinen & Liisa Pentti On Writing as a PracticeCollaboration and Collaborative Processes

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

Josephine Machon Thinking through Theory

Josephine Machon Thinking through Theory

Susan Melrose with Stefanie Sachsenmaier Writing ‘Practice’ /Practising/ ‘Writing’(in the doctoral research context)

Susan Melrose with Stefanie Sachsenmaier Writing ‘Practice’ /Practising/ ‘Writing’(in the doctoral research context)

Joanne ‘Bob’ Whalley & Lee Miller Somatics / Intersubjectivity‘Moving Thoughts on Intersubjectivity’

Joanne ‘Bob’ Whalley & Lee Miller Somatics / Intersubjectivity‘Moving Thoughts on Intersubjectivity’

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

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

Norah Zuniga Shaw Movement Storming

Norah Zuniga Shaw Movement Storming

Adesola Akinleye Play‘ideas are statements not of what is or what has been but of acts to be performed.’1

Jane Bacon Processual Attention in Somatic Practice as Research / Artistic Research

Eleanor Bauer No Time for Judgement / More Time for Judgement

Carol Brown Field Guide for Choreography as Research1

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

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

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

Maipelo Gabang ANOTHER BIBLIOGRAPHY

Laura Gröndahl & Leena Rouhiainen Getting Started with Networking and Presenting Doctoral Artistic Research

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

Rebecca Hilton You Have Exactly Fifteen Minutes

Hanna Järvinen & Liisa Pentti On Writing as a PracticeCollaboration and Collaborative Processes

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

Josephine Machon Thinking through Theory

Susan Melrose with Stefanie Sachsenmaier Writing ‘Practice’ /Practising/ ‘Writing’(in the doctoral research context)

Joanne ‘Bob’ Whalley & Lee Miller Somatics / Intersubjectivity‘Moving Thoughts on Intersubjectivity’

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

Norah Zuniga Shaw Movement Storming

Adesola Akinleye Play‘ideas are statements not of what is or what has been but of acts to be performed.’¹

Carol Brown Field Guide for Choreography as Research¹