ADiE Chichester

Research intensives for artistic researchers and doctoral candidates in dance and body based performance.

June 25-29, 2018
Hosted by the University of Chichester


What are the feedback processes that might best support and/ or propel our personal research practices? How do we create the contexts/cohorts/conditions needed in order to contribute critically to the research practices of our peers, colleagues and fellow artists? How are we working to articulate, materialize and communicate our artistic research to the broader dance community, to other institutions, other fields, fellow artists and audiences?

The week consisted of exchanges, conversations, working groups, and presentations, inviting the participating artists and researchers to share concerns, test practices and to think, talk, move and question together.

Jane Bacon and Vida Midgelow introduced the CAP – Creative Articulation Process that contains 6 stages that do not follow each other in a linear but in an iterative way.

Opening: giving space and time
Situating: what I know today,  what brings me here, where I am
Delving: I wonder what interests me
Raising: working to render what I have and/or what I do
Anatomizing: working to expand, broaden, trial, clarify my practice
Outwarding: bringing my findings to fruition and newly noting future 

We worked on collecting key words of our own artistic research and then placing them in space (which concept sits close to me, which concept has  more distance).

In the workshop of Bob Whalley and Lee Miller we worked on ‘Thingness and Object Oriented Ontology’. At the end of this workshop we collectively made a map of our artistic research journey.

We did lots of other things too, such as a site-based research score, a live exposition of a group process (Claire French), a performance by Virginia Farman, a workshop on ethics and care (by Norah Zuniga-Shaw and Vida Midgelow) and finally lots of time was reserved for our working session groups. 

In the workshop of Bob Whalley and Lee Miller we were asked to ‘bring your body to place where its is not yet been in the space’ and  to register that action. I placed my feet inside the shoes of others, thereby inhabiting a space that is territorialized by others. 

Some loose thoughts and quotes: 

  • Paying attention to paying attention (Bacon, 2007)
  • The study of processes rather than events
  • Language elaborates our bodily sensation  (Binswinger in Frie, 2003)
  • I do not write to keep, I write to feel, I write to touch the body of the instant with the tip of the words (Cixous, 1998)
  • My body as a performer is more inclusive in the aftermath of writing a dance (Hay, 2000)

Score: Becoming Invisible (1966)by Nye Flarrabas

  • by hiding
  • by divesting yourself of all distinguishable mark
  • by going away
  • by sinking through the floor
  • by becoming some-one else
  • by concentrating so hard on some object or idea that you cease to be aware
  • by distracting every else of your physical presence
  • by ceasing to exist

We should no longer think of thought as something representing passive thing, but rather as something that things do themselves alongside us (Mullarkey, 2009, p.207).

Movement score of Vicky Hunter and Leslie Satin: ‘Translating Site-based encounters, recording and reflecting through Practice-led Research’.


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