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
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.
Score: Becoming Invisible (1966)by Nye Flarrabas
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’.
Copyright 2018 - Advance Portfolio WordPress Theme