Connecting


Both physical play and dance improvisation are considered activities that take place in dialogue with the environment. Play and dance improvisation are culturally organized experiences in which we try to make sense of the world. In this artistic research we will use De Jaegher and Di Paoli’s notion of participatory sense-making (2017) as a way to understand meaning giving processes in dance improvisation and physical play. Participatory sense-making is “the coordination of intentional activity in interaction, whereby individual sense-making processes are affected and new domains of social sense-making can be generated that were not available to each individual on her own” (p.13).

In this research study we use dance and play experiences to generate a deeper awareness of and connection with the environment.  We are interested in collective agency: how we move with and are moved by others, not knowing anymore who is following and who is leading in a shared sensibility. Gregory Bateson’s notion of the ecological mind with its underlying assumption that everyone and everything is connected will be used to understand how dancers/children are connected with their environment.

 

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Yoga Teacher

In October 2018  I did an intensive yin yoga teacher’s course at Arhanta Yoga Ashram in Velp. I completed the course, passed the exams (theory as wel as practice) and now I am officially a yin yoga teacher.   

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Lecture ENCODS

Invited Lecture, Akademie Berlin-Schmöckwitz, 5-6 July 2018, ENCODS The 21st century has been named the “Century of the Mind”. With two feet in the new millennium, the next generation of neuroscientists experiences exciting times. ENCODS 2018 is a pioneer conference, which creates a space for young doctoral researchers to engage with the use of technologies […]

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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 […]

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Leeds

Together with my daughter Lisa Scheers we participated in the conference ‘With Children: The Child as Collaborator and Performer’  Leeds Beckett University, 28thOf January 2017  with the provocation “Why do you think that you but not me should be on stage?” Performed by: Lisa Scheers (10 years old) and Carolien Hermans (47 years old) The […]

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Worlding The Brain

Performance lecture ‘Participatory sense-making: rhythm, repetition and affective resonance in dance’, Conference ‘Worlding the Brain’, Universiteit van Amsterdam,  19 maart, 2016, Compagnietheater. During this conference I gave a  performance lecture ‘Participatory sense-making: rhythm, repetition and affective resonance in dance’, together with Sarah Abicht and Maxine van Lishout (students Modern Theatre Dance). For the lecture: RhythmNarrativeRepetitionDef1     […]

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AHK-Lecture

Embodiment in Arts Education – Teaching and learning with the body in the Arts Amsterdam University of the Arts, December 2015 Together with Melissa Bremmer, I organised a symposium 12 december 2015 at the Conservatory of Amsterdam.  Central theme of the symposium was embodied  teaching practices in dance and music. From left to right: Shaun Gallager, […]

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Coventry – Lecture

Dance and Somatic Practice Conference, Coventry University, 6-9 July, 2017 Performance lecture: Carolien Hermans and Lisa Scheers Where do the child and the animal meet in dance improvisation? Abstract ‘Take care of your animal body’ are the famous words of Steve Paxton. The concept of the animal body “refers to the presence of a being […]

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ADiE Stockholm

Artistic Doctorates in Europe: RESEARCHING (IN/AS) MOTION Research intensives for artistic researchers and doctoral candidates in dance and body based performance. March 19-23, 2018. Hosted by Stockholm University of the Arts at DOCH and Weld I took part in this research intensive that consisted each day of a morning practice circle, walking/talking, practice session, research practice and […]

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ADiE Stockholm


Artistic Doctorates in Europe: RESEARCHING (IN/AS) MOTION

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

March 19-23, 2018.
Hosted by Stockholm University of the Arts at DOCH and Weld

I took part in this research intensive that consisted each day of a morning practice circle, walking/talking, practice session, research practice and open PhD exchange.

Some notes:
* We discussed the three anchors of artistic doctorate research: the artistic process, documentation and knowledge production (= the framing through language or imagery). Documentation is more then the representation of the research process, it has its own experiental nature. It holds itself, it becomes an animated thing that points to itself as well as to that which it documents upon. 

*The complicated relationship between language/text (as a distinct thing) and dance (that is always in the process of articulation). And then again moving from language to the oral (to speech). To distantiate oneself, to detach, to leave behind. Even to mourn (Chrysa Parkinson). 

* The notion of adequacy (Paula Kramer)
Question: What is adequate in the context of each of our artistic research projects? We did an exercise where we mould our research process into clay. In the next phase we drew a geographical map of our research process. 

 

In the next phase I gave the map to another person who was asked to walked outside with the map in her hand, as a geographical drawing. This person was then asked to write down her experience:

 

* Each morning I joined in the morning practice circle. It was fascinating to see how easily we are drawn into play. Objects and materials, such as a table, offer possibilities for play. These objects/materials can be seen as affordances that guide and direct us into play.

 

 

Keywords: vitality affects, intensity and levels of engagement,  serious attention to having fun, release of energy, a sharpness, beging directed to, orientation (through rules), orientation both to the inside and to the outside.

*On one of these morning I engaged in a (small) duet with Paula Guzzanti. Suddenly I became aware of the notion of synchrony, rhythm and attunement within play. In other words: through play we synchronise our movements and we sense the same kind of flow/rhythm.

See the small excerpt below: