Archiv der Kategorie: Dancing Age(ing)

Dancing Age(ing) lecture performances 2018/2019

-26 September 2019 Dancing Age(ing) Interdisziplinäres Dialogforum Mensch und Endlichkeit, Goldegg, Austria

-9 May 2019 Dancing Age(ing): Strategien der Aneignung oder des Sich-Befremden-Lassens? Ein getanzter Vortrag, Universität Leipzig, Institut Theaterwissenschaften

-29 November 2018 Dancing Age(ing) – Performing Ambiguity, conference Cultural Perspectives on Ageing, Hannover, Germany

– 27 June 2018 Performing Ambiguity a danced lecture, Chichester University, UK

-5 May 2018 Improvising Age(ing): a danced lecture, Kiev, Ukraine

– 14 – 16 February 2018 Die Vieldeutigkeit von Alter(n) performen: a danced lecture
6. Werkstattgespräch des interdisziplinären Arbeitskreises Ambivalenz: Altern und biographische Übergänge, Goethe Universität Frankfurt am Main, Germany

Dancing Age(ing) lecture performances 2017

Photo Annika Fredriksson, Dancing Age(ing) as Artistic Research, Venice 29 June 2017

– September 2017, Searching for the Fountain of Age – a danced lecture, Colloquium on Artistic Research in Performing Arts (CARPA 5), Theatre Academy and the Academy of Fine Arts, Uniarts
Helsinki, Finnland.
See publication: https://nivel.teak.fi/carpa5/susanne-martin-searching-for-the-fountain-of-age-script-of-a-danced-lecture/
or: https://nivel.teak.fi/carpa5/

-7 July 2017, Improvising Age(ing) or dancing around the fountain of youth and the fountain of age – a danced lecture and workshop, Dance & Somatic Practices Conference, Centre for Dance Research (C-DaRE) Coventry University, UK

-29 June 2017, Dancing Age(ing) as Artistic Research – Embodied Practice and Artistic Research: Debating European Artistic Doctorates in Dance and Performance, Seminar organised by Artistic Doctorates in Europe (ADiE), RESEARCH PAVILION: UTOPIA OF ACCESS, Biennale di Venezia 2017, Research Pavilion, Theatre Space

-29 April 2017, Dancing Age(ing): Strategies for Rethinking Age(ing) in Contemporary Dance, ENAS Conference: Cultural Narratives, Processes and Strategies in Representations of Age and Aging, University of Graz, Austria

Photo: Annika Fredriksson, Dancing Age(ing) as Artistic Research, Venice 29 June 2017

Dancing Age(ing) lecture performances 2014 – 2016

Photo: Lars Åsling

– 7 Dec 2016, Performing Age(ing): Sliding through Time – a danced lecture, Academy of Music and Drama, University of Gothenburg, Sweden

-1 Dec 2016, Performing Age(ing): Sliding through Time – a danced lecture, SITE, artistic platform and production house for contemporary performing arts, Stockholm, Sweden

-29 Nov 2016, Performing Age(ing): Sliding through Time – a danced lecture, swedish research council’s symposium on artistic research, Linnaeus University Växjö, Sweden

02 August 2014 – Staging Age
Lecture-Performance at Festival Performing Presence – Improvisation Xchange Berlin, Venue: EDEN Studios, curated by Jenny Haack, see also website berlinartsunited.com

 

Dancing Age(ing) – PhD Dissertation 2016 – Abstract

Set in the context of contemporary dance this thesis investigates how improvisation practice and performance making participate in a critical rethinking of age(ing). Advancing the notion of an age critical dance practice, the research draws on the theoretical frameworks of age studies – a multidisciplinary field of critical inquiry informed by, largely speaking, feminist and poststructuralist theories. The age critical dance practice developed in this thesis, in turn, enters into conversation with the discourses established in age studies and dance studies as a way to incorporate age critique into dance.

The thesis is a Practice as Research project consisting of a written thesis, two solo performances (The Fountain of Youth, premiered 2013, and The Fountain of Age, premiered 2015), and employs immersive dance based research methods such as the development of a Solo Partnering practice (as documented on DVD). The research also remodels the method of qualitative interviewing into a performative method that allows the participating expert practitioners to tap into their unique improvisation and performance expertise when addressing their particular understanding of age(ing).

Through the development and analysis of improvised practice and performance making, alongside in-depth performative interviews, the findings of this research point to ways in which improvisation and performance embody age critical potential. The long-term, open-ended and agentic artistic processes that improvisation experts develop all share a range of characteristics that serve to challenge the established youth-orientation in dance and constitute an implicitly critical position to dominant understandings of age(ing) in dance. Consequently, the thesis argues that improvisation practices ‘do’ age(ing) in ways less prone to dualistic stereotyping and reiterations of (self-) discriminatory age(ing)-as-decline narratives that dominate our culture as a whole. The research also suggests strategies in performance making that enable representations of age(ing) in ways that collide with, resist, or complicate normative expectations on age(ing). The dance works presented in this thesis allow the dancer to articulate shifting perspectives and experiences, creating ambiguous meanings and disjunctive narratives of age(ing), and thereby making explicit a critical position towards the grand narratives of age(ing).

In conclusion, this research argues that specific approaches to a long-term, open-ended dance practice, alongside critical images and new imaginations of age(ing) in performance, allow dance to evolve as an age critical arts practice.

Dancing Age(ing) lecture performances 2013

21. November 2013: Werkstattgespräch kulturelle Generationenarbeit, Berlin
Titel: 18800 Bewegungen und 1000 Worte, an deren Ende wir alle 30 Minuten älter sein werden – Ein getanzter Vortrag

12. October 2013: Symposium of Society for Dance Research at Middlesex University. London ‚New Visions on Dance‘
Titel: Dancing Age(ing): An improvisation-based performance of 18800 movements and 1000 words during which we grow 30 minutes older

12.-14. September 2013: 4. Werkstattgesprächs des Interdisziplinären Arbeitskreises Ambivalenz
„Ambivalenz und soziale Praxis“ Inter- und intrapersonale Potenziale ambivalenter Erfahrungen
Institut für Soziologie, Westfälische Wilhelms-Universität Münster
Titel: Performing the Ambiguity of Age(ing) – Ein getanzter Vortrag

6. – 9. June 2013: ‚Tanzkongress‘ im Tanzhaus Düsseldorf
Titel: Dance in a Critical Discourse on Ageing / Tanz im kritischen Diskurs über das Altern
Respondent: Katherine Mezur

1. June 2013: ‚Contact Samstag‘ – One festival day with  CI classes, outstanding CI teachers, evening jam, organic food, chill out, lecture, discussions
Titel: The Fountain of Youth: Dance in a Critical Discourse on Ageing

The Research Project Dancing Age(ing) (work in progress spring 2013)

Summary
My PhD research engages with the premise that Western artistic dance can be seen as holding an interesting multi-layered position in relation to age(ing). On one hand, it most often focuses on youthful physicality and therefore takes part in an unquestioned marginalisation of ageing bodies, which, according to critical age studies (Woodward 1999, Gullette 2004, Lipscomb/ Marshall 2010), pervades Western culture as a whole. On the other hand, it is a potential site of experiencing and presenting human bodies in new and unexpected ways. Therefore dance may also enable ways of appreciating our bodily being beyond a narrow focus on athleticism and an attractiveness, which is commonly assured by youthfulness.
My research focuses on improvisation-based dance making. My main argument is, that improvisation-based dance forms and their specific working methods may offer ways of practicing and performing dance that have the potential to challenge previously unquestioned understandings of age(ing) in the field of dance and possibly beyond.
The research unfolds from the hypothesis that it needs an in-depth engagement with the practice of improvisation-based dance and the working conditions negotiated in the practice to reveal if and how such an age-critical potential might be realised. My research approach, therefore, uses artistic practice as the primary mode of enquiry, interacting with and framed by an analysis of other artists’ approaches and the theoretical insights of critical age studies, which challenge dominant representations of the ageing body, a stereotypical understanding of the life course, and a gendered bias in regard to the social impact and consequences of getting older.
So far my research, approached as an evolving embodied Practice as Research mode of enquiry in dance, is realised by actively intertwining three distinct but interdependent modes of research engagement.
1. Modes of Artistic Enquiry
I have developed ‘Solo Partnering’ as a long-term improvisational studio practice and ‘Performing Age(ing)’ as a specific choreographic process. Both practices grapple with the theme of age(ing) creatively whilst further offering propositions for re-thinking working methods/ structures for mid-life dance artists.
2. Modes of Documentation
Through a detailed written practice logbook and video documentation of my working processes and performances I have implemented documentation methods that trace the practice and allow me to reconstruct and reflect the steps taken in my practical enquiry of Solo Partnering and Performing Age(ing) in the written part of the thesis.
3.  Modes of Contextual and Theoretical Reflection
The development of a critical, reflective position towards my research subject allows me to articulate the presumptions, creative strategies and age critical potential inherent in/ developed by my artistic practice. This critical position is gained through examining critical age studies, other artists’ approaches, relevant literature on dance, as well as through interviews with acclaimed older dance makers, participant observations and the on-going drafting of ideas and questions arising throughout the research process.