Schlagwort-Archive: Research

Artistic Research on Improvisation as Collective Creation – ARICC

A postdoctoral research project at Ècole Polytechnique Fédérale de Lausanne (since autumn 2018)

In this postdoctoral research I examine the practice and performance of improvisation in the performing arts in their potential to rethink and advance processes of collective learning and researching. Placed in the context of a university specialised in engineering the project takes a new approach to creativity in scientific and engineering research. My artistic research situates itself right at the heart of the critical discourses around the dichotomies of practice/theory, art/ science, body/mind, action/reflection, as well as the divide between object and subject in research processes. Heightened awareness, reflexivity, improvisation and collective creation will be the practical themes of the project.

See on the website of epfl.ch:

instantlab.epfl.ch/improgineering-2/

Photo: Simon Henein

 

teaching next/lately

-15 – 21 October 2018 dancer training and performances for VARIA Festival Göteborg, Sweden

– 23 – 24 July 2018 Workshop Bad Performance For Shy Artists, transart institute, summer intensive Berlin

– 29 May – 6 June 2018 CI Workshop Watch Us Dance, Ukraine CI Festival, see website ci-ukraine.com/wpWatch Us Dance,

– 24 – 25 March Workshop Grundlagen somatische & künstlerische Forschung / Dokumentation, S. Martin & A. Keiz, somatische Akademie Berlin

-18/19 November 2017 Workshop and panel talk Body & Milieu Body IQ Festival, Somatische Akademie Berlin

 

danced lectures 2018

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

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

-7 April 2018 Learning. Teaching. Dancing. An interactive danced lecture, Tanzfabrik Berlin

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

lecture performances 2017

Photo Annika Fredriksson

-29 November 2017 live acts, moving bodies, and the sharing of time and ideas: a danced lecture, artistic research conference, Swedisch arts council, Stockholm

– September 2017, Searching for the Fountain of Age – a danced lecture, Colloquium on
Artistic Research in Performing Arts (CARPA), Theatre Academy and the
Academy of Fine Arts of the Uniarts Helsinki, Finnland

-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 Venecia 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

lecture performances 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

 

Doctor D meets Doctor V (2016)

Susanne Martin and Alex Nowitz

Premiere: July 7, 2016, at festival Improvisation Xchange Berlin – berlin arts united at Dock 11, Berlin
Duration: 60 min

An interdisciplinary dialogue between two artistic research projects, one based in dance, the other in voice/live electronics
(spoken language English)
In this three-part performance Susanne Martin and Alex Nowitz each share, explain, and perform aspects of their respective research for the other and for the audience. Susanne’s research “Dancing Age(ing)” rethinks age(ing) critically in and through improvisation practice and performance. With “The Multi-Vocal Voice” Alex traces the potentialities for the contemporary performance voice without and with technological means, i.e. live electronic instruments. Finally they enter into a duet improvisation in which they allow their ideas and modes of performing to merge, interact and possibly inspire each other.

The Fountain of Age (2015)


Photos W. Gillingham Sutton​​

A Solo / Dance / Piece / Lecture / Performance
Premiere: 18 June 2015, Ravensfield Theatre MIddlesex University London
Duration: 40 min
Supported by: Middlesex University London, Tanzfabrik Berlin

Photos William Gillingham Sutton

The Fountain of Age tells an ambiguous and ironic tale of age(ing). Through a collage of scenes in which dance, text, costume, mask work, and music interrelate, the piece aims to counteract any simple ascertainment of youth and age.

Ambiguity is emphasised in this performance to see what can be learned when we complicate and question our ideas, expectations, and judgements around age(ing). What happens if we linger in the multitude of sensual, imaginative details of bodily doing, experiencing and showing, and in the multiple possible meanings of age(ing)? How can dance introduce less stereotypical and more complex perceptions of age(ing) and moving through time?

This solo performance constitutes one of two artistic outcomes I present as part of my PhD dissertation Dancing Age(ing) at the School of Media and Performing Arts.

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) (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.

The Fountain of Youth & The Shadow (2013)

_MG_9290crop
Photos Lars Åsling, Graphic Sophie Jahnke
_MG_9282_1crop Foto Lars Åsling, Graphic Sophie Jahnke

The Shadow and The Fountain of Youth – Two Dances on Staying Alive
As a new step in their long-term collaboration Bronja Novak Lindblad (Göteborg) & Susanne Martin (Berlin) have created each a solo on the same subject: the facts of getting older and sustaining in the world of dance. ”The Shadow” by Novak  and ”The Fountain of Youth” by Martin are two creative and quirky responses to the exciting challenge of moving forward in time.

Premiere: 19 April 2013, Atalante, Gothenburg, www.atalante.org
Additional performances:  Dance and Theatre Festival Gothenburg, Sweden,  2014. Venue: 3e våningen
Sound: Anna Gustavsson
Light: Thomas Dotzler
Production: Big Wind/ Sofia Åhrman, www.bigwind.se
Supported by: Swedish Arts Council, City of Gothenburg, Tanzfabrik Berlin

The Fountain of Youth

_MG_0183Fount.papers1024
Photos Lars Åsling
Foto Lars Åsling _MG_0244Fount.960

A solo/ dance/ piece/ lecture/ performance by Susanne Martin
Duration: 45 min
Additional performances: Grove Theatre, Middlesex University London, November 2014

The Fountain of Youth
Is a dance on forever-youngness and on being old enough to tell the story differently

The Fountain of Youth
Is an untrustworthy lecture on trusting an ever-changing body

The Fountain of Youth
Is also a core part of my doctoral research in dance, dedicated to exploring and questioning dominant views on ageing dancing bodies through my own improvisation-based dance practice and performance making

Rosi tanzt Rosi – The Winter Version (2009)

0011_1024
photos David Bergé
0012_1024 0014_1024

Performances at Critical Path, Sydney and Lucy Guerin Studio, Melbourne in  January 2009 during the residency at Critical Path, and as semester-presentation for MA SODA at HZT Berlin at Uferstudios Berlin

„During her stay in Sydney and Melbourne she will work on her solo Rosi tanzt Rosi, dealing in it with the notion of narration in solo dance, narration in Improvisation, with aging, the female solo as 20 century’s dance, mask work, character work. She will have a  work in progress showing and a practice based research weekend with interested colleagues on these subjects, both in Sydney and in Melbourne.“ (program Melbourne)

In giving Rosi more and more history and detail without wanting to arrive at a coherent, possibly real life person, I’m at the moment seeing her as living through, as carrying with her the whole time span of twentieth century. In my process with her I meet female liberation, expressionism, World War II, entanglement with fascism, migration and survival of the first half of the century, as well as the conquest of uni-sex athleticism, of feminine seduction, of informality and quotidian movements of the second half. And I meet the end of these kind of female dances; Rosi as phased out model, a pathetic last subject on stage. (Feb. 2009)