My research looks at dance festivals framed as national dance platforms (NDP). It questions the mechanisms that constitute works and their performers as national. Conversely, it seeks to find out who is deemed foreign to this construction. Physicality, gender, class, and ethnicity play an important a role in this context. With the method of synectis, I create Danceland, the nation of all dancers. Danceland materialises each and every time a dance event takes place. The contrast between Danceland and its diverse materialisations in concrete NDPs facilitates the identification of thresholds and gatekeepers. Hence, this enables to lay bare underpinning power mechanisms, that shape the NDPs. The thesis focuses on the NDPs of Germany, Israel, Great Britain and Sri Lanka.
– Gustavo Fijalkow
I worked for the past week together with Fazle Shairmohamed in preparation for and then within the TaPRA conference in Bristol. We presented the silent lecture Read. Move. Implicated. This lecture is the place for us to investigate the impact of the movement of reading on spectators. (My PhD research investigates the movement of writing and the movement of reading in order to better understand their possible impact on the spectator’s qualities of participation).
This presentation in Bristol closes two years of performing this silent lecture in 5 different conferences. Experiments within conferences informed my research about implication as a quality of participation resulting from the movement of reading. Spectators of ‘Read. Move. Implicated.’ contributed to the research by writing with a few words their experience of the movement of reading (that took place during the lecture). Contributions can be read at writingreadingmovement.tumblr.com/post/150395731844/my-lecture-was-about-and-its-title-could-be.
I look at this 5th performance in Bristol as the hinge toward further developments of my research on implication. For the first time, Fazle and I introduced the glossary of inceptions for spectators of lectures; this glossary resulted from the editing of the words given by spectators (bridging content, gathering words). As of today, this glossary aims both at telling what is implication about, and at being the source material for dreaming practices. The dreaming is for this research an approach of the movement of reading, that might further inform the nature of the implication resulting from it.
– Emilie Gallier
Originally published on 14 September 2016 at writingreadingmovement.tumblr.com/post/150396207119/implication
In this stage of my research into dance annotation I am exploring knowledge contribution to the World Wide Web, a space currently dominated by information and conversation, and geared less towards contribution and collaboration. Despite the ubiquity of visual and temporal media, the web privileges text, the originary media of this space. As a means for identifying characteristics and features of a source, annotation also retains literary connotations, whether in the form of a tool enabling users to comment or tag materials they engage with, or as the back end approach that organises, names, and labels. Yet, even for text-based documents, user annotation tools are limited, and current classification standards result in inefficient search and retrieval of inefficient information. In view of these factors, I am considering how, throughout annotation processes, the dance field can mark a meaningful contribution to the web in a way that supports the drive towards interoperability between human and computational agents, yet remains truthful to developing knowledge representations and epistemologies.
Screenshot of the annotation tool Hypothesis in use. Hypothesis provides a layer over existing web pages to enable individual and collaborative annotation
– Rebecca Stancliffe
: Puig, V. (2010) Digital Studies: Issues of organology for individuation in collaboration practices. [online] available from http://www.iri.centrepompidou.fr/wp-content/uploads/2011/02/PatrimoineHumanites.Puig-E1.pdf [08 September 2016]
I’m planning to submit an application to the AHRC responsive mode grant to undertake a practice-informed project that looks at extra-verbal movement related art production as a response to traumatic events and experiences. The project is intended to challenge the field of trauma studies in three ways: 1) It will examine the under-researched way that communities of people respond to trauma through witnessing movement-based performance; 2) It will expand the scope of analysis of traumatic effect to performance as a primary text; 3) And, in focusing on dance as a communicative force, it will articulate new theoretical and practical understandings of the embodied effects of trauma. To do this, I want to will bring together an interdisciplinary team of researchers including: literary theorists, sociologists, historians, performance theorists, and movement practitioners. The historical remit for the project will span from the late 19th to the present day, a period that has witnessed some of the most well-documented examples of violence and suffering. The project will work specifically with what I have called “gendered constellation of trauma” and is intended to open up the exploration of traumatic effect to complex historical, cultural, societal, and kinaesthetic interrelationships. In terms of research design, this will be an eighteen month project divided into three specific phases. The first phase will be data collection. This will be followed by data testing in the form of three site specific performances (The Imperial War Museum, Coventry Cathedral and the Royal Opera House). The project will close with a period of consolidation and further research dissemination.
– Vicki Thoms