C-DaRE Senior Research Fellow Jonathan Burrows – along with collaborators Matteo Fargion and Hugo Glendinning – has been publishing a new video portrait every Monday since the beginning of 2016 as part of a project called 52 Portraits.
This portrait is of Coventry Dance lecturer, and C-DaRE PhD student, Katye Coe.
I have just spent a week based in the Institute for Creative Enterprise working on research and filming that is project of the Invisible Difference, Dance, Disability and Law project. We were a group of four, bringing with us a wealth of diverse experience; we are also all old friends with a lot of stories and shared encounters. What kept popping up for me was the question of what speaks louder, the talking or the doing?
What I really wanted to show through the week and in the resulting film was what we know and how we work with each other. What became very clear is that the things that seem most important are the hardest to capture or articulate.
I became aware of every shared glance or in-joke, every silent gesture somehow understood by each other; but how does this translate in a useful way to those who don’t know us? We referred often to a ‘shorthand’ or a shared vocabulary that was central to our practice. I await eagerly for responses to our film and how these moments are interpreted and what they offer.
– Kate Marsh
I am researching the potential of the image to rupture representation, so that it produces a queer, durational and feminist mode of seeing. In late capitalist image-based culture we are constantly interrupted by quick cuts, pop-ups, multiple screens and switching between internet tabs. Brian Massumi argues in his text ‘The Autonomy of Affect’, that in each jerk or slip in the movement of an image-event we feel the affect of it’s multiple potential pasts, presents and futures. Through a performance practice, I am exploring ways of reappropriating these methods, which are common in film, TV and internet media, to research how they may rupture the linear, singular and progressual time of representational structures and produce queer temporalities. How might they be used to open up into other times and repressed or revised queer, feminist and minor histories?
– Claire Ridge
In Your Honour (Live Shot), 2015, image courtesy of Ludovich Des Cognet
I’m currently working on WholoDance where we are nearly one year in to the project and starting to think about user testing different prototypes of a learning and choreographic tool that involves visualisations of the dancer to enable embodied feedback. I have also been involved with the preparation of an AHRC application with Simon Ellis called Screen Bodies: a really interesting project that will be exploring and questioning the interaction and use of screens in dance and how screens act on us, the consumer.
At the heart of both of these projects is a practical application of screen content to better engage with dance. It excites a passion and love I have for dance and digital technology. It has made me think differently about my own work with the Stream Project. The next phase for us is to investigate immersive environments which will involve digital technology and the help of a creative coder. It’s a very exciting ‘digital’ time ahead.
– Karen Wood