Artistic Research
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Artistic Research Strategies for Embodiment [2009/8] ARTISTIC RESEARCH STRATEGIES FOR EMBODIMENT Towards creating a publication for the field of artistic research.
Practice Based Research (PBR) is a way to proceed in artistic endeavours. It is the name of an academic discipline in the AngloSaxon world that is still fairly new in a Nordic context. The term and its implications for the performing arts and its research has been the core issues discussed in study circle 7 the last three years. Of the Nordic countries Finland has been a pioneer in this respect, and established PBR as a field of research already in the late 1980s. In 2008 the Finnish Theatre Academy changed its policy arguing that the name Artistic Research is more suitable for the discipline. At the Study Circle 7 Winter Session at Tampere, February 2009, which attracted a crowd of 50 participants, Dr. Esa Kirkkopelto (professor at the Theatre Academy of Helsinki) presented this argument. His claim is: The theoretician of art, the art philosopher or art researcher, does not study art from the point of view of the art, but from the point of view of the society, ( ) Artistic research, by contrast, looks from art towards society and our idea of reality, questioning their existence, and sets the demands according to its own mode of existence. Consequently, artistic research is, ( ), ultimately more interested in reality than in art. To put it bluntly, where research of art explains that art exists, because or art is as it is, because , artistic research explains that because art is (or because it is of a certain kind), it follows that (Kirkkopelto, p. 18, 2008) The last winter session made it clear that the discourse has moved and changed. This presents the need for making a new platform for investigating the implications of this redirection. Henk Borgdorff, a European authority within this context, has claimed that the most interesting turns in the field is presently happening in the Nordic countries (Borgdorff, 2009). In addition to Finland, Sweden has implemented Artistic Research and Development in higher education since 2001, Norway has the Programme for Artistic Research Fellowship, which offers a PhDequivalent and has done so since 2003, while Denmark is still in the process of developing such programmes. The Bologna reform has enhanced this process, but little attention has been given to the actual purposes and premises of this research. We propose therefore a new study circle looking into the implications of Artistic Research (AR) and Kirkkopeltos claim. We need to investigate consequences and possibilities of Artistic Research. We have passed the stage of justifying the existence of the field itself. It actually exists. We are
entering a new discourse, and we need to explore the outcomes of the ongoing research. According to Borgdorff the approach Artistic Research allows for the intertwinement of researcher and researched, object and objective, and practice and theory. This approach emerges out of a methodological pluralism, and in this way opens up for an interdisciplinary dialogue between researchers and practitioners from performance studies with colleagues from sociology, cultural studies, theatre and dance studies, history of ideas, anthropology, rhetoric, literature, and musicology. We will invite researchers and the PhD students from the various Nordic Art Academies and Universities as well as artists working and researching outside of institutional frameworks. NSU has a position for providing a framework for research into this field, which the institutions having to implement practice based research according to the Bologna Treaty can gain and flourish from. NSU can continue to be the place where researchers and artists affiliated with institutions meet and exchange with colleagues who are so to speak homeless in an institutional sense, but nevertheless provide important contributions to the ongoing research. We see an urgent need for investigating artistic research in a wider perspective than it is presently done at the Art Academies and Universities. NSU has a unique position and potential for facilitating and creating circumstances for bridging such different perspectives. PLAN FOR THE WORK ARTISTIC RESEARCH STRATEGIES FOR EMBODIMENT Language & discourse, documentation & dissemination These are the headlines of the topics were going to address in the six sessions from 2010 to 2012. The study circle will invite distinguished researchers and artists in the field, who have contributed to this emerging discipline, and suggest Baz Kershaw from Warwick University as a keynote speaker. Building on the experiences from the upcoming anthology of the now finishing study circle 7, the new study circle will end with a new publication. This publication will focus on sharing methodologies and specific examples of artistic research and dissemination through applying multimedia. The aim is to reach out to our peers and art students interested in the field of work. Preliminary preparation We will further prepare the program, while attending the Colloquium on Artistic Research in Performing Arts at Theatre Academy in Finland, Helsinki, 19.21. November 2009. First year (2010): Strategies for embodiment The first year will focus on Artistic Research in a wider perspective: viewing society
from the perspective of art with focus on crosscontamination and interdisciplinary approaches. The sessions will enhance artistic and research dialogues between the emerging traditions in the Nordic countries. Second year (2011): Artistic knowing The second year will focus on language and discourse, and the development of strategies for embodying the experiences drawn from Artistic Research. Third year (2012): Documentation & dissemination The third year will focus on documentation and dissemination, while finalizing the new anthology. We will in particular question how the result of Artistic Research is implemented in educational and research contexts as well as in arts practices. Coordinators: 1.isa Kamula, SF, MA in Theatre and Drama Research, University of Tampere 2.hristine Fentz, DK, director and dramaturge, MA in Dramaturgy, University of Aarhus. Possible coordinators: 3.nnika M. Sillander, SF, dancer and choreographer, Mastudent in Dance Anthropology at Roehampton University in London England 4.r. Carsten Friberg, DK, School of Architecture, Århus 5.idsel Pape, N, dance scholar, Lecturer at University of Tromsø 6.enrik Vestergaard Friis, DK, Cand. Mag. leader of the company Zarathustras Onkel 7.r. Cecilia Lagerström, S, Researcher and senior lecturer, Academy of Music and Drama, Gothenburg University Affiliations and their institutions: 8.oa Hanssen, S, B.A. from Salzburg Experimental Academy of Dance 9.r. Bruce Barton, CA, dramaturg and playmaker, Graduate Centre for Study of Drama / University of Toronto 10.r. Kai Lehikoinen, SF, Head of Performing Arts, IADE Institute for Arts Development and Education, Helsinki 11.r. Per Zetterfalk, S, Researcher, Dramatic Institute, Stockholm 12.ikko Kanninen, SF, actor, director, researcher, University of Tampere 13.r. Pil Hansen, DK, dramaturg, University of Toronto 14.rine Thorbjørnsen, N, performance artist, MA student in Philosophy, University of Oslo 15.r. Kent Sjöström, S, Artistic Doctor and lecturer at Teaterhögskolan in Malmö 16.ia Adler Sandblad, S, actor, artistic director. MA at the University of Gothenburg
17.r. Paola Didong, S, scholar, theatre director, set designer 18.r. Åsa Unander Scharin, S, Choreoographer, Dancer and PhDstudent 19.arbro Smeds, S, playwrite, director, researcher, Dramatic Institute, Stockholm 20.r. Yael Feiler, S, theater researcher, Stockholm University 21.r. Ylva Gislén, S project manager Nordic Resort, Nordic Centre for the Performing Arts 22.is Engel, DK, University of Copenhagen 23.odil Persson, S, cultural journalist, teacher and dramaturg, Dramatic Institute, Stockholm 24.nna Richardsdottir. I, performance artist, dance teacher at University of Akureyri 25.uzanne Osten, S, Professor Dramatiska Institutet, Theater director 26.fva Lilja, S, Professor Danshögskolan, choreographer, Stockholm 27.r. Esa Kirkkopelto, SF, Professor Academy of Theater, Helsinki 28.r. Leena Rouhiainen, SF, dance researcher Theatre Academy in Helsinki 29.ette Lund, DK, dramaturg and puppeteer, Cand. Phil. in Dramaturgy 30.aana Parviainen, SF, PhD Student at Theatre Academy in Helsinki 31.r. Annette Arlander, Professor, Theatre Academy in Helsinki 32.r. Juha Suoranta, SF, University of Tampere 33.r. Baz Kershaw, UK, Professor, University of Warwick 34.va Nässen, S, professor Academy of Music and Drama, Gothenburg University 35.er Roar, N, choreographer, PhD student at Theatre Academy in Helsinki 36.r. Kristin Norderval, N/USA, Singer, music scholar in New York 37.arissa Tiusainen, N, MA in Dance Science Studies
Bibliography: Balkema, Annette & Slager, Henrik (2004) (eds.). Artistic research. Lier en Boog, Amsterdam. Berättelse och kunskap (2006). Slutrapport nr 2 från Kollegiet för forskning och utvecklingsarbete på det konstnärliga området, Dramatiska Institutet, Stockholm Borgdorff, Henk (2008), Artistic research and Academia: An uneasy relationship, ur Lind, Torbjörn (ed.), The Yearbook on Artistic Research, 2008, The Council of Research, Sweden. Elkins, James, (2009) (ed.) Artists with PhD: On the new doctoral degree in studio art. New Academia Publishing, Washington DC. Elkjaer, Lisbeth (2006) (ed.), Re.Searching om praksisbaseret forskning i scenekunst, Nordscen. Fraleigh, Sondra Horton & Penelope Hanstein eds. (1999) Researching Dance: Evolving Modes of Enquiry, London: Dance Books. Freeman, John (2003) Tracing the Footprints: Documenting the Process of Performance, Maryland: University Press of America.
Fuschini, Jones, Kershaw & Piccini (2009) PracticeasResearch In Performance and Screen. Green, Lelia & Haseman, Brad (eds.), 2006. Practiceled Research. Media International Australia incorporating Culture and Policy. Issue No. 118, February. Grönlund, Gustafsson, Ståhle & Blomqvist, (2007) Close Encounter Artists on artistic research, Stockholm Including articles by Pape, Sidsel and Fentz, Christine. Hannula, Suoranta & Vadén, (2005), Artistic Research theories methods and practices, Academy of Fine Arts, Helsinki, Finland and University of Gothenburg / ArtMonitor Gothenburg. Karlsson, Henrik. (2002). Konstnärlig forskarutbildning i Norden. Working paper 2002:19. Stockholm, SISTER. Kiljunen, Satu & Hannula, (2002). Artistic research. Academy of Fine Arts, Helsinki. Kirkkopelto, Esa (2008) New Start: Artistic Research in Finnish Theatre Academy in Nordic Theatre Studies. The Artist as Researher. + Paper in Nordic Summer University Winter Seminar (2009), Tampere Lagerström, Cecilia & Ling, Jan (2009), To Be in Between In Search of the Artistic Subject. Reflections on Artistic Research viewed through Per Zetterfalks dissertation Inter Esse, Art Monitor 2009, Göteborgs universitet. Lagerström, Cecilia (2008), Artistic Research in the Performing Arts In Search of a Poetics, Nordic Theatre Studies, no 1. Lagerström, Cecilia (2007) Det här är bara jag, artikel respektive forskningssammanställning på dvd, Art Monitor No, Konstnärliga fakulteten, Göteborgs universitet. Lepecki, André (2004) Of the Presence of the Body: Essays on Dance and Performance Theory, Middletown, CT: Wesleyan University Press. Lepecki, André (2006) Exhausting Dance. Performance and the politics of movement. Routledge, NY Lind, Torbjörn (ed.), The Yearbook on Artistic Research, 200308, The Council of Research, Sweden. Mark, Eva (2006), Praktiska teoretiker och teoretiska praktiker. Om kunskap som aspekter av kultur, ur Aronsson, Frykman, Hodne & Ödemark, Kulturarvens grenser, Göteborg. Pakes, Anna (2004) Art as Action or Art as Object? The Embodiment of Knowledge in Practice as Research, Working Papers in Art and Design, 3. Riley & Hunter (2009), Mapping Landscapes for Performance as Research Scholarly Acts and Creative Cartographies. Re: Searching in and through the arts. (2006) Proceedings of Research IN and Through the Arts conference. October 13.15. 2005 at the Universität der Künste Berlin. ELIA.
Sjöström, Kent (2007) The Actor in Action Strategies for Body and Mind. PhD Dissertation in Malmö Teaterhögskola. Smith, Hazel & Dean, Roger T. (ed.) (2009), Practiceled Research, Researchled Practice in the Creative Arts. Research Methods for the Arts and Humanities Thomson, Peter ed. (2003) Notes and Queries: Practice as Research, Studies in Theatre and Performance, 22:3, 159180 Trimingham, Melissa (2002) A Methodology for Practice as Research, Studies in Theatre and Performance, 22:1. Welton, Martin (2003) Against Inclusivity: A Happy Heresy about Theory and Practice, New Theatre Quarterly, 19:4, 347351. Zarrilli, P. (2001) Negotiating Performance Epistemologies: Knowledges about, in and for, Studies in Theatre and Performance, 21:1, 3146 Öberg Johan (ed.) (2007), Art Monitor, publication series on Artistic Research, The Faculty of Fine, applied and Performing Arts, Gothenburg University
Practice Based Research (PBR) is a way to proceed in artistic endeavours. It is the name of an academic discipline in the AngloSaxon world that is still fairly new in a Nordic context. The term and its implications for the performing arts and its research has been the core issues discussed in study circle 7 the last three years. Of the Nordic countries Finland has been a pioneer in this respect, and established PBR as a field of research already in the late 1980s. In 2008 the Finnish Theatre Academy changed its policy arguing that the name Artistic Research is more suitable for the discipline. At the Study Circle 7 Winter Session at Tampere, February 2009, which attracted a crowd of 50 participants, Dr. Esa Kirkkopelto (professor at the Theatre Academy of Helsinki) presented this argument. His claim is: The theoretician of art, the art philosopher or art researcher, does not study art from the point of view of the art, but from the point of view of the society, ( ) Artistic research, by contrast, looks from art towards society and our idea of reality, questioning their existence, and sets the demands according to its own mode of existence. Consequently, artistic research is, ( ), ultimately more interested in reality than in art. To put it bluntly, where research of art explains that art exists, because or art is as it is, because , artistic research explains that because art is (or because it is of a certain kind), it follows that (Kirkkopelto, p. 18, 2008) The last winter session made it clear that the discourse has moved and changed. This presents the need for making a new platform for investigating the implications of this redirection. Henk Borgdorff, a European authority within this context, has claimed that the most interesting turns in the field is presently happening in the Nordic countries (Borgdorff, 2009). In addition to Finland, Sweden has implemented Artistic Research and Development in higher education since 2001, Norway has the Programme for Artistic Research Fellowship, which offers a PhDequivalent and has done so since 2003, while Denmark is still in the process of developing such programmes. The Bologna reform has enhanced this process, but little attention has been given to the actual purposes and premises of this research. We propose therefore a new study circle looking into the implications of Artistic Research (AR) and Kirkkopeltos claim. We need to investigate consequences and possibilities of Artistic Research. We have passed the stage of justifying the existence of the field itself. It actually exists. We are
entering a new discourse, and we need to explore the outcomes of the ongoing research. According to Borgdorff the approach Artistic Research allows for the intertwinement of researcher and researched, object and objective, and practice and theory. This approach emerges out of a methodological pluralism, and in this way opens up for an interdisciplinary dialogue between researchers and practitioners from performance studies with colleagues from sociology, cultural studies, theatre and dance studies, history of ideas, anthropology, rhetoric, literature, and musicology. We will invite researchers and the PhD students from the various Nordic Art Academies and Universities as well as artists working and researching outside of institutional frameworks. NSU has a position for providing a framework for research into this field, which the institutions having to implement practice based research according to the Bologna Treaty can gain and flourish from. NSU can continue to be the place where researchers and artists affiliated with institutions meet and exchange with colleagues who are so to speak homeless in an institutional sense, but nevertheless provide important contributions to the ongoing research. We see an urgent need for investigating artistic research in a wider perspective than it is presently done at the Art Academies and Universities. NSU has a unique position and potential for facilitating and creating circumstances for bridging such different perspectives. PLAN FOR THE WORK ARTISTIC RESEARCH STRATEGIES FOR EMBODIMENT Language & discourse, documentation & dissemination These are the headlines of the topics were going to address in the six sessions from 2010 to 2012. The study circle will invite distinguished researchers and artists in the field, who have contributed to this emerging discipline, and suggest Baz Kershaw from Warwick University as a keynote speaker. Building on the experiences from the upcoming anthology of the now finishing study circle 7, the new study circle will end with a new publication. This publication will focus on sharing methodologies and specific examples of artistic research and dissemination through applying multimedia. The aim is to reach out to our peers and art students interested in the field of work. Preliminary preparation We will further prepare the program, while attending the Colloquium on Artistic Research in Performing Arts at Theatre Academy in Finland, Helsinki, 19.21. November 2009. First year (2010): Strategies for embodiment The first year will focus on Artistic Research in a wider perspective: viewing society
from the perspective of art with focus on crosscontamination and interdisciplinary approaches. The sessions will enhance artistic and research dialogues between the emerging traditions in the Nordic countries. Second year (2011): Artistic knowing The second year will focus on language and discourse, and the development of strategies for embodying the experiences drawn from Artistic Research. Third year (2012): Documentation & dissemination The third year will focus on documentation and dissemination, while finalizing the new anthology. We will in particular question how the result of Artistic Research is implemented in educational and research contexts as well as in arts practices. Coordinators: 1.isa Kamula, SF, MA in Theatre and Drama Research, University of Tampere 2.hristine Fentz, DK, director and dramaturge, MA in Dramaturgy, University of Aarhus. Possible coordinators: 3.nnika M. Sillander, SF, dancer and choreographer, Mastudent in Dance Anthropology at Roehampton University in London England 4.r. Carsten Friberg, DK, School of Architecture, Århus 5.idsel Pape, N, dance scholar, Lecturer at University of Tromsø 6.enrik Vestergaard Friis, DK, Cand. Mag. leader of the company Zarathustras Onkel 7.r. Cecilia Lagerström, S, Researcher and senior lecturer, Academy of Music and Drama, Gothenburg University Affiliations and their institutions: 8.oa Hanssen, S, B.A. from Salzburg Experimental Academy of Dance 9.r. Bruce Barton, CA, dramaturg and playmaker, Graduate Centre for Study of Drama / University of Toronto 10.r. Kai Lehikoinen, SF, Head of Performing Arts, IADE Institute for Arts Development and Education, Helsinki 11.r. Per Zetterfalk, S, Researcher, Dramatic Institute, Stockholm 12.ikko Kanninen, SF, actor, director, researcher, University of Tampere 13.r. Pil Hansen, DK, dramaturg, University of Toronto 14.rine Thorbjørnsen, N, performance artist, MA student in Philosophy, University of Oslo 15.r. Kent Sjöström, S, Artistic Doctor and lecturer at Teaterhögskolan in Malmö 16.ia Adler Sandblad, S, actor, artistic director. MA at the University of Gothenburg
17.r. Paola Didong, S, scholar, theatre director, set designer 18.r. Åsa Unander Scharin, S, Choreoographer, Dancer and PhDstudent 19.arbro Smeds, S, playwrite, director, researcher, Dramatic Institute, Stockholm 20.r. Yael Feiler, S, theater researcher, Stockholm University 21.r. Ylva Gislén, S project manager Nordic Resort, Nordic Centre for the Performing Arts 22.is Engel, DK, University of Copenhagen 23.odil Persson, S, cultural journalist, teacher and dramaturg, Dramatic Institute, Stockholm 24.nna Richardsdottir. I, performance artist, dance teacher at University of Akureyri 25.uzanne Osten, S, Professor Dramatiska Institutet, Theater director 26.fva Lilja, S, Professor Danshögskolan, choreographer, Stockholm 27.r. Esa Kirkkopelto, SF, Professor Academy of Theater, Helsinki 28.r. Leena Rouhiainen, SF, dance researcher Theatre Academy in Helsinki 29.ette Lund, DK, dramaturg and puppeteer, Cand. Phil. in Dramaturgy 30.aana Parviainen, SF, PhD Student at Theatre Academy in Helsinki 31.r. Annette Arlander, Professor, Theatre Academy in Helsinki 32.r. Juha Suoranta, SF, University of Tampere 33.r. Baz Kershaw, UK, Professor, University of Warwick 34.va Nässen, S, professor Academy of Music and Drama, Gothenburg University 35.er Roar, N, choreographer, PhD student at Theatre Academy in Helsinki 36.r. Kristin Norderval, N/USA, Singer, music scholar in New York 37.arissa Tiusainen, N, MA in Dance Science Studies
Bibliography: Balkema, Annette & Slager, Henrik (2004) (eds.). Artistic research. Lier en Boog, Amsterdam. Berättelse och kunskap (2006). Slutrapport nr 2 från Kollegiet för forskning och utvecklingsarbete på det konstnärliga området, Dramatiska Institutet, Stockholm Borgdorff, Henk (2008), Artistic research and Academia: An uneasy relationship, ur Lind, Torbjörn (ed.), The Yearbook on Artistic Research, 2008, The Council of Research, Sweden. Elkins, James, (2009) (ed.) Artists with PhD: On the new doctoral degree in studio art. New Academia Publishing, Washington DC. Elkjaer, Lisbeth (2006) (ed.), Re.Searching om praksisbaseret forskning i scenekunst, Nordscen. Fraleigh, Sondra Horton & Penelope Hanstein eds. (1999) Researching Dance: Evolving Modes of Enquiry, London: Dance Books. Freeman, John (2003) Tracing the Footprints: Documenting the Process of Performance, Maryland: University Press of America.
Fuschini, Jones, Kershaw & Piccini (2009) PracticeasResearch In Performance and Screen. Green, Lelia & Haseman, Brad (eds.), 2006. Practiceled Research. Media International Australia incorporating Culture and Policy. Issue No. 118, February. Grönlund, Gustafsson, Ståhle & Blomqvist, (2007) Close Encounter Artists on artistic research, Stockholm Including articles by Pape, Sidsel and Fentz, Christine. Hannula, Suoranta & Vadén, (2005), Artistic Research theories methods and practices, Academy of Fine Arts, Helsinki, Finland and University of Gothenburg / ArtMonitor Gothenburg. Karlsson, Henrik. (2002). Konstnärlig forskarutbildning i Norden. Working paper 2002:19. Stockholm, SISTER. Kiljunen, Satu & Hannula, (2002). Artistic research. Academy of Fine Arts, Helsinki. Kirkkopelto, Esa (2008) New Start: Artistic Research in Finnish Theatre Academy in Nordic Theatre Studies. The Artist as Researher. + Paper in Nordic Summer University Winter Seminar (2009), Tampere Lagerström, Cecilia & Ling, Jan (2009), To Be in Between In Search of the Artistic Subject. Reflections on Artistic Research viewed through Per Zetterfalks dissertation Inter Esse, Art Monitor 2009, Göteborgs universitet. Lagerström, Cecilia (2008), Artistic Research in the Performing Arts In Search of a Poetics, Nordic Theatre Studies, no 1. Lagerström, Cecilia (2007) Det här är bara jag, artikel respektive forskningssammanställning på dvd, Art Monitor No, Konstnärliga fakulteten, Göteborgs universitet. Lepecki, André (2004) Of the Presence of the Body: Essays on Dance and Performance Theory, Middletown, CT: Wesleyan University Press. Lepecki, André (2006) Exhausting Dance. Performance and the politics of movement. Routledge, NY Lind, Torbjörn (ed.), The Yearbook on Artistic Research, 200308, The Council of Research, Sweden. Mark, Eva (2006), Praktiska teoretiker och teoretiska praktiker. Om kunskap som aspekter av kultur, ur Aronsson, Frykman, Hodne & Ödemark, Kulturarvens grenser, Göteborg. Pakes, Anna (2004) Art as Action or Art as Object? The Embodiment of Knowledge in Practice as Research, Working Papers in Art and Design, 3. Riley & Hunter (2009), Mapping Landscapes for Performance as Research Scholarly Acts and Creative Cartographies. Re: Searching in and through the arts. (2006) Proceedings of Research IN and Through the Arts conference. October 13.15. 2005 at the Universität der Künste Berlin. ELIA.
Sjöström, Kent (2007) The Actor in Action Strategies for Body and Mind. PhD Dissertation in Malmö Teaterhögskola. Smith, Hazel & Dean, Roger T. (ed.) (2009), Practiceled Research, Researchled Practice in the Creative Arts. Research Methods for the Arts and Humanities Thomson, Peter ed. (2003) Notes and Queries: Practice as Research, Studies in Theatre and Performance, 22:3, 159180 Trimingham, Melissa (2002) A Methodology for Practice as Research, Studies in Theatre and Performance, 22:1. Welton, Martin (2003) Against Inclusivity: A Happy Heresy about Theory and Practice, New Theatre Quarterly, 19:4, 347351. Zarrilli, P. (2001) Negotiating Performance Epistemologies: Knowledges about, in and for, Studies in Theatre and Performance, 21:1, 3146 Öberg Johan (ed.) (2007), Art Monitor, publication series on Artistic Research, The Faculty of Fine, applied and Performing Arts, Gothenburg University
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