This section will list weekly/daily tasks as we set them during the module. They will be a blend of practices including reading, movement, writing, videography and photography.
Week 9 (16 to 22 November)
- plan at least three versions of your presentation/practice/writing. They should be serious, playful, unlikely, absurd, direct, indirect, careful, careless (you get the idea)
- be prepared to (very quickly) discuss these in small (3 or 4 people) groups, and possibly with whole group.
Week 7 (2 to 8 November)
- Start to consider how your project might ‘survive’ or be remembered or be communicated/shared. What kinds of documentation? what form? what might be lost, what might be kept or reformed?
- Practice writing. What work might the writing do?
- Arrange 20 minute tutorial with other (Emilyn or Simon) person (or can have longer small group tutorial – up to you)
Week 5 (19 to 25 October)
- Continue practices as usual. What encounters, ideas, experiences seem most important? How might you build on the lines of flight from Monday’s session with Emilyn? And how might these lines of flights feed back into your practice, change it, complicate/simplify it, reveal it (etc)? Remember that processes of iteration require input and the opportunity for change/development/un-fixing.
- As you continue the (ongoing) process of practice/practise, how might you frame this work in a way that is useful for you, and in order to share it on Monday 26/10? In other words, don’t fall into the trap of shifting your thinking to ‘making a work’; rather, next Monday is an extension of your practice/process, an opportunity to test out a frame for its re/presentation. Adopt a sense of openness, curiosity, and indeed playfulness with the opportunity. At the same time, care about how this opportunity might best help us (the viewers/audience) to understand and get into (understand?) what you are doing.
- You each have no more than 10 minutes. This includes sharing and discussion. My advice would be to avoid the temptation to verbally introduce your work. Just step up to showing it, keep it brief and then see how the testing might serve you.
- A critical concern for the sharing/showing is the question: What next? How might this gentle opportunity inform the development of your practice? What directions become available to you? How might your practice expand, contract, build, loosen …?
Week 4 (12 to 18 October):
This is the updated version of Emilyn’s task from Week 2:
Following on from the inspiring sessions with Alys I am updating tasks for next week. I am thinking that we need to begin to focus on your practices, your ideas and your questions of research. So:
- Choose an element that is relevant to your practice (.e.g a movement, gesture, text, word, poem, clothing, emotion, object, heroine, myth, person, food, rhythm… whatever…).
- Consider three contextual alignments for this element. By alignments I mean parallel lines of flight, the chosen element being the fixed point to move away from and towards. Similarly to the task ‘Akimbo’, these alignments might emerge from gender studies, politics, philosophies, visual arts, performance arts, histories, geographies, cultures… and they might change the shape of the element.
- Come prepared to share your findings. We will be looking at how lines of flight can lead towards developing practice.
- And if you have had time to attend to this task in relation to Akimbo, we will discuss that too!
Week 3 (5 October to 11 October):
- Prepare a version of your practice in another form ready to present on Monday 12 October. What form/medium might it assume, adopt or take that provides a different surface for it to be noticed, experienced or shared with others? It should not require your presence (or that you explain it). What forms/media are most appropriate to the things that are emerging for you in your practice? Keep it brief. Also search for two pieces of text/writing that seem to be relevant to your practice and work. Bring them printed out (ie on paper!).
- Reading, writing and movement practice: this is a given. Keep this going with differing types of attention: loose, tight, close, distant, open, closed, focused, distracted, playful, serious (etc). What might you add or take away from the practice to deepen or broaden it?
- Nelson, Robin (2013).’From Practitioner to Practitioner-Researcher’, In *Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances*. Basingstoke: Palgrave Macmillan. pp.23-47
- Start adding thinking, images, practices, questions to your blogs
Week 2 (28 September to 4 October):
Emilyn’s task: Transfer your writings to computer. Notice as you do so what you change in terms of presentation and layout. Notice what changes you want to make to your use of English language as you transfer to computer. Does translation become an issue? Reflect on these writings and ask yourself these questions: How many times to do I write ‘I’. What are the rhythms of my writing? Do I write in sentences and if not, how have I structured my writing? Which writings are for others to read, and which are for myself? How many different styles of writing do I use? Which ideas or themes emerge that might be useful for my own research? What interests me? Write another piece that addresses one/some/all of these questions.
- Continue reading, writing and movement practices. Are you able to focus your attention on the particulars of your work/practice (even at this early stage)? Include reflective writing as part of studio-based work, and building on (writing) work with Emilyn in the workshop. Suggested questions or provocations:
- What is happening here?
- What seems important?
- Is anything changing?
- What could I do differently?
- What known or historical practices is this work involving? Is there anything I could research about these kinds of practices? (artists, scholars, philosophers, critical thinkers). Start to assay the presence of your practice – or how it might relate outwards – to other practitioners, writers and thinkers.
- Create small group blog as follows (by end of the day Monday 29/9):
- Group 1: Raphan, Orley, Jennifer, Danielle
- Group 2: Stephanie, Marlon, Mariel, Carolyn
- Group 3: Dorit, Jana, Courtney, Alexandra
- Group 4: Charlotte, Sam, Paul (sorry for the omission)
- one blog per group (shared equal access)
- place to try out writing, share ideas about practice, ask each other questions
- it is designed as a mechanism for support, sharing, practice, and questioning
- recommend minimum of one post per week per person in group, and one comment per week per person. The dialogue will develop with the idea that it contribute to the development and focus of your practice throughout the term
- doesn’t matter what platform: wordpress, blogger
- send me the link as soon as the blog is live
- Freeman, J. (2010). Basic, Applied and Experimental Research; 10 Questions. In J. Freeman (Ed.), Blood, Sweat & Theory (pp. 77–82). London: Libri Publishing
- Nelson, Robin. 2013. “Introduction.” In Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances, edited by Robin Nelson, 3–22. Basingstoke: Palgrave Macmillan
- Minchinton, Mark. 2002. “The World Is Turning to Pus: a Keynote Provocation.” Double Dialogues Lines of Flight (2 (Winter)). Melbourne. http://www.doubledialogues.com/article/the-world-is-turning-to-pus-a-keynote-provocation/
- Moon, Jenny. 2013. “Reflective Writing – Some Initial Guidance for Students.” http://seas3.elte.hu/coursematerial/HalapiMagdolna/Reflective_Writing.doc
- Emilyn’s AKIMBO task for Week 5: How do I map an enquiry between movement and research writing?
Here is the gesture – hand on hip – your task is to research this embodied gesture, chasing it through wider contexts: your embodied memory, gender studies, visual arts, performance, politics, dance history, anthropology – whatever pathway interests you. You might use libraries, internet, galleries, museums and performance archives. This task offers you an opportunity to explore how an insignificant, embodied and familiar gesture can initiate enquiry, offering innumerable themes and starting points for research writing, choreography and performance. Use this task as a practice for your own emerging research interests. How might it connect with your own practice(s)?
Week 1 (21 to 27 September):
- commence writing, reading and moving practice(s)
- devise a series of small (repeat, small) experiments based on things you notice during your daily practice. Experiments should be in form of a question. For example, “how can I …”, “What if I …” “What would happen if I …” Do any of these experiments or questions remind you of practices or practitioners? What about any thinkers/writers? Do some research online to find out more. Make a note of any key practitioners or thinkers that seem to overlap with your work.
- write paragraph reflecting on your activity and send to me by Saturday 26/9 at 2pm. Please send to me as text in the body of an email (not as an attachment)
- reading / watching / reflecting:
- Freeman, J. (2010). Preface. In J. Freeman (Ed.), Blood, Sweat & Theory (pp. ix–xii). London: Libri Publishing.
- Kershaw, B. (2009). Practice-as-Research: An Introduction. In L. Allegue, S. Jones, B. Kershaw, & A. Piccini (Eds.), Practice-as-Research in Performance and Screen (pp. 1–16). London: Palgrave Macmillan.
- watch 0:00 to 18:10 minutes of https://vimeo.com/90515214 – Richard Blythe on Framework for Practice Based PhDs at RMIT in Melbourne. This deals with principles of PaR which are same at PhD and MA-levels.
- what questions do you have about any of the reading?