Paula Caspão (PT), Goran Sergej Pristas (HR), Kai van Eikels (DE)
On the notion of practice
Dansehallerne, in close collaboration with its Nordic institutional partners, develops a series of Artistic Research Seminars and Artistic Research Labs. Taking place in the Nordic countries between 2018 and 2020, they constructively bridge artistic practice and academic research in the field of choreography – the overarching theme of this initiative is FUTURITIES.
By creating a comfort zone for academic researchers and choreographers to engage in in-depth dialogue, Dansehallerne and its partners offer opportunities for peer-to-peer exchange in order to access and develop new knowledge, and address common areas of interest.
The Labs use the same formats:
- A three-day workshop for dancers and choreographers led by an international artist with track record of strong artistic research methodologies, quality choreographic pieces and a MA or PhD level in artistic research
- A two-day seminar where both academic researchers and choreographers expose their methodologies and findings in regard to choreographic practice. Special international guests will be invited to give keynote lectures
- Documentation through the online publication of texts, pictures and live stream videos
Artistic Research Lab: “On the notion of practice”
6-8 May 2019, practical workshop, venue: Sceneindgangen
9-10 May 2019, seminar, venue: Forsøgsstationen
Partners: DDSKS (Den Danske Scenekunstskole), Forsøgsstationen
Practice is an unavoidable part of conducting research whether it’s done within the frame of the university or outside of it. In recent years we have seen an undeniable amplification in the use of the notion practice by artists, researchers and their partnering institutions. Where does this demand come from? What are the discursive and political implications of the contemporary uses and misuses of the term? And, how can we identify necessary modes of resistance from within our different ways of understanding and managing practice? In the light of such questions the Research Committee has found it relevant to start their first lab by looking at the notion of practice itself –from its etymological and historical roots to how it’s managed by artists, researchers and contemporary arts institutions today–.
Three keynote presentations, including by:
- Paula Caspão (Lisbon University, Center for Theatre Studies) will be addressing “EXPANDED PRACTICES All Over: re-practicing multispecies story-telling in times of neoliberal performativity”
- Kai van Eikels (Institute of Theatre Studies, Ruhr-Universität Bochum)
- Goran Sergej Pristas (BADco., University of Zagreb) whose presentation will be focusing on the etymological and historical roots of the notion under the title “Practice: An Act of Free Will?”
Paula Caspão will lead a three-day practical workshop at the beginning, and the two-day seminar will also consist of keynotes and a series of artistic research presentations with a specific focus on “practice”.
More information on the international speakers:
Kai van Eikels (based in Bochum) is currently teaching at Ruhr-Universität Bochum and is an academic board member at the Institute of Theatre Studies. After working as a theatre director, he received his doctorate in German Literature with the thesis Reading Time – Approaches to a Cybernetics of the Narrative (2002). Following a research stay in Japan, from 2005 to 2011 he worked in the Collaborative Research Centre “Cultures of the Performative” at the Freie Universität Berlin in the project The Virtuoso’s Stage and from 2015-2017 in the DFG Priority Program “Aesthetic Temporalities” in the project Synchronization of Corporeal Temporalities and Choreographic Aesthetics. He habilitated in theatre studies (The Art of the Collective. Performance Between Theatre, Politics and Socio-economics, 2013). He held visiting professorships at the JLU Gießen, the FU Berlin and the University of Hildesheim. In addition to his scientific work, he was involved in artistic projects and collaborations with, among others, the secret agency, the Chicks on Speed, Xavier Le Roy and Koki Tanaka. Combining philosophy, social and cultural studies, art theory, theatre and literary studies in his work, his research topics include dispersed, self-organizing forms of collectivity like ‘swarms’ and ‘smart mobs;’ politics of participation; time and matter in performance; art and labour.
Goran Sergej Pristas (based in Zagreb) is a dramaturge, co-founder and member of BADco performing arts collective and Associate Professor of Dramaturgy at the Academy of Dramatic Arts, University of Zagreb. With his projects and collaborations (BADco., Frakcija) he participated at Venice Biennale 2011 and 2016, Documenta 12, ARCO and numerous festivals and conferences. He was a researcher and curator in Centre for Drama Art (CDU) from 1995 till 2007. He is one of the initiators of the project Zagreb – Cultural Kapital of Europe 3000. Sergej has been mentoring and teaching at DOCH (Stockholm), JLU (Giessen), Statens Scenekunstskole (Copenhagen), P.A.R.T.S. (Brussels) and more. Teaching courses in performance dramaturgy, writing for performance, analytical writing, dramaturgy and choreography, collaborative practices etc. First editor-in-chief (1996-2007) of Frakcija, a magazine for the performing arts. Together with Bojana Cvejić co-edited Parallel Slalom. A Lexicon Of Non-aligned Poetics, TkH Beograd / CDU Zagreb, 2013.
Paula Caspão (based in Paris) is a writer and artist, a research fellow and lecturer at the University of Lisbon (FCT), Centre for Theatre Studies (FLUL), and an associate researcher at the Institute for Contemporary History (UNL). She holds a PhD in Philosophy (epistemology and aesthetics) from the University of Paris-10, and has been a visiting scholar at the Performance Studies, New York University (2018). Her current work tackles the gestures, poetics and ecologies implicated in the specific practices and (im)material labour that constitute the Museum, the Archive, and History making. To emphasize the life/death forms implicated in any circumstances of research and/or composition, she founded T-Fi Cabinet (Paris 2012), a work-field dedicated to all sorts of attachments between theory and fiction, from the most obvious and graspable to the most surreptitious and sneaky. Having worked extensively on modes of (un)knowing from several disciplinary and non-disciplinary fields, Paula has been presenting artistic and theoretical work across Europe, Australia, and the USA since 2005. She is the author of Relations On Paper (2013), editor of The Page As A Dancing Site (2014) and Pièces Assemblées (2017).
6-8 May 2019, practical workshop:
Venue: Sceneindgangen, Baldersgade 6, 2200 København
9-10 May 2019, seminar: