Research Catalogue

This is an exposition in progress. Starting in the 2021/22 season, the professorship Artistic Connective Practices organises and curates a series of encounters with practitioners, the research team of the professorship and audience, in order to explore the notion of Artistic Connective Practices.

Anansi’s Web- Entanglements without Tripping, a Ph.D. research fellow project led by Thomas Talawa Prestø, delves into the intricate weaving of African Diaspora practices and praxis. This exploration uses several conceptual tools to examine how performance can catalyze personal, social, and communal transformation. At its core is ChoreoNommo, a praxis grounded in the African concept of Nommo, which emphasizes the power of words and gestures to create tangible change. ChoreoWanga addresses the architectural and structural aspects of performances, focusing on how these elements can hold and transmit transformative energy (Ashé). PerformancePwen focuses on the energetic effects performances have on communities, highlighting the reciprocal relationship between performer and audience. The Talawa Technique™emphasizes a holistic and culturally rooted approach to dance, and Committography underscores the importance of strategic involvement in arts organizations and policy-making bodies to influence systemic change. The project culminates in two major works: Jazz Ain’t Nothing, an interdisciplinary dance performance incorporating song, dance, music, and visual elements, and That Voudou That We Do, a performative lecture. Both works are accompanied by the Cognoscape, a new writing methodology developed by Prestø. The Cognoscape provides a non-chronological onboarding into the artist’s knowledge scape, offering insights into the artist's praxis, beliefs, and reflections. It serves as a self-referential tool that captures the culmination of practice and experience, focusing on how knowledge manifests rather than attributing ownership to an individual author

"Metamorphoses - The performance of process" is an exposition of choreographic objects. Operating in the realms of drawing, photography, and video, these objects each address a poetics of transformation. The collections expose the simple materiality of change; the wind scattering paper pieces - or being transformed into sound by the paper walls of an accordion. ::: Contextual note: Metamorphoses is the first cycle of the choreographic project Love, polyphonic. The Metamorphoses Cycle consists of four parts: 1. The Performance of Process 2. Performance object 3. International performance workshop tour 4. Choreographic Toolbox #1: Metamorphoses (publication) The project Love, polyphonic extends over six years. The work approaches movement, sound, geometry and language through the concept of "love" as a prism. A force that can only be recognized indirectly. A tool for listening to the world; polyphonic. The series "The Performance of process", which was shared on the Instagram account love_polyphonic and Black Box teater's websites through the spring of 2021, invites us into the process of Metamorphoses. The performance object that premiered at Black Box Teater September 18th 2021 was a collaboration with cellist and composer Lene Grenager and dancer Cecilie Lindeman Steen. The performance was presented in collaboration with Ultima Oslo Contemporary Music Festival. The collaborators for the international performance workshop tour was MAD, Firenze (IT), La Regarde du Cygnet, Paris (FR) and Dansekapellet, København (DK). The Choreographic Toolbox #1: Metamorphoses (publication) was launched at Norma T in collaboration with Mette Edvardsen on March 7th 2023, and is distributed nationally and internationally by Tekstallemenningen. ::: Janne-Camilla Lyster (b. 1981) is a Norwegian choreographer, writer and performer. She gained her artistic PhD with the project «Choreographic poetry: Creating literary scores for dance», and has a particular interest in pre-figurative practices, including scores, experimental notation and notation systems for movement. She has published a number of poetry collections as well as novels, plays, essays and performance scores.

SONIC EQUITY This exposition investigates questions of inclusion, equity, and decolonisation through the central voice of the Brazilian berimbau. Drawing on the approaches of artistic research, musical case studies are employed to investigate the core concepts, including the solo berimbau work of Adriano Adewale, as well as duo dialogues between Adriano Adewale on berimbau and Nathan Riki Thomson on double bass, seen through the conceptual lens of third space. Findings emerge in terms of uncovering and reimagining the unique, experimental sonic possibilities of the berimbau and the ways they can be utilized for artistic expression in both solo and duo playing. Through shining a light on the unique possibilities of the berimbau, questions arise in terms of why this instrument and its interconnected traditions have not been given equal space and value within higher music education, highlighting the need for institutions to continually reassess their policies through the lens of decolonisation. The artistic investigations further reveal issues related to the need for equity in music and music education, pointing towards a decolonised future where marginalized instruments such as the berimbau are given space and valued equally alongside all forms of musical expression. This connects back to the fundamental human need to be seen, acknowledged, and valued in our world, which is a commonality we can perhaps all relate to. Key words: berimbau, equity, decolonisation, interculturalism, higher music education, third space.

The difference in embodiment experience when transitioning from one piano to another is highly complex, not to mention the transition from a modern piano to a 19th-century historical piano, as playing techniques were also different. As the modern piano is very different from 19th-century keyboard instruments such as the fortepiano, it can be difficult for a modern pianist to understand the techniques used in the 19th century, and why. While it may be impossible to perfectly reconstruct the playing of 19th-century pianists, this study focused on the process of reimagining the 19th-century playing techniques on historical instruments from the perspective of a 21st-century pianist which will help develop understanding towards the potential roles and impact of these techniques, recognize the connections between instruments and techniques, as well as their influence on my playing as a pianist-researcher. Through this artistic practice, the feedback and observations from these experiences in the form of reflection logs were used to uncover the roles and effects of these techniques. This exposition will discuss a performer-researcher’s experience with references to the current literature, demonstrate how these techniques help narrow the gap between the modern and period instruments, especially in terms of touch and control, and investigate the effects of the artistic practice on dynamics and phrasing. Video clips of performances on both modern grand piano and historical instruments such as the fortepiano will also be included to better demonstrate the different approaches.

This exposition refers to arts-based research on simultaneous performative walking and singing practice in a changing environment. The act of walking is put in the context of landscape and singing representing two aspects of relation to the environment – inner and outer landscape. The object of research is traditional and authorial songs and their bodily and sensual interconnection with the process of experiencing landscape. This experience is gained with a group of artists and environmentalists who have over the course of more than a year repetitively walked through the landscape of the natural park Prokop Valley in Prague and its adjacent urban areas. Qualitative research is taken within the project “Walking as a liquid constant in urban space and landscape”. The method of data collection uses mental maps, inspired by the concept of Kevin Lynch, as a means of documentation. The exposition has three parts 1) the opening video essay, 2) Opus caementicium, autoethnographic reflection of the site, where the project takes place, and 3) Fugue of the vanishing world – an essay on the musical aspect of the project. Chapter titles are inspired by musical terminology that has content connotations in the text or mirrors the structuring of text and musical compositions.