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.

This video article presents two pedagogical applications of the artistic research project "Expanding Horizons" for ensembles with adult music students of diverse musical backgrounds. The project is centered around practical explorations of applying improvisation to repertoire from 20th-century Western classical music, in combination with qualitative methods such as autoethnography, participant-observation and semi-structured interviews. The examples in the video demonstrates how approaches that are developed in the project can be applied to pedagogical situations, based on ensemble workshops with musicians of different musical orientations enrolled in music performance programmes in Sweden, one with university-level students in a bachelor programme and another with students at a folk high school. Two pieces were selected and adapted for these situations: Lili Boulanger’s Cortége (1914) and Maurice Ravel’s String quartet in F, movement II (1903). During the workshops, these pieces were then re-worked in a collaborative manner, with an emphasis on mutual exploration and musical expressivity through improvisation. The main pedagogical considerations were: selecting the appropriate repertoire, adapting materials for diverse learners, and fostering agency among performers. Although the improvisational approaches presented are rooted in jazz performance practice, the examples demonstrate how improvisational frameworks can be adapted for music students across musical genres, showcasing the potential for creativity, collaboration and interdisciplinary learning in music education.

This exposition explores the following question: How might an analysis be done in post-qualitative inquiry and performative approaches? Considering that post-qualitative inquiry rejects pre-existing research designs, methods, processes, procedures, or practices, and acknowledging that a research process will unfold and materialize differently in different projects, my aim is to explore one possible approach to analysis. This approach explored herein is specific to my PhD project. At the same time, I invite you to re-turn (to) the pieces you find fruitful and adjust them to your research. The research material being analyzed in this exposition is informed by my PhD project, which explores what might materialize in the matter of digital musicking when a loop station and 1–3-year-olds meet each other in a kindergarten context. Exploring how an analysis might be done in post-qualitative inquiry and performative approaches, and as the title plays on, the method of analyze is with the arts and take an arts-based approach. This exposition contributes to the fields of early childhood music education, post-qualitative and performative inquiry, and arts-based research. This exposition is included in the anthology "Utfordringer og muligheter innen musikk og utdanning", or "Challenges and Opportunities in Music and Education" in Enlgish. The anthology is published as part of MusPed:Research by the Cappelen Damm Academic publishing house. MusPed:Research is a peer-reviewed series of scholarly publications within the field of music pedagogy. The anthology, of which this exposition is a part, has been peer-reviewed, and this extends to this exposition as well.

Visual analysys of a lawn in a public and private space as a universally understood image of wealth , leisure , minimalist aesthetic