Research Catalogue

Een artistiek onderzoek naar de creativiteit van mijn team vanuit procesgerichte didactiek

Cartilla que presenta buenas prácticas sobre danza inclusiva y accesible. Realizada por ConCuerpos Parte del Proyecto Danza para la Diversidad 2023. Apoyado por la Beca para el reconocimiento y la activación del patrimonio cultural de Sectores Sociales del Instituto Distrital de Patrimonio Cultural

In the softness of the belly… There is a war on women is a testimony to the lived stories of abortion from a perspective which transcends time and national borders. This research paper is structured around two intertwined trajectories with varying text formats and writing styles. This structure merges the personal with the political and explores their relationship as it reveals how they can’t be separated in a society with deeply rooted structures of patriarchy and misogyny. The first trajectory chronologically tells the story of the author's own experience with abortion integrated with the personal stories from friends and family members. The process of dealing with abortion is gradually laid out starting from childhood memories, proceeding into the practical turmoil and the contradicting emotions surrounding the experience itself, moving onto the mental and physical aftermaths, and lastly processing the experience and slowly healing. In the second trajectory the topic is explored from a more external perspective rooted in history, politics, culture, and society. Through research on the history of reproductive rights and procreation, the permeating role of patriarchy from the past to the presence is addressed. The investigation of patriarchy dives into the misogynist history of witch-hunts, hysteria, capitalism, domestic labor, and into the present where reproductive rights are both improving but also continuously being tightened or removed. This trajectory further explores several socio-cultural aspects of abortion through research-based text and more sporadic and poetic writings. The topics that are addressed are shame, guilt, religion, gender roles, depiction both visually and written, the public discussion, and the perception of blood, violence, and war in relation to women and reproductive rights. The aim of the research paper is to break down and reveal the patriarchal structures which compromise women's reproductive rights, and to state the importance of reclaiming the personal narratives as well as the autonomy over one's own body, narrative, and life.

In January of 2022, I traveled with my family to Catarata Gocta, a two-tiered waterfall in the high rainforest, just outside of Cocachimba in Peru’s northeast. I seized this opportunity to conduct an artistic research experiment combining field recording, mystical participation, dream work, philosophy, and psychology. I incite and analyze dreams, peel back the perverse layers of my capitalist induced fantasies, exhaust liquid metaphors, engage in forms of mystical participation, discuss whether it’s even possible to record a place at all and draw connections and conclusions whose coherence is, well, maybe not so coherent. This essay touches on Sonic Journalism, the psychologies of Jung, the art criticism of Sontag and Berger and the art of Cage, Duchamp, and Hunter S. Thompson. The field recordings and images presented here are shreds of evidence supporting my own twisted brand of Gonzo Journalism. It is a tight rope walk across microphone cables and book spines, fueled by coffee, internet databases, and obsessive listening. The gravitational current pulling the waters of Catarata Gocta earthward is the dense center around which this essay orbits. Stretching across its horizon, I feel myself emptied, my thoughts laid bare and made available for self-examination.

This article provides insight into the choreographic situation LUFTIG, where the idea of air as conveyor of tactile experience is passed on, reworked and performed by children and adults. It examines how shifting the focus from movement language to a distinct expressive idea affects the choreographic process, and looks at how involving young people as choreographers and choreographic material affects the aesthetic experience of the now for artists and audience. Drawing on Tygstrup's idea of transformative time (2018), Gumbrecht's concept of the broad present (2018) and Taussig's thoughts on the adult's imagination of the child's imagination (2003), the author argues that in performance work where children are both choreographers and choreographic material, the adult’s imagination of the child’s imagination and the actual actions of the physically present child are at the same time mutually dependent on and at odds with each other, leaving the adult teetering on the edge of contemporary reality and primordial retreat. In the work proces, the child has a special propensity for easing the work for all which can only be deployed if we are able to circumvent tendencies of mutual projection of imagined imaginations. This requires a singular work process, where we - children and adults alike - can inhabit questions together without relying wholly on our previous knowledge of and experience with known performance parameters.

Our main interest is based on understanding spatial relationships from first-person experience, from our virtual and real body. Through the act of walking, movement in real time, we become cursors that dash across the interface of reality. A continuous process that brings us closer to the production of meanings, new relationships and representations, and also a dialogue with space and time, and the network. This article seeks to present a series of disruptive experiences, documented by the authors themselves, which constitute an exploratory framework of space to discover different symbolic interrelationships, and sketch out constructions of the common space in haptic, political, social and cultural mode. It offers a repository of unexpected, intersubjective encounters, from the empirical practice of walking, which arouses new perspectives to be able to interpret circumstantial spaces, to lose oneself in ‘non-places’, or reflect as to how to approach the landscape and/or the city by opening new imaginaries that add value to the ‘glocal’ place that we traverse and/or inhabit.