Academy of Creative and Performing Arts
![Academy of Creative and Performing Arts](https://media.researchcatalogue.net/rc/cache/0c/33/19/87/0c331987ef31f53a68c102d63113afad.png?t=3bb1154ea3dd044f091f1f38af044f8a&e=1725269100)
About this portal
The portal is used for the presentation of dissertations, papers, essays, artistic work, and work-in-progress of the ACPA PhD candidates. Furthermore, it is used by supervisors and other coaches to insert comments on the work of these candidates.
contact person(s):
Marcel Cobussen ![](/rc/images/email.gif)
,
Gabriel Paiuk ![](/rc/images/email.gif)
url:
http://www.hum.leiden.edu/creative-performing-arts/
Recent Activities
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Van kunstwerk tot religieus ritueel : een onderzoek naar de integratie van performancekunst in de liturgie
(last edited: 2023)
author(s): Stefan Belderbos
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This research of Stefan Belderbos focuses on a new field of artistic research in which a visual artist takes on the role of researcher. The main research question is whether performance art integrated in an ecumenical service, combined with artistic directions from the artist, can enhance the religious experience of those taking part in the church service. I set my research against theology and Ritual Studies by describing my ideal image of a liturgical service and by comparing this personal view with the viewpoints of several theologians. Furthermore I examined the theories of the psychology of religion to search for an description of the concept of religious experience.The artistic experiment I set up in order to answer my main research question comprised a set of church services with several integrated performances. In this research I counted, described and analysed a total number of seven religious experiences. From the description and analyses of the experiences it became clear that these were indeed brought about by the performance rituals in the church services.
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Figuring things out together: on the relationship between design and collective practice
(last edited: 2023)
author(s): Anja Groten
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This dissertation of Anja Groten explores matters of collectivity, drawing from the experience of working with the Amsterdam-based collective Hackers & Designers (H&D). The main thesis of this research is that conventional design vocabularies are not capable of sufficiently expressing and accounting for collectivities‘ resistance to fixation and stabilization. Collective design as it is discussed here challenges notions of individual authorship, differentiations between disciplines, between product and process or between the user and maker. While collectives shape particular affiliations and commitments, design approaches and aesthetics, they also require perspectives on working and designing together that resist linearity, and a progress-based understanding of a design process. By means of several case studies, it is argued that the fragmentation of social and work relations is as much a characteristic of collective practice as the effort to sustain long-term relationships.Thus, collective practice is not fully deliberate, at least not in the same way as for instance ‘teamwork’, ‘the commons’, or ‘cooperativism’, are purposeful organizational frameworks for living, working or being together. Collective Collective design processes take part in and are a result of particular (often fragile) socio-economic, socio-technical conditions that pervade and shape the ways collectives function.
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The Emergent Artistic Object in the Postconceptual Condition
(last edited: 2023)
author(s): Jack Segbars
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The dissertation of Jack Segbars investigates the fabric and the infrastructure of contemporary artistic production. The focal question is how the contemporary field of institutional artistic production is organised and how the relations between its actors and functions: artists, curators, institution, governance and theory are structured, and how the artistic object that results from their interaction is produced. The backdrop of this investigation, is the condition of cognitive capitalism. Production and working-relations in late capitalism as analysed by Paolo Virno, are characterized by the primacy of communications. It presumes that no longer there is a clear demarcation between aesthetics, labour and politics in the general make-up of production and economy.The second backdrop is the postconceptual condition, as formulated by British philosopher Peter Osborne. He describes how the authorship of the art-object has shifted to the institutional platform (museum, presentation-space) and how the ‘project’ has become the general form of production. This situation particularly affects artistic production and the relationships between the main actors in regards to who holds the authorship over the artistic object. Both these movements have led to significant changes in how to consider the status of authorship in artistic production. Together they shape the theoretical basis for the research.
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Taking Place: Parrhesiastic Theater as a model for artistic practice
(last edited: 2023)
author(s): Eleni Kamma
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This research project of Eleni Kamma adresses the question how local and traditional European forms of parrhesiastic theater—by which I mean events, actions, and performances staged by characters who courageously speak their minds through scenes of excess and laughter, that take place in public view and incite the spectator’s agency to speak their own minds—possibly relate to and/or provide new insights into critical artistic practices today. In this context, the project also examines the place and role of caricature today.I approach the issue as an artist-researcher concerned with socially engaged artistic practices. The experience of the playful, humorous, and sharply critical attitude of Gezi Park protesters speaking their minds in Istanbul in 2013 led me to critically reconsider my own courage in positioning myself within contemporary artistic production. Throughout the dissertation I work along a Moebius strip schema, which continually shifts from me as individual artist to dialogic collaborations to writing about the process. The research subject is investigated through a circulation process within which concepts such as communication, dialogue, and listening are continuously performed and put to the test. The dissertation aspires to provide new insights into how tensions between the roles of individual and group, “I” and “we,” may open up a parrhesiastic space for critical artistic practices.
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Vestito a ponti d'oro e a cento corde in seno - 'History, repertoire and playing-techniques of the Italian salterio in the eighteenth century'
(last edited: 2023)
author(s): Franziska Fleischanderl
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The present study of Franziska Fleischanderl is the first comprehensive and fundamental compendium on the Italian salterio of the eighteenth century. It sheds light on its genesis in the ecclesiastical environment, its dissemination and use in all regions of Italy, its social rise to the highest circles of the aristocracy, its virtuoso professionals and noble amateurs, and last but not least, its original genre-spanning repertoire. It is a great peculiarity of the Italian salterio that it was played with three completely different playing techniques in equal measure. Either the strings were struck with two small hammers (battuto), plucked with the fingernails and fingertips (finger-pizz) or plucked it with plectra, that were fixed in metal finger rings and placed at the fingertips (plectra-pizz). The search for and reproduction of original playing utensils such as hammers and finger rings, as well as instructions for assigning the appropriate playing technique to the original salterio repertoire and mastering all three techniques, constitute the artistic research part of this study, which was conducted on an exceptionally well-preserved, beautifully decorated, original salterio made by Michele Barbi in Rome in 1725.
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In search of a politesse du chant - Rediscovering salon vocal performance practice through the lens of the airs sérieux in the Recueils d’airs serieux et à boire de differents autheurs, 1695-1699
(last edited: 2023)
author(s): Elizabeth Dobbin
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The dissertation of Elizabeth Dobbin examines the airs sérieux contained within the Recueils d’airs serieux et à boire de differents autheurs published by the Ballard printing house in Paris between 1695 and 1699 inclusive. Inspired by the performer’s desire to uncover and to sing this previously neglected yet rich and diverse repertoire, the present study was equally propelled by the researcher’s instinct to investigate the vocal performance practice associated with it. Previous academic writings in this field showed that the airs sérieux of the type published in the Recueils were sung in a variety of fora, notably the seventeenth-century Parisian salon. The vocal practice associated with this sociable institution and its polite modes of conversation and interaction therefore represent the principal focus of this study. In its examination of the nuanced style of singing that was unique to these worldly gatherings, the present study seeks to unveil a politesse du chant. Alongside this focus, however, considerable attention is also accorded to the different modes of performance of this repertoire, and to an evaluation of the extent to which current conventions of French Baroque performance-practice are in harmony with, or divergent from, the historical vocal and aesthetic sources.