Research Method
The method of application for this artistic research will be to create a process based participatory performance that integrates intersubjectivity, exchange, ownership, wonder and joy. It will be an experiment concerning possible forms of participation and interaction that feel comfortable rather than forced. The method requires the structuring of a process and testing it live. Without other people there is no participation and no way to know whether the experience of participants does overlap with the aims of intersubjectivity, exchange, ownership, wonder and joy. Moreover, based on the theory of relational aesthetics and participatory art, will the experience contribute to forming relations with the performance itself (the work) and others and will it bring some kind of personal growth by tapping into participants creativity? Will we experience something new together that gives us insights in ourselves?
To me, artistic research is about the making of art. Art itself is about creating what could be. It is open and demonstrates possibilities. As such, my approach and research are about possibilities. I do not want to predetermine the exact value of my research or method, just like I do not want to create art with a predetermined value. It feels counterintuitive to create art believing I know its value before it has come into existence. There is a reason why art is often appreciated retrospectively. What I have determined is which ingredients to use for my research, in a similar fashion any artist picks their materials and medium. In this case the two are linked and inform each other.
In notes on Participatory Art Gustaf Almenberg (2010) writes that no artist has dedicated their practice to participatory art alone. The theory of participatory art is based on existing artworks from artists that might even be unaware of their works fitting an art movement called participatory art. It is a movement coming into being and based on retrospective analysis. The same goes for relational aesthetics. My intention is to prospectively take inspiration from and perhaps contribute to these movements.
The insights and knowledge I hope to gain is part practical: if I want to create a participatory performance with as foci relationships and creativity, how do I do it? What forms can I use? These practical participatory interventions will be new to me and these interventions could possibly be applied in other settings and different ways. Another insight I would like to develop is a further understanding of the role of a facilitating performer. What is that role exactly and how are facilitation of the process and group dynamics merged with performing?
If I broaden the scope, I am interested in finding alternative ways for working together and building relationships as a society, I am interested in alternative ways of balancing the individual and the collective, I am interested in different ways to distribute wealth and acknowledgement of input and effort. Perhaps this research is a starting point or at least a small way in which I can tackle some of these broader concerns in an artistic way.
From my perspective as an artist, I would like to discover if I wish to continue down this path and keep working with interaction and participation in my artistic practice.
What is the relevance of this research to you? Where I see potential is for other artists interested in participation and applying that in their practice. It could also be interesting for theorists on intersubjectivity, participation, group dynamics and relational aesthetics to see how some of their ideas might be applied (even if not strictly in line with their respective views). Sticking to the core of this research, the potential lies in the discourse that might follow. Moreover, the relevance of the artistic work and output will probably become clear retrospectively. Since it will be an experience, it should probably be experienced to determine its relevance.
This artistic research exposition is on interaction, participation and performance. It combines the building of an interactive process in which the audience becomes co-performer or participant. This process is facilitated by the facilitating performer. Together we explore the subject of vanity through this process.
The development of my research question
My research question has changed over time. I started out thinking my research would focus on capturing the essence of dance as an ephemeral art form in another medium that could act as a parallel. Even though, I had already been occupied with audience involvement. It through reflection, experimentation and the continuation of my practice that my focus shifted towards participation.
On this page (to the right) you will see the different stages of my research question. With the final question being:
How do I facilitate an interactive method of performance in which intersubjectivity, exchange, ownership, wonder and joy form key parameters?
With the sub question:
How do I translate the theme, Vanity, into concrete movement material, scenes and experiences in support of intersubjectivity, exchange, ownership, wonder and joy?
These two questions go hand in hand because the main question is concerned with finding a way to facilitate a participatory performance. And in order to apply this method, at this stage in my research, I have decided to work with a theme - vanity. At a later stage in my practice I could imagine leaving the theme open to decide in the moment through participation, but that is beyond the scope of my current research. Nevertheless, it would make for an interesting future exploration.
