In order to properly answer this question I had to first define the key parameters.
Intersubjectivity:
“...participating in the creation and transformation of meaning together, between persons who each have their limited but inherently meaningful, evolving perspectives on the world, each other, and themselves, through acting and interacting.” (Jaeger, 2018)
Exchange:
Reciprocity of giving and taking in terms of energy, time, attention, willingness to experiment, trust, space and openness.
Ownership:
I am interested in a shared sense of ownership.
- owning the atmosphere in the room
- owning the succes of the participatory performance
- owning the result
Wonder:
Wonder is the quality of exciting amazed admiration for the self, others and the collective and the experience that is, at times, mysterious, unknown and new.
Joy:
Joy is state of mind that is is nurtured from within through flourishing and can be cultivated through creative experiences.
The facilitating performer is tasked with guiding people through participatory interventions that either singularly or accumulatively subscribe to these clearly defined parameters. The facilitating performer is both performer and facilitator. The performer reacts to what is happening in the space in the moment with those who are present. The part a performer is concerned with is performing, improvising, playing, interacting, connecting. The facilitator keeps track of the dramaturgically designed process.
A facilitating performer needs to be mindful of group dynamics. They need to be able to anticipate possible ways in which a group of people react to participatory interventions and be able to mitigate these reactions. They need to also safeguard the overall experience of being part of and taking part in the artistic work. They need to set an inviting tone and establish trust quickly so that people are open for exchange.
The reason why I am interested in creating participatory art is twofold. Firstly, I believe in the power of building relationships between people and that these relationships (even if only experienced briefly) can be enriching. It is with, through and from other people that we can learn and grow. Secondly, I believe that experiencing creativity is fundamental in our self-development. It is creativity that allows us to explore parts of ourselves we would not have explored otherwise. Experiencing creativity in a safe environment enables a playful and harmless testing ground for self-discovery.
Of course, the main research question requires me to answer how I would facilitate an interactive method of performance. This requires diving into my practice. This is also the part where I have to confess that I do not think I have managed to establish an interactive method of performance. I do not think there is a method yet, even though there are successful participatory interventions and I believe _i_C_O_N_i_C_ to be a successful participatory performance. I would need to gain even more practical experience in creating and facilitating this kind of work in order to potentially establish a method. On the other hand, the participatory interventions themselves could be considered part of a method as would be the way in which a facilitating performer executes their role. Concerning this role I have mainly focussed on using enthusiasm and energy to work the crowd. I have thoroughly thought about what to say, how to say it and when. I have realised that the invitations for participation need to be concise, clear and focussed.
It has to be concise so the person can remember. It has to be clear so it becomes easy to understand. This means avoiding complicated language and speaking in active verbs and actions when possible. It has to be focussed so that there is one clear action that the person has to focus on. It is good to define the most important part of the action in such a way that as long as that part is understood and executed the intervention works. Details are less relevant and tend to generate complexity. This also means that as a facilitator you focus on the action and its frame. What kind of action is it that you want someone to participate in? And how does that action, the whole intervention, contribute to the overall experience of the piece?
Generating these participatory interventions brings me to the subquestion.
How do I translate the theme (Vanity) into concrete movement material, scenes and experiences in support of intersubjectivity, exchange, ownership, wonder and joy?
This question is deliberately called a subquestion. The theme forms an instrument in creating an interactive method of performance. Vanity proved useful in helping shape the participatory interventions. I chose this theme based on a personal interest in my own relationship to vanity and a gut feeling that what is often reduced to vanity actually is an important part of the outward expression of identity. The underlying assumption being, based on my own experience as an openly queer person, that it is through vanity that those belonging to minority groups within society claim space and make to be seen. For this research I have not tried to verify this assumption as the use of the theme is purely instrumental and approached associatively. In other words, it is from an artistic perspective that does not merely follow academic reasoning that I have explored this theme. Self-reflection, reflection on the role of artists in general, associations with vanity, associations and thoughts from friends and stumbling upon the genre of Vanitas paintings from the 16th and 17th century.
When creating the participatory interventions, their look and feel was heavily inspired by the symbols used in Vanitas paintings (flowers, painting itself, art itself, music, dress). Together with my other thoughts, associations and conversations with friends, my research mentor Jochem Naafs and my artistic coach Bruno Listopad, the participatory interventions were given a look and feel. Another factor determining the look and feel of these interventions was the location of the premiere at Root Gallery in a building designed in black and white, hence the black and white colour scheme for the piece. Also demonstrating how the location and its purpose factor into the creation of the final piece.
Apart from the participatory interventions, the physical movement performed by the facilitating performer and the way in which they carry their body throughout was also inspired by the theme vanity or associations with this theme. The same goes for choices concerning the music and costumes.
The translation of the Vanity into concrete movement material, scenes and experiences in support of intersubjectivity, exchange, ownership, wonder and joy is expressed through the artistic choices concerning the look and feel of the participatory interventions and the transitions between these interventions. Moreover, the translation is made partly intuitively and partly by choosing to turn symbols into related actions. For example, flowers in a painting turned into inviting people to arrange a bouquet of flowers. The flat image becomes an action that is related to it.
I think I have come quite far in understanding my own creative process. I now know why I find interaction and participation important. I also feel like there is a lot more to explore concerning the creation of participatory work that is concerned with the relationships it forges between people, the experiencing of creativity and the potential for personal development that this can bring. In an ideal world I believe we should all be so lucky as to have the space and time to discover our relation to ourselves, others and the world around us through shared, creative, wonderful and joyous experiences.
On a final note, here is some music that I came across in my artistic research into Vanity, have a little boogie and enjoy.
