Hello,
My name is Femke.
Belgian, choreographer, dancer, aerialist and master student.
For this assignment I will conduct a practice-led research
into audience expectations regarding an aerial performance.
It's an attempt to encourage and nurture the experiment of
what an aerial perfomance can be, sprouted from my personal
encouters with expectations, expressed by professionals and
spectators in my field, which is aerial and dance performances
in the outdoor arts. Those expectations are interfering with
my creative need to:
> make with an aerial apparatus, is stead of for it,
> make from content in stead of form.
A self-interview with questions I encoutered from fellow makers and an audience member:
>> Vincent: "But why wouldn't you want a show that fits human capacities, interests, and expectations?” (Focquet, 2019, p.41 )
>> Femke: “ Well, firstly, I prefer to use the word "performance"
instead of "show" because it better communicates the idea I'm getting
at. A performance is more of an interaction, a thoughtful connection
between the performance and the audience. In contrast, a "show" suggests
a one-way street, more about spectacle and entertainment. It's like in a
traditional circus, where the performer does a series of tricks, pauses
for applause, and keeps going.
The idea of giving the audience what they want makes me wonder if that
means the performance has to be simple and easy to understand.
>> audience member: Why don’t you just “Listen to the taste and demand
of the audience so that you don’t need to depend on funding” (Stalpers
& Stokmans 2023)
>> Femke: Two things are addressed in this question.
The first is that there’s nothing wrong with funding. If anything it
adds to the Fair Practice and Fair Pay Code.
The second being that ‘ just listen to the taste and demand of the
audience’ to me is consumerism taking over the arts. I’m not in it for
your esthetic satisfaction, I’m in it to make you think about curtain
aspects that I think need to be addressed in the world we live in today.
As art in general is to make you think and rethink about a subject or
concept. I believe audiences are capable of much more than just ‘give me
what I want to see’ .. I’m interested in not giving what you want. I
think an audience is curious and like to be engaged in the performance.
>> Bert (performer) : There’s nothing wrong with Ooohs and Aaahs as only
result of a performance or show. I will not deny that a tear and a laugh
or even a message may be added to that performance. But in a scary,
shortsighted world as the one we live in today, exactly that is our
power! A performance in which an artist is watching a trapeze for an
hour as a reflection of the standstill of the Belgian economy,..that is
no use to anybody. Our large audience does not ask for political clout
and head-scratching issues in an ‘interesting’ performance, on the
contrary..” (Loenders 2016)
>> Femke: Sure, only Ooohs and Aaaahs, that’s perfectly fine, however,
I can't help but think that maybe we have a medium in our hands to could
also touch an audience in an other way. What if I want them to think
about their daily lives through the performance, rather than escape from
it? Your suggestion to make an artist look at the apparatus for an hour
in stead of using it, just to make an audience reflect on a current
situation that exists in our lives than I say YES!
I’d encourage fellow makers to think about our medium that way and
create that kind of work. I don't mean to say that we should abandon
tricks in our performances. Tricks can still be important, to me
personally I’m interested in utilizing those skills as long as they
serve a purpose in the overall creation. If a trick is there just for
the sake of being an aerial performance, I'm not interested. Most
importantly, I believe expectations can hinder the audience's ability to
experience wonder and depth in a performance, if that is the goal of
that specific performance. So, the big question for me is: Can we
somehow get rid of or reduce audience expectations when it comes to
aerial performance?
>> Bauke: “it has become very difficult to separate the romantic clichés
that surround the circus from an understanding of circus as a medium. As
a result we still reproduce the same romantic myths of the circus in our
contemporary practices, which in turn leads to performances that always
take circus itself as their theme.“ (Lievens, 2016)
what come to mind ..
... when I say circus
... when I say aerial circus
... when I say aerial acrobatics
... when I say aerial performance
... when I say dance
... when I say dance in the air
... when I say aerial dance
... when I say performance in the air
... when I say performance on the floor and in the air
So: Expectations
When talking about an expectation in psychology
terminology it is called a cognitive schema1.
"Schemata are considered knowledge-files that are
stored in the brain. They are acquired throughout life,
are relatively stable and can organize and influence
the gathering, storing, understanding and retrieving
new of information (belonging to the same knowledge
domain) in a consistent way.
They are the glasses through which the world is seen
and therefor also color that world. In general schema’s
are fairly abstract and approximate, making them more
suitable for their generic purpose: color the
processing of new information in a consistent manner."
(Korrelboom & Broeke, 2014. p.140-141)
In 1932 Psychologist Frederic Bartlett described a
schema as an active organization of past reactions or
experiences and his fundamental processing assumption
was that all new information interacts with old
information represented in a schema. (1932, p.201)
Ulric Neisser stated that "schemata are
anticipations, they are the medium by which the past
affects the future" (1976, p. 22)
Freely translated:
it is knowledge you've learned, and continue to
learn, about an experience. You put it in a jar and
you make assumptions, decisions and have
expectations based on that knowledge.
I've gathered knowledge on audience expectations by asking for feedback and by starting conversations.
Talking to different groups of people in the audience such
as spectators, performers, makers and festival directors,
provided diverse perspectives on how expectations influence the
perception of aerial performances. For the audience feedback
session I performed during Back to Base, organized by TENT
circus productions. For the audiende conversation session I
performed during This Is Not A Conversation, a platform
organized by myself to have a dialogue on the urgency of a
performance rather than the aesthetics.
These conversations offered insights into the differences and
similarities between the assumed expectations before the performance and the actual expectations during and after witnessing the aerial performance.
> the collective memory
What image of an aerial performance is lodged in the mind?
The long history of classic circus versus the younger contemporary circus
might have something to do with it. I see myself as part of both the
contemporary dance & circus community, although I perform in nature and the
outdoor arts, not the chapiteau (circus tent) or theater.
A recent study by Stalpers & Stokmans (2023) questioned what image an audience
has of the classic and contemporary circus, in Netherlands. The research
quotes economic psychologist Prof. dr. Theo Poiesz (2023 p.3-4) : “Image is a
set of subjective associations and beliefs that influence behavior, but does
not need to based on recent personal experiences” According o Stalpers and
Stockmans it doesn’t even need to be based in first hand experience. Which
plays into assumptions and bias. (2023, p,4)
So the image or impression a performance has left behind could also be based
on emotions, how the spectator felt that day. Bad day, good day, in love or
with a worried mind.
A paragraph from that same research : “A difference between the classical and
nouveau cirque is the assumed cultural competence of the audience. With
nouveau cirque a greater art based knowledge is demanded, that makes it
possible for the visitors to understand the deeper meanings of a performance
and therefor enjoy a more intense experience (Szubulska & Ho, 2021) . Allary
(2013) indicates in her study that a lack of such cultural baggage is
possibly not a hindrance to enjoy contemporary circus, unless the performances
are more abstract and experimental” (2023 p.6)
I would like to place this thought side to side with contemporary dance:
“Contemporary dance is a broad and encompassing term, which can give the
creator the freedom to experiment, while still maintaining their affiliation
with a certain genre. For the audience, however, the experimentation that an
umbrella term like contemporary dance allows can be problematic as there are
no clear indications as to what the audience can expect to receive for their
money. Whilst I don’t believe that creating sub-genres to further define an
umbrella genre is the ultimate solution, I do believe that this is one
strategy that could improve the situation. As Scollen (2002, 275) has pointed
out, audiences would benefit from receiving more information prior to the
purchase of tickets and for work that sits on the borderlines of genres.”
(Ryan, 2013 p.31)
This plays into my my quest lo leave me out of the box. It seems that my work
might be better off in a bigger box, or under a bigger umbrella, but with more
thorough explaining to give a better heads-up of what an audience is signing
up for. Feels like drawing up a contract, from the performance/ maker’s side
for the spectator to read and agree upon.
Stalpers & Stokmans (2023) asked circus-fans (acquainted with both types of
circus) if they had any advice for the contemporary circus performances of
today: “contemporary circus should have more characteristics of the classic
circus, more comprehensible, more fancy costumes and no bare feet. Not too
complicated themes, stories not to be too far fetched and make sure there’s
still enough circus in it. Make sure there’s more acrobatic quality and a
higher tempo and more of the atmosphere of the classic circus.“And last but
not least an advice I used earlier in this research in the self-interview:
“Listen to taste and demand of the audience so that you don’t need to depend
on funding.”
This to me feels like a stranglehold contract, drawn up by an audience for the
performance/ maker to sign. It’s not only an expectation, it’s a demand.
To put it bluntly: the advice to the maker is not to create from their own
vision, but from the vision of the spectator.
“I discovered that whilst genre classification can be beneficial to the
performing arts industry, practitioners and audience members alike, it can
also be damaging. When art is interpretative, reflective or groundbreaking it
often defies classification, and for the receptive party, this can cause
uneasiness if not approaching the work with an open mind. (Ryan, 2013 p.37)
In my opinion an open mind would mean an active effort of giving up
expectations, and I strongly believe it is possible to help an audience
opening up to wonderment.
I feel like doing some nudging…
> theory of nudging
"A nudge is a little change to our
behavior or thought patterns that
can have a disproportionately large
impact on an outcome. They can
often seem obvious but as humans we
become such creatures of habit that
we frequently need to be prodded,
both metaphorically and physically,
into waking up to the possibilities
of the world around us." (Chesters
& Mahony, 2021 p.3)
In this research the nudge is
intended to encourage letting go
of expectations, before the
performance has started.
"A person having the responsibility
for organizing the context in which
people make decisions is called a
choice architect"(Thaler & Sunstein
2021 p.14)
In this research the 'choice
architect' is the maker
who designs, organizes the nudge(s)
and even curates
nudges to help the audience open to
what the maker wants to share with
their creation.
> what interventions did I do
I created Wild Horse.
A performance specifically designed to
challenge the audience's perception of what
aerial could be and as a bycatch test their
(im)patience.
Technically Wild Horse consists of one extreme slow
fall and rise by re-using aerial equipment in a
different way.
Physically to be able to do such demanding movement in
an effortless way, the performer needs the same
masterful skill, understanding and control as any
other aerial discipline.
Wild Horse has been presented in two
different settings:
One for audience feedback: Back to Base
in a theater setting;
One for audience dialogue: THIS IS NOT A CONVERSATION
in an outdoor setting.
nudging in two different settings
> what worked / what could be different
Dialogue
> the nudge of strolling through nature (towards letting go of expectations for the performance)
> the nudge of sensorial questions (towards self-reflection)
> the nudge of no music (towards listening to the surroundings)
In the dialogue after the performance the audience described
their state of being as open towards the performance, due to the
walk. The location was an element of surprise, which was said to
be a special experience. One person shared that she knew the
location well, and questioned herself why she never stopped to enjoy
it before. This discovery was a positive influence on her,
witnessing the performance. For another person the walk was ‘like
releasing the tension of looking forward to what’s to come’.
Not having music was confronting for some. The sensorial questions
asked revealed the restlessness they experienced was felt in
different ways: tension in the back, not at ease with sitting
there, easily distracted by anything, a wandering mind.
It did occur to them this is what the performance was about and elaborated on it with others present.
No music was also giving people the feeling they had the liberty to
wander off with their thoughts and come back again to the present.
Those nudges had a positive impact. People were interacting on
content (impatience) while reflecting on their own lives.
Overall it was a very positive outcome.
online Feedback
> the nudge of the open window (towards letting in sound from their environment)
> the nudge of no music (towards listening to the surroundings)
Due to COVID this feedback session was rescheduled to be online and
people were watching from home.
I asked to open the window as a nudge to let in the soundscape of their
own surroundings and give the possibility to listen to it.
It did not work for some spectators because it was too cold or to loud.
For a few it did have a positive effect, they didn’t live in a city.
Not having music was not a problem for most, it did provoke comments on
duration which to me is exactly what the performance was about.
Nudging on a digital distance was a challenge. What could be
different is filming in nature in stead of a blackbox.
That would automatically include a natural soundscape and opening
a window would be unnecessary.
> relation between theory and practice
In the realm of aerial performances, a fascinating intersection
exists between the theory of nudging and the creative process of
crafting performances where content takes precedence over
conventional form and expectations.
When performances are meticulously shaped with the underlying
principle that content informs or even dictates the form, they
possess the potential to elicit profound acceptance and appreciation
from diverse stakeholders, including the audience, performers, and
creators.
Strategically infusing nudging principles into the presentation of
aerial performances offers a unique avenue for artists to guide the
audience's cognitive shifts. This guidance encourages viewers to
relinquish their preconceived expectations and embrace an openness
to a sense of wonderment. This transformational process can commence
even before the performance begins, like the walk with Wild Horse
during the dialogue session.
However, it is crucial to strike a delicate balance when it comes to
the "contract" with the audience – the information provided about
what they are signing up for. The more intricate the performance
content/ form is , the more the clarity of this contract becomes
increasingly essential. This clarity is the key to opening the door
to their receptiveness towards performances that prioritize artistic
content and meaning over the aesthetics and form. I also learned
that when a photo, video or text, representing the performance, is
too good it can feed into high hopes and when those expectations are
not met, it too results in disappointment.
During a performance, nudging techniques can manifest as unexpected
narrative arcs, emotional resonance, and imaginative storytelling.
These elements work in harmony to create a richer and more
transformative audience experience. It is through these subtle
nudges that both artists and audiences can uncover the profound
connection between artistic expression and genuine appreciation in
the context of aerial performances.
Reflecting on my own experiences, I have realized the importance of
a clear contract with the audience. Feedback from "Wild Horse"
indicated that while the performance concept was clear to me, it was
perceived as overly conceptual by some spectators who felt the need
for a clearer explanation beforehand. In retrospect, sharing
information about the ideal performance setting in the Q&A session
during Back to Base triggered a few Aha’s. That specific session
indicated clearly that Wild Horse is not a blackbox performance.
In contrast, the dialogue session adhered to a clear contract and
was conducted in the intended location, with all nudges thoughtfully
in place. This session showed a positive audience experience, like
to the ones I have personally enjoyed when attending performances
that communicated their intentions clearly and were staged in a
considered setting. It is through these reflections that the
relation between the theory of nudging and the practice of creating
from content in aerial performance becomes apparent, clearing a path
toward deeper artistic connection and audience appreciation.
> bibliography
Focquet, V. (2019). Withdrawal towards a humble circus. Three
careful dramaturgical tactics. Withdrawal Towards a Humble Circus. Three Careful Dramaturgical Tactics - Ghent University Library. https://lib.ugent.be/catalog/rug01:002789946
Stokmans, M., Stalpers, C., & Tilburg University. (2023, 20
augustus). Welk beeld heeft het hooggeëerd publiek van het klassieke en hedendaagse circus? https://www.nritmedia.nl/.
https://www.nritmedia.nl/kennisbank/46696/welk-beeld-heeft-het-hooggeerd-publiek-van-het-klassieke-en-hedendaagse-circus/?topicsid= publication VTS 2023-1
Korrelboom, C. W., & Broeke, E. T. (2014). Geïntegreerde
cognitievegedragstherapie: handboek voor theorie en praktijk.
Bartlett, F. C. (1932). Remembering. London: Cambridge University
Press.
Neisser, U. (1976). Cognition and reality San Francisco: VV
H. Freeman.
Loenders B. (2016) respons the open letter A Myth Called Circus by
Bauke Lievens. Facebook 23 december 2016.
Lievens, B. (2017, 12 september). The myth called circus | etcetera.
Etcetera. https://e-tcetera.be/the-myth-called-circus/
Figure 1
What is a schema in psychology? (z.d.). Structural Learning.
https://www.structural-learning.com/post/schema-in-psychology
> useful of the intervention for testing theory in practice
Wild Horse served as a valuable experiment in testing the theory of
nudging within my artistic practice of prioritizing content over form
in aerial performances. This exploration highlighted the potential for
performances that are driven by meaningful content to open curiosity
amongst audiences and creators alike. By strategically incorporating
nudging principles, such as altering audience expectations, by walking
toward the performance space, and guiding cognitive shifts, with
extreme slow movement, I aimed to open a profound sense of wonderment
among spectators.
The experience also underscored the importance of a fitting performance
space and a clear 'contract' with the audience, something that became
clear during the Feedback Session (unclear contract, not the right
performance space, digital distance) and was confirmed during the
Dialogue Session. (clear contract, better performance space, closely
seated audience)
Overall, in my opinion, Wild Horse has been a valuable intervention in
my exploration of nudging within the context of content-driven aerial
performances, offering valuable insights and lessons for future
performances.
> Feedback Loop _one
This feedback LOOP
looped BACK
a back feed of digital consuming
due to restrictions
COVID
Sharing is caring
feedback shared through a flat screen
friendly faces
in boxeslots of explaining
loopt back clearly
many things to take
a few things to leave
YES
useful for that time being
direct feed from an audience
back
to the research
> Feedback Loop _two
This dialogue LOOP
looped BACK
a back feed closer though some distance
due to restrictions
still COVID
sharing a conversation
feedback shared through sensorial
how do you feel?
happy faces
lots of exchanging
loopt back clearly
many things to take
nothings to leave
YES
useful for that time being
direct connect to an audience
to fellows
back
to the research
fulfilled
> Personal reflection
Thinking about and testing how to use nudging was fruitful.
Not only did it support reflecting on how to share the
performance but it also nudged me towards thinking critically
on the performance itself.
Both on screen and on it’s own it was a too conceptual
effort. It was labelled as an aerial performance. I am
curious to know what would be the outcome of labelling it as
a contemporary dance performance.
That would be a future step.
During the dialogue session the walking through and
performing in nature, opened the mind for surprise and
wonderment.
It confirmed my beliefs that being considerate about what
location fits the best to witness a performance, benefits
the entire experience.
I’ll continue to research new nudges to support the
performance further and develop it into a longer creation,
to emerge the audience even more in the content: impatience.
In general, I'm very positive about the outcome of this
research and look forward to continue to build my nudging
knowledge and experiences in the future.