Listening through and with costume: A dialogical performance-making process

Charlotte Østergaard

Sammanfattning

In performance contexts we often perceive costume as visual expression and as something that servers something else. The objective of this presentation is to discuss costume’s performance-making potential. How can listening through and with costume become a performance-making strategy? With a few historical and examples from own research practice the ambition is to expand the notion of costumes as a scenic and world-making agent.

In Orientation Matters Sara Ahmed write that ‘bodies as well as objects shape though being orientated towards each other. An orientation that may be experienced as the cohabitation sharing of space’ (Ahmed, 2010:245). This suggest that it is through and with the costume (and it’s crafted materialities) that we, designer and performer, are orientated towards each other. Hence, it is by sharing and navigating between our different ways of being affected by observing and inhabiting costume that a potential shared or co-creative space occurs. Ahmed continues ‘if orientation affects what bodies do, then they also affect how space take shape around certain bodies’ (Ahmed, 2010:250). This indicates the way that we dialogically share our difference individual experiences will affect the way we co-inhabit the co-creative space. In otder to cultivate a co-creative culture indicates that I, the designer and researcher, have an ethical responsa-ability (Barad 2007) to listen to how a costume affects a performer with the awareness of that how a costume affects one performer doesn’t equal how another performer are affected. I propose that it is in the dialogical process of negotiating through and with the costume that we can co-explore and co-create a scenic ‘world’. A co-creative process where the costume ‘has the ability to instigate performance and tell a story in its own right’ (Marshall 2020:165). In performance-making process, in our openness and willingness to ‘make kin’ (Haraway 2016) with crafted materialities ¬costume offers us a co-creative space ‘to debate and navigate the world’s becomings’ (Pantouvaki et al. 2021, p. 202).

Originalspråk	engelska
Status	Published - 2022
Evenemang	15th NOFOD conference: Morning, relating. commanding. Choreographies for bodies, identities and ecologies. - The Danish National School of Performing Arts, Copenhagen, Danmark Varaktighet: 2022 juli 5 → 2022 juli 8 http://www.nofod.org/copenhagen-conference-2022/keynotes/

Konferens

Konferens	15th NOFOD conference
Land/Territorium	Danmark
Ort	Copenhagen
Period	2022/07/05 → 2022/07/08
Internetadress	http://www.nofod.org/copenhagen-conference-2022/keynotes/

Bibliografisk information

Ahmed S. (2010), Orientation matters, In (eds.) Coole D. & Frost S. (2010) New materialism – ontology, agency, and politics, Durham & London: Duke University Press, p. 234–257
Barbieri, D. (2007), Proposing an interdisciplinary, movement-based approach to teaching and learning as applied to design for performance related areas, Working papers, Prague Quadrennial, Prague June 14–27 2007, p. 3–23
Barbieri, D. (2017), Costume in performance: materiality, culture and the body, London: Bloomsbury publishing
Barad, K. (2007), Meeting the universe halfway – quantum physics and the entanglement of matter and meaning, London: Duke university press
Barad, K. (2014), Diffracting Diffraction: cutting together-apart, Parallax, 20(3), London: Routledge, p. 168–187
Bauhaus Ballet: A Dance of Geometry, https://www.youtube.com/watch?v=oo_BLRSuz7s
Bennett, J. (2010), Vibrant Matter–a political ecology of things, Durham London: Durk University Press
Elo, M. (2018), Light Touches: A Media Aesthetic Mapping of Touch, In Elo, M & Luoto, M. (Eds.), Figures of Touch, (p. 33–58), The Academy of Fine Arts at the University of the Arts Helsinki.
Haraway, D. (1988), Situated knowledge: the science question in feminism and the privilege if partial perspective, Feminist Studies, 14(3), p. 575¬–599.
Haraway, D. (2016) Staying with the Trouble – making kin in the Chthulucene, Duke University Press.
Ingold, T. (2013), Making – Anthropology, archaeology, art, and architecture, Abingdon: Routledge.
Ingold, T. (2016), On human correspondence, Journal of the royal anthropological institute (N.S.), 23, Royal Anthropological Institute, p 9–27.
Kleida, Danae (2017), Cinematographic motion & Serpentine Dance – towards a media archaeology of modern dance, Junctions, 2(1), Graduate Journal of the Humanities, Utrecht University, s. 53-63.
La Guin, U.K. (1986), The carrier bag theory of fiction, Dancing at the edge of the world – thoughts on words, woman, place, New York: Grove press, p. 165–170.
Listening Biennial https://listeningbiennial.net/about
Marshall, Susan (2021), Insubordinate costume (phd thesis), Goldsmiths, University of London.
Pantouvaki, S. (2020), ‘Costume thinking’ as a strategy for critical thinking, Paper presentation at Critical Costume 2020 conference (online), https://costumeagency.com/project/sofia-pantouvaki/
Schneider, L. & Zerfass, A. (2018), Polyphony in corporate and an organizational communications: exploring the roots and characteristic of a new paradigm, Communication management review, 3(2), p. 6–29.
Trimingham, Melissa (2017), Agency and empathy: artists touch the body, Costume in performance – materiality, culture, and the body, Bloomsbury Academic, s. 137–166.

Ämnesklassifikation (UKÄ)

Scenkonst
Design

Konstnärlig forskning

Uppförande
Design

1 Doktorsavhandling (konstnärlig)

Crafting material bodies: exploring co-creative costume processes
Østergaard, C., 2024 dec. 16, Malmö: Malmö Faculty of Fine and Performing Arts, Lund University.
Forskningsoutput: Avhandling › Doktorsavhandling (konstnärlig)

Öppen tillgång

1 Aktiva

Crafting material bodies - exploring co-creative costume processes
Østergaard, C. (Forskare)
2020/01/01 → …
Projekt: Avhandling

Citera det här

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title = "Listening through and with costume: A dialogical performance-making process",

abstract = "In performance contexts we often perceive costume as visual expression and as something that servers something else. The objective of this presentation is to discuss costume{\textquoteright}s performance-making potential. How can listening through and with costume become a performance-making strategy? With a few historical and examples from own research practice the ambition is to expand the notion of costumes as a scenic and world-making agent.In Orientation Matters Sara Ahmed write that {\textquoteleft}bodies as well as objects shape though being orientated towards each other. An orientation that may be experienced as the cohabitation sharing of space{\textquoteright} (Ahmed, 2010:245). This suggest that it is through and with the costume (and it{\textquoteright}s crafted materialities) that we, designer and performer, are orientated towards each other. Hence, it is by sharing and navigating between our different ways of being affected by observing and inhabiting costume that a potential shared or co-creative space occurs. Ahmed continues {\textquoteleft}if orientation affects what bodies do, then they also affect how space take shape around certain bodies{\textquoteright} (Ahmed, 2010:250). This indicates the way that we dialogically share our difference individual experiences will affect the way we co-inhabit the co-creative space. In otder to cultivate a co-creative culture indicates that I, the designer and researcher, have an ethical responsa-ability (Barad 2007) to listen to how a costume affects a performer with the awareness of that how a costume affects one performer doesn{\textquoteright}t equal how another performer are affected. I propose that it is in the dialogical process of negotiating through and with the costume that we can co-explore and co-create a scenic {\textquoteleft}world{\textquoteright}. A co-creative process where the costume {\textquoteleft}has the ability to instigate performance and tell a story in its own right{\textquoteright} (Marshall 2020:165). In performance-making process, in our openness and willingness to {\textquoteleft}make kin{\textquoteright} (Haraway 2016) with crafted materialities ¬costume offers us a co-creative space {\textquoteleft}to debate and navigate the world{\textquoteright}s becomings{\textquoteright} (Pantouvaki et al. 2021, p. 202).",

keywords = "Costume design, Crafting, Co-wearing, Artistic research, Keynote, Co-creation",

author = "Charlotte {\O}stergaard",

note = "Ahmed S. (2010), Orientation matters, In (eds.) Coole D. & Frost S. (2010) New materialism – ontology, agency, and politics, Durham & London: Duke University Press, p. 234–257 Barbieri, D. (2007), Proposing an interdisciplinary, movement-based approach to teaching and learning as applied to design for performance related areas, Working papers, Prague Quadrennial, Prague June 14–27 2007, p. 3–23 Barbieri, D. (2017), Costume in performance: materiality, culture and the body, London: Bloomsbury publishing Barad, K. (2007), Meeting the universe halfway – quantum physics and the entanglement of matter and meaning, London: Duke university press Barad, K. (2014), Diffracting Diffraction: cutting together-apart, Parallax, 20(3), London: Routledge, p. 168–187 Bauhaus Ballet: A Dance of Geometry, https://www.youtube.com/watch?v=oo_BLRSuz7s Bennett, J. (2010), Vibrant Matter–a political ecology of things, Durham London: Durk University Press Elo, M. (2018), Light Touches: A Media Aesthetic Mapping of Touch, In Elo, M & Luoto, M. (Eds.), Figures of Touch, (p. 33–58), The Academy of Fine Arts at the University of the Arts Helsinki. Haraway, D. (1988), Situated knowledge: the science question in feminism and the privilege if partial perspective, Feminist Studies, 14(3), p. 575¬–599. Haraway, D. (2016) Staying with the Trouble – making kin in the Chthulucene, Duke University Press. Ingold, T. (2013), Making – Anthropology, archaeology, art, and architecture, Abingdon: Routledge. Ingold, T. (2016), On human correspondence, Journal of the royal anthropological institute (N.S.), 23, Royal Anthropological Institute, p 9–27. Kleida, Danae (2017), Cinematographic motion & Serpentine Dance – towards a media archaeology of modern dance, Junctions, 2(1), Graduate Journal of the Humanities, Utrecht University, s. 53-63. La Guin, U.K. (1986), The carrier bag theory of fiction, Dancing at the edge of the world – thoughts on words, woman, place, New York: Grove press, p. 165–170. Listening Biennial https://listeningbiennial.net/about Marshall, Susan (2021), Insubordinate costume (phd thesis), Goldsmiths, University of London. Pantouvaki, S. (2020), {\textquoteleft}Costume thinking{\textquoteright} as a strategy for critical thinking, Paper presentation at Critical Costume 2020 conference (online), https://costumeagency.com/project/sofia-pantouvaki/ Schneider, L. & Zerfass, A. (2018), Polyphony in corporate and an organizational communications: exploring the roots and characteristic of a new paradigm, Communication management review, 3(2), p. 6–29. Trimingham, Melissa (2017), Agency and empathy: artists touch the body, Costume in performance – materiality, culture, and the body, Bloomsbury Academic, s. 137–166. ; 15th NOFOD conference : Morning, relating. commanding. Choreographies for bodies, identities and ecologies. ; Conference date: 05-07-2022 Through 08-07-2022",

year = "2022",

language = "English",

url = "http://www.nofod.org/copenhagen-conference-2022/keynotes/",

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TY - CONF

T1 - Listening through and with costume

T2 - 15th NOFOD conference

AU - Østergaard, Charlotte

N1 - Ahmed S. (2010), Orientation matters, In (eds.) Coole D. & Frost S. (2010) New materialism – ontology, agency, and politics, Durham & London: Duke University Press, p. 234–257 Barbieri, D. (2007), Proposing an interdisciplinary, movement-based approach to teaching and learning as applied to design for performance related areas, Working papers, Prague Quadrennial, Prague June 14–27 2007, p. 3–23 Barbieri, D. (2017), Costume in performance: materiality, culture and the body, London: Bloomsbury publishing Barad, K. (2007), Meeting the universe halfway – quantum physics and the entanglement of matter and meaning, London: Duke university press Barad, K. (2014), Diffracting Diffraction: cutting together-apart, Parallax, 20(3), London: Routledge, p. 168–187 Bauhaus Ballet: A Dance of Geometry, https://www.youtube.com/watch?v=oo_BLRSuz7s Bennett, J. (2010), Vibrant Matter–a political ecology of things, Durham London: Durk University Press Elo, M. (2018), Light Touches: A Media Aesthetic Mapping of Touch, In Elo, M & Luoto, M. (Eds.), Figures of Touch, (p. 33–58), The Academy of Fine Arts at the University of the Arts Helsinki. Haraway, D. (1988), Situated knowledge: the science question in feminism and the privilege if partial perspective, Feminist Studies, 14(3), p. 575¬–599. Haraway, D. (2016) Staying with the Trouble – making kin in the Chthulucene, Duke University Press. Ingold, T. (2013), Making – Anthropology, archaeology, art, and architecture, Abingdon: Routledge. Ingold, T. (2016), On human correspondence, Journal of the royal anthropological institute (N.S.), 23, Royal Anthropological Institute, p 9–27. Kleida, Danae (2017), Cinematographic motion & Serpentine Dance – towards a media archaeology of modern dance, Junctions, 2(1), Graduate Journal of the Humanities, Utrecht University, s. 53-63. La Guin, U.K. (1986), The carrier bag theory of fiction, Dancing at the edge of the world – thoughts on words, woman, place, New York: Grove press, p. 165–170. Listening Biennial https://listeningbiennial.net/about Marshall, Susan (2021), Insubordinate costume (phd thesis), Goldsmiths, University of London. Pantouvaki, S. (2020), ‘Costume thinking’ as a strategy for critical thinking, Paper presentation at Critical Costume 2020 conference (online), https://costumeagency.com/project/sofia-pantouvaki/ Schneider, L. & Zerfass, A. (2018), Polyphony in corporate and an organizational communications: exploring the roots and characteristic of a new paradigm, Communication management review, 3(2), p. 6–29. Trimingham, Melissa (2017), Agency and empathy: artists touch the body, Costume in performance – materiality, culture, and the body, Bloomsbury Academic, s. 137–166.

PY - 2022

Y1 - 2022

N2 - In performance contexts we often perceive costume as visual expression and as something that servers something else. The objective of this presentation is to discuss costume’s performance-making potential. How can listening through and with costume become a performance-making strategy? With a few historical and examples from own research practice the ambition is to expand the notion of costumes as a scenic and world-making agent.In Orientation Matters Sara Ahmed write that ‘bodies as well as objects shape though being orientated towards each other. An orientation that may be experienced as the cohabitation sharing of space’ (Ahmed, 2010:245). This suggest that it is through and with the costume (and it’s crafted materialities) that we, designer and performer, are orientated towards each other. Hence, it is by sharing and navigating between our different ways of being affected by observing and inhabiting costume that a potential shared or co-creative space occurs. Ahmed continues ‘if orientation affects what bodies do, then they also affect how space take shape around certain bodies’ (Ahmed, 2010:250). This indicates the way that we dialogically share our difference individual experiences will affect the way we co-inhabit the co-creative space. In otder to cultivate a co-creative culture indicates that I, the designer and researcher, have an ethical responsa-ability (Barad 2007) to listen to how a costume affects a performer with the awareness of that how a costume affects one performer doesn’t equal how another performer are affected. I propose that it is in the dialogical process of negotiating through and with the costume that we can co-explore and co-create a scenic ‘world’. A co-creative process where the costume ‘has the ability to instigate performance and tell a story in its own right’ (Marshall 2020:165). In performance-making process, in our openness and willingness to ‘make kin’ (Haraway 2016) with crafted materialities ¬costume offers us a co-creative space ‘to debate and navigate the world’s becomings’ (Pantouvaki et al. 2021, p. 202).

AB - In performance contexts we often perceive costume as visual expression and as something that servers something else. The objective of this presentation is to discuss costume’s performance-making potential. How can listening through and with costume become a performance-making strategy? With a few historical and examples from own research practice the ambition is to expand the notion of costumes as a scenic and world-making agent.In Orientation Matters Sara Ahmed write that ‘bodies as well as objects shape though being orientated towards each other. An orientation that may be experienced as the cohabitation sharing of space’ (Ahmed, 2010:245). This suggest that it is through and with the costume (and it’s crafted materialities) that we, designer and performer, are orientated towards each other. Hence, it is by sharing and navigating between our different ways of being affected by observing and inhabiting costume that a potential shared or co-creative space occurs. Ahmed continues ‘if orientation affects what bodies do, then they also affect how space take shape around certain bodies’ (Ahmed, 2010:250). This indicates the way that we dialogically share our difference individual experiences will affect the way we co-inhabit the co-creative space. In otder to cultivate a co-creative culture indicates that I, the designer and researcher, have an ethical responsa-ability (Barad 2007) to listen to how a costume affects a performer with the awareness of that how a costume affects one performer doesn’t equal how another performer are affected. I propose that it is in the dialogical process of negotiating through and with the costume that we can co-explore and co-create a scenic ‘world’. A co-creative process where the costume ‘has the ability to instigate performance and tell a story in its own right’ (Marshall 2020:165). In performance-making process, in our openness and willingness to ‘make kin’ (Haraway 2016) with crafted materialities ¬costume offers us a co-creative space ‘to debate and navigate the world’s becomings’ (Pantouvaki et al. 2021, p. 202).

KW - Costume design

KW - Crafting

KW - Co-wearing

KW - Artistic research

KW - Keynote

KW - Co-creation

M3 - Abstract

Y2 - 5 July 2022 through 8 July 2022

ER -

Listening through and with costume: A dialogical performance-making process

Sammanfattning

Konferens

Bibliografisk information

Ämnesklassifikation (UKÄ)

Konstnärlig forskning

Fingeravtryck

Forskningsoutput

Crafting material bodies: exploring co-creative costume processes

Projekt

Crafting material bodies - exploring co-creative costume processes

Citera det här