The conference dealt with themes related to artistic research in the field of dance in today’s Greece, such as the production of practice and knowledge inside and outside the academy, the distinction between the research process and the research result, the importance of interdisciplinarity etc.
Participants: Tzeni Argyriou, Zoi Dimitriou, Penelope Iliaskou, Iris Karayan, Androniki Marathaki, Sofia Mavragani, Menti Mega, Eleni Mylona, Dimitris Mytilinaios, Mariela Nestora, Katerina Paramana, Efrosyni Protopapa, Elpida Rikous, Fotini Stamatelopoulou, Stergiani Tsintziloni, Eva Fotiadi.
Curated by Stergiani Tsintziloni, researcher and dance theoretician. With the support of Duncan Dance Research Center (Artistic Director: Penelope Iliaskou).
Technical Support: Athena Bozika (Research Centre for the Humanities)
Dimitris Mytilinaios, Efrosyni Protopapa, Eleni Mylona
Introductory remarks: Katerina Paramana
While dance research, as well as research in general, has been linked to the academy and the prestige, value, or the market that this implies, nevertheless the practice of most creators (especially in the case of Greece) moves in the field of the independent scholarship. This fact has multiple implications in matters of archiving, dissemination, theoretical and reflective discourse. Can research outside the academy counterbalance some of the problems the academy poses? Is there a difference in knowledge when research is done inside/outside the academy?
Sofia Mavragani, Iris Karayan, Androniki Marathaki, Zoi Dimitriou
Introductory remarks: Menti Mega
The distinction between choreographic research, which produces a work and that which yields alternative forms (eg texts), delimits a series of questions. These relate to concepts such as production, work, economy, creativity, etc. Does this distinction make sense, and how does it work? Are there economic, ideological and social dimensions to this distinction?
Fotini Stamatelopoulou, Tzeni Argyriou, Mariela Nestora
Introductory remarts: Eva Fotiadi
Does artistic research in the field of Dance have any particularity? And which are the differences or similarities in practices, or even the “loans” from other arts and from the sciences? For example, is a distinction between dance and performance practices in the visual arts appropriate? How are choreographers specifically inspired by the humanities or STEM sciences? What is the significance of these correlations and interconnections, in terms of the scope of dance research in general, but also in terms of the relationship between the work and the audience?
Discussion between participants and organizers
22:00 End of Conference
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