Month: June 2016

Choreographic poetry

Amanda Steggell

Choreographic poetry: Creating literary scores for dance
Janne-Camilla Lyster

Norwegian Artistic Fellowship Programme
Start: 2013
Ongoing

Introduction
I am a dancer, choreographer and author. I received my BA in Contemporary dance at the Oslo National Academy of the Arts, the Academy of Dance in 2006. Through my artistic research project, I aim to develop literary scores for dance, and search for approaches and examine the outcome of procedures connected to writing, composing and adapting such scores.

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Choreography as affective and collective event

Amanda Steggell

Choreography as affective and collective event
Ingri Midgaard Fiksdal

Norwegian Artistic Fellowship Programme
Start: 2013
Ongoing

Project summary
The focus of this research project is to explore choreography as a collective and affective event through the development of specific choreographic structures and strategies. My artistic aim is to create events that produce potential for new experiences, thoughts and ideas to occur. This aim is founded in a belief in art as a motor for change, through taking the role as “utterly useless” in a society where most other things have a given and known purpose. When confronted with something that doesn’t perform as expected or resists classification we have to look for new approaches, and in these moments of liminality there is potential for the unpredictable and unforeseen to occur.

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Alone Together

Amanda Steggell

Alone Together.
Siting choreography in the landscape

Students on the master course in choreography are launching ALONE TOGETHER – a web based presentation of choreographic research in the littoral zone in the centre of Oslo!

Through the four-week workshop ‘Siting choreography in the landscape’, the students have been working with these questions:

What insights of choreography in everyday life may be garnered through gaze and conversation when moving through littoral landscapes? What kinds of choreographic situations can be made when responding to this question on an everyday basis? How may these choreographic situations emerge, be practiced and conveyed to audiences?

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