Appendix One


 
 

Draft Questions for Initial Discussions with Artists
 

 
 

(NB The questions were adapted in relation to each individual artist but acted as a guide to the structure of the discussions and subjects to be covered)

 

[I have been looking at the .... you sent me and ...]

...I would be interested to know what you think has had most influence on the performance material you are currently (have recently been) working on?

 

 

(If not clear from above) What dance/performance traditions are you drawing on in this current work ...why?

 

 

Tell me [more] about how you have approached making this current work?

 

 

 

Would you say your own physical make up inspires and/or constrains what you create for yourself to perform?

 

If yes ....

How?    Why?

 

Do you think audiences make assumptions about you in relation to your physical presence?

 

If yes ...

What assumptions?      Why?

 

How does this affect what you create for yourself to perform?

 

 

 

Do you think the way you move relates to any personal attitudes to life, outlook or beliefs?

 

If yes ...For example?...

 

How would you account for this ..For e.g. Is it something you have striven for consciously?

 

Is this still the case in stillness?

 

Do you think audience members are aware of this?

 

Consciously?

Unconsciously?

 


 

Thinking of the different processes of creating, rehearsing and performing solo movement can you describe how you are aware of your movement?

 

 

Are there differences in each process of creating, rehearsing and performing?

 

 

Is it important to you to have a sense of yourself from the audience’s point of view?

 

If yes

 

How are you aware of this?

 

 

From your experiences as both performer and audience how would you describe what is happening between performer and audience when a performance ‘works’?


Appendix Two

Summary of Key Contacts

 

Contacts with Key Artists

 

Nina Anderson: 

Initial Discussion 25 April 2003 at Morley College linked to watching rehearsal Choreography seen in studio as part of discussion

 

Follow Up:

Emailed text

Discussion 13 March 2004

Plus further informal follow up discussions including visit to see Phoenix with Artists B and D and observation of short performance 16 October 2005 at Morley Gallery

Joint discussion and observation of work on video 20 July 2005

Observation of groupwork in performance at Morley College July 2006

Final discussion and review of text 6 April 2007

 

Artist B 

Initial discussion: 9 March 2003 at Morley College

Examples of work seen in performance prior to interview

 

Follow Up:

Emailed text

Discussion 11 November 2005 at Morley College

Joint discussion and observation of work on video 20 July 2005

Observation of rehearsal 3 February 2006 plus informal follow up discussions including visit to see Phoenix with Artist D and Nina Anderson

Further discussions 17 and 24 May 2006 including visit to see dance performance

Final review of text 17 April 2007

 

Artist D

Initial discussion: April 26 2003 at Artist’s home

Examples of work seen live prior to discussion

 

Follow Up:

Emailed Text

Discussion 5 June 2004 and observation of rehearsal 19 August 2004

Observed in performances at The Place and Clore in 2005 and 2006

Plus informal discussions at visits to performances by Phoenix  (with Anderson and Artist B), Rosas and Raimund Hogue

Final review of text by email

 


Contacts with Artists Participating in Initial Discussions Only

 

Artist A

Initial discussion: 23 December 2002 at Artist’s home

Examples of work (live and on video) seen prior to discussion. Discussion linked to

watching video of rehearsal for recent work

Follow Up: Emailed text.

Final review of text and further discussion 23 February 2007

 

Gaby Agis:  

Initial discussion: 21 June 2003 at Morley College

Examples of work seen in performance prior to discussion, plus participation in classes

Follow Up:

Emailed text

Observation of Touch Un-Sited at South London Gallery17 June 2005

Final meeting to review text 19 January 2007

 

Sushma Mehta:

Initial discussion: 30 February 2003 at Morley College

Examples of Choreography seen prior to discussion

 

Follow Up:

Emailed text leading to informal discussion January 2005

Observation of performance of Shift May 3 2003

Reviewed text further by email and final discussion 3 February 2007 at cafe

 

 

 

Participation in Formal Discussions 

 

New Peckham Varieties 28 October 2004 

‘Talking About Dance’

with Teresa Early (chair), Carl Campbell

Karen Foster, Darryl Jaffrey, Jacky Lansley,

 

’Win Lab’ Independent Dance 21 December 2006

Discussion regarding improviation

led by Ea Karczag and Kate Brown with participants in Eva Karczag’s workshops

 

Laban 31 March 2007

Discussion regarding problems of globalism and cross culturalism as part of Dance Theatre Journal conference ‘Writing on Performance’


 

Further Discussions/ Sessions Observed

 

 Southbank Centre, 23 April 2003

‘British Hip Hop’ ADAD Discussion chaired by Donald Hutera with Robert Hylton, Kwesi Johnson, and Banksy

 

Southbank Centre 19 June 2003

‘Finding A Voice’ with Nahid Sadiqui

 

Independent Dance 21 and 25 August 2006

Observation KJ Holmes workshop plus informal discussion with KJ and some workshop participants

 

 

 

 


 Appendix Three

Research Participant Consent Form

 

 

The form was signed by each participating artist. It should be noted that there was a change of supervision after the forms were signed as initial discussions took place early in the research. Those artists continuing to participate later in the research process were informed verbally about the change. Three artists later decided not to remain anonymous

 


UNIVERSITY OF SURREY ROEHAMPTON

 


RESEARCH DEGREES COMMITTEE

 

RESEARCH PARTICIPANT CONSENT FORM

 

Title and brief description of Research Project:

 

An investigation into ‘embodiment’ informing  an exploration of  the relationship between everyday perceptions of  people’s physical presence and actions and interpretations of performances by Independent Dance and Performance Artists working in Contemporary London.

 

 

 

Name and Status of Investigator:

 

D. Jane Carr Research Student

 

 

 

Consent Statement:

 

I agree to take part in this research, and am aware that I am free to withdraw at any point. I understand that the information I provide will be treated in confidence and that my identity will be protected, as far as possible,  in the publication of any findings.

Prior to publication I will be able to see what has been written in relation to my involvement in the research. 

 

Name ………………………………….

 

Signature ………………………………

Date ……………………………………

Please note: if you have a concern about any aspect of your participation, please raise this with the investigator, or with the Head of School or Arts, Professor Allen Fisher.

To confirm my status as a research student you are welcome to contact my supervisors, Andree Grau or Stacy Prickett .