scholarly journals Spaces of (Re)Connections: Performing Experiences of Disabling Gender Violence

Text Matters ◽  
2019 ◽  
pp. 273-291
Author(s):  
Nicole Fayard
Keyword(s):  
Identity Politics ◽  
Creative Process ◽  
Gender Violence ◽  
Decision Making Process ◽  
Role Performance ◽  
Performance Space ◽  
Speaking Out ◽  
Positive Identity ◽  
Creative Artists ◽  
Participatory Performance

The article explores the potential “healing” role performance art can have when representing disabling trauma, and engaging, as part of the creative process, participants who have experienced in their lives significant trauma and physical, as well as mental health concerns arising from gender violence. It focuses on the show cicatrix macula, performed during the exhibition Speaking Out: Women Healing from the Trauma of Violence (Leicester, 2014). The exhibition involved disabled visual and creative artists, and engaged participants in the process of performance making. It was held at the Attenborough Arts Centre in Leicester (UK), a pioneering arts centre designed to be inclusive and accessible. The show cicatrix macula focused on social, cultural, mental, and physical representations of trauma and disability, using three lacerated life-size puppets to illustrate these depictions. Working under the direction of the audience, two artists attempted to “repair” the bodies. The creative process was a collaborative endeavour: the decision-making process rested with the audience, whose privileged positions of witness and meaning-maker were underscored. Fayard demonstrates the significance of cicatrix macula in debunking ablist gender norms, as well as in highlighting the role played by social and cultural enablers. She calls attention to its potential for mobilizing positive identity politics, including for viewers who had experienced trauma. For example, the environment of the participatory performance space offered some opportunities for the survivor to become the author or arbiter of her own recovery. In addition, the constant physical exchange of bodies within this space of debate was well-suited to the (re)connection with the self and with others.

From creative process engagement to performance: bidirectional support

2016 ◽  
Vol 37 (7) ◽  
pp. 966-982 ◽  
Author(s):  
Yana Du ◽  
Li Zhang ◽  
Yanhong Chen
Keyword(s):  
Creative Process ◽  
Relative Effect ◽  
Hierarchical Regression ◽  
Role Performance ◽  
Content Type ◽  
Proposed Model ◽  
Using Data ◽  
Investment Process ◽  
The Relationship ◽  
Practical Implications

Purpose The purpose of this paper is to explore the effect of creative process engagement on employees’ in-role performance, and does so by considering the support that employees received from and given to their supervisors. Design/methodology/approach Using data from 540 questionnaires collected in China, this paper conducts a hierarchical regression analysis to test the proposed model. Findings Creative process engagement positively affects employees’ in-role performance. However, the moderating effect of receiving support on the above relationship is not significant. Instead, it is the interaction of receiving support from and giving it to supervisors that moderates the relationship between creative process engagement and in-role performance. Research limitations/implications The study has some contributions to the conservation of resource (COR) theory. The authors find that acquiring new resources such as receiving support from supervisors is not always effective. The acquisition process of resources should be considered with the investment process of resources. According to the COR theory, people invest resources to gain resources and protect themselves from losing resources or to recover from resource loss (Halbesleben et al., 2014). The findings of the study show that employees investing resources is not just for gaining resources. Sometimes, they invest resources such as giving support to supervisors to remain a relatively balanced relationship. Practical implications Companies can encourage employees to place more attention on creative process engagement to improve in-role performance. In addition, when offering support to employees, managers should consider whether the employees are able to give it back in response to the received support, and distribute their support to employees accordingly. Originality/value This paper explored employee’s engagement at creative process in a more novel way and clarified the relative effect of creative process engagement on in-role performance. Also, this paper was the first to pay attention to the bidirectional nature of supervisor support.

Viscerality

2019 ◽  
pp. 175-204
Author(s):  
Brahma Prakash
Keyword(s):  
Magnetic Field ◽  
Creative Process ◽  
Cultural Context ◽  
Indian Society ◽  
Full Energy ◽  
Performance Space ◽  
Process Thinking ◽  
Immersive Environment ◽  
Folk Performance

This chapter discusses dugola (singer-duels) performance in the context of (Syn)aesthetics, which is a unique and sensual approach to the creative process (thinking, producing, receiving). It tries to contextualize the immersive environment in which the music is created, learned, and performed by the performers. Drawing from Eugenio Barba’s claim that performer’s energy is a readily identifiable quality, this chapter studies the principles on which the performers model their muscular and nervous power to intensify their performing capacity. As the intensity between two singer competitors grows, the performance space becomes a magnetic field and creates its affective presence. The performer’s body vibrates with full energy and songs and stories seem to flow in that energy. This chapter will discuss the creative process in which the ‘folk performance’ works in a local cultural context. In caste based Indian society, this (syn)aesthetics offers some unique characteristics of these performers.

scholarly journals A prática teatral na Escola de Teatro da UFBA [Hebe Alves]

REPERTÓRIO ◽  
2010 ◽  
pp. 166
Author(s):  
Teatro & Dança Repertório
Keyword(s):  
Learning Process ◽  
Education Program ◽  
Creative Process ◽  
Formation Process ◽  
Logical Consequence ◽  
Academic Environment ◽  
Role Performance ◽  
Artistic Creation ◽  
Teaching Research ◽  
Final Work

<p>Este artigo discute a dinâmica da conexão entre ensino, pesquisa e extensão como uma conseqüência lógica do processo de formação do artista de Teatro no ambiente acadêmico. Com o intuito de esclarecer os modos dessa tríplice articulação, expõe uma visão panorâmica dos pressupostos da criação artística no campo teatral. Apresenta também algumas estratégias metodológicas empregadas na condução do processo de aprendizagem e suas implicações na montagem didática, elemento fundamental do projeto peda-gógico da Escola de Teatro da UFBA, em sua vertente teórico-prática. Através da exposição dos procedimentos e dificuldades para a concretização de um projeto de encena- ção no âmbito acadêmico, coloca-se a necessidade de sistematização/registro de realização dos projetos artísticos dos professores-encenadores. O relato do processo criativo de um espetáculo de formatura mostra, de forma evidente, a conexão ensino-pesquisa-extensão articulada no interior da disciplina TEA 237 - Desempenho de Papéis II (Turma 02), com a encenação do espetáculo de formatura <em>InSônia</em>, produzido a partir da adaptação do texto <em>Valsa nº 6</em>, do dramaturgo Nelson Rodrigues.</p><p>This article discusses the dynamics of the connection between teaching, research, and extension as a logical consequence of a theater actor's formation process in the academic environment. In order to clarify the modes of this triple conjunction, we expose an overview of the conditions of artistic creation in Theater. We also present some methodological strategies of teaching used in conducting the learning process and its implications for the didactic staging, a key element of the education program in our undergraduate studies, in both theoretical and practical aspects. By exposing the procedures and difficulties in the implementation of a project in the academic scenario, we point to the need for systematic documentation of achievements in the artistic projects of teacher-directors. The creative process report of an undergraduate's final work clearly shows the connection between teaching, research, and extension articulated within the discipline TEA 237 - Role Performance II (Class 02), with the staging of the undergraduation show <em>Insomnia</em>, adapted from the text <em>Waltz nº 6</em>, written by brazilian playwright Nelson Rodrigues.</p>

scholarly journals Creative Decision-Making Processes in Parametric Design

Buildings ◽  
2020 ◽  
Vol 10 (12) ◽  
pp. 242
Author(s):  
Ju Hyun Lee ◽  
Michael J. Ostwald
Keyword(s):  
Decision Making ◽  
Creative Process ◽  
Cognitive Process ◽  
Protocol Analysis ◽  
Parametric Design ◽  
Design Stage ◽  
Decision Making Process ◽  
Design Alternatives ◽  
New Knowledge ◽  
Decision Making Processes

Decision-making in design is a cognitive process wherein alternatives are generated and evaluated, potentially enabling a more creative design process. In recent years parametric design’s heightened capacity for automatically generating and evaluating options has been celebrated by researchers and designers, but it has also placed an increased emphasis on decision-making activities which have not previously been studied in this context. This paper conducts the first in-depth protocol analysis of the decision-making process (DMP) in parametric design. Using empirical data, it identifies three parametric DMPs at the conceptual design stage: (i) “conclusive” DMP, (ii) “confirmative” DMP, and (iii) “simulative” DMP. The results of this research indicate that while conclusive DMP generates and evaluates design alternatives, its “forward incrementation” approach has only limited potential for creativity. The confirmative DMP develops three creative operation loops in parametric design, suggesting it may be an important creative process. The simulative DMP simultaneously addresses divergent and convergent thinking, also indicating potential creative operations and outcomes. The identification and analysis of these DMPs contributes to developing new knowledge about the processes used in parametric design and their capacity to support creative results.

The Modern Courtesan: Gender, Religion and Dance in Transnational India

2020 ◽  
Vol 126 (1) ◽  
pp. 54-73
Author(s):  
Rumya S. Putcha
Keyword(s):  
Identity Politics ◽  
The United States ◽  
Media Analysis ◽  
Gender Performance ◽  
Gender Violence ◽  
Feminist Studies ◽  
Expressive Culture ◽  
Classical Dance ◽  
South Indian ◽  
Late Twentieth

This article exposes the role of expressive culture in the rise and spread of late twentieth-century Hindu identity politics. I examine how Hindu nationalism is fuelled by an affective attachment to the Indian classical dancer. I analyse the affective logics that have crystallised around the now iconic Indian classical dancer and have situated her gendered and athletic body as a transnational, globally circulating emblem of an authentic Hindu and Indian national identity. This embodied identity is represented by the historical South Indian temple dancer and has, in the postcolonial era, been rebranded as the nationalist classical dancer—an archetype I refer to as the modern courtesan. I connect the modern courtesan to transnational forms of identity politics, heteropatriarchal marriage economies, as well as pathologies of gender violence. In so doing, I examine how the affective politics of ‘Hinduism’ have functionally weaponised the Indian dancing body. I argue that the nationalist and now transnationalist production of the classical dancer-courtesan exposes misogyny and casteism and thus requires a critical feminist dismantling. This article combines ethnographic fieldwork in classical dance studios in India and the United States with film and popular media analysis to contribute to critical transnational feminist studies, as well as South Asian gender, performance and media studies.

scholarly journals Construction and Performance Applications of an Augmented Violin: TRAVIS II

2020 ◽  
Vol 44 (2-3) ◽  
pp. 55-68
Author(s):  
Chantelle Ko ◽  
Lora Oehlberg
Keyword(s):  
Real Time ◽  
Creative Process ◽  
The Body ◽  
Electric Signal ◽  
Interactive Performance ◽  
Left Hand ◽  
Performance Space ◽  
Interface System ◽  
Dream State ◽  
And Performance

Abstract We present the second iteration of a Touch-Responsive Augmented Violin Interface System, called TRAVIS II, and two compositions that demonstrate its expressivity. TRAVIS II is an augmented acoustic violin with touch sensors integrated into its 3-D printed fingerboard that track left-hand finger gestures in real time. The fingerboard has four strips of conductive PLA filament that produce an electric signal when fingers press down on each string. Although these sensors are physically robust, they are mechanically assembled and thus easy to replace if damaged. The performer can also trigger presets via four sensors attached to the body of the violin. The instrument is completely wireless, giving the performer the freedom to move throughout the performance space. Although the sensing fingerboard is installed in place of the traditional fingerboard, all other electronics can be removed from the augmented instrument, maintaining the aesthetics of a traditional violin. Our design allows violinists to naturally create music for interactive performance and improvisation without requiring new instrumental techniques. The first author composed two compositions to highlight TRAVIS II: “Dream State” and “Kindred Dichotomy.” Both of these compositions involve improvisation in their creative process and include interactive visuals. In this article we describe the design of the instrument, experiments leading to the sensing fingerboard, performative applications of the instrument, and compositional considerations for the resultant pieces.

scholarly journals Visible Religion and Populism: An Explosive Cocktail

Religions ◽  
2020 ◽  
Vol 11 (8) ◽  
pp. 401
Author(s):  
Walter Lesch
Keyword(s):  
Identity Politics ◽  
Diversity Management ◽  
Well Being ◽  
Political Agenda ◽  
The Political ◽  
The Public ◽  
Political Ideologies ◽  
The People ◽  
Positive Identity ◽  
The Public Sphere

Populism frequently uses the visibility of religious majorities and minorities as polemically charged references in the political controversy about cultural identity. Visible signs are evoked as positive identity markers and representations of the fiction of a homogenous society. The visibility of religions coming from an immigration background is more likely to be attacked as an invasion of foreigners who do not fit in the frame of an imagined authentic model of cultural unity. As the debates on the construction of mosques and minarets in European cities show, Islam becomes a synonym of differences perceived as problematic. Depending on the political agenda, invisible and quiet religions are preferred to the visible and politically more demanding ones. However, the opinions for or against a high degree of visibility are not necessarily shared within the religious communities. Their members can ask for discrete individual practices or for a strong collective presence in the public sphere. Populist discourses try to argue against manifestations of ostentatious visibility and use this fight as a platform for identity-driven propaganda that is interested in the exclusion of those who are considered as the threat to the well-being of the “people”. The visibility of religion thesis has to be dealt with carefully in the context of right-wing populism because of the toxic effects of all kinds of identity politics in the political as well as in the religious sphere. The conventional implications of the public–private split must be rearticulated in a context in which secularism is challenged by the return of visible religion and by the emergence of political ideologies playing with the fire of strong and exclusivist identity claims that are in conflict with ideals of tolerance, pluralism, and diversity management.

scholarly journals PROSES KREATIF ZAINAL BETA DALAM PENCIPTAAN LUKISAN MEDIA TANAH LIAT

2020 ◽  
Vol 3 (2) ◽  
pp. 106-117
Author(s):  
SepBianti Rangga Patriani
Keyword(s):  
Qualitative Research ◽  
Creative Process ◽  
Research Method ◽  
Life Experiences ◽  
Research Data ◽  
New Work ◽  
Artistic Creativity ◽  
Cultural Life ◽  
The Social ◽  
Creative Artists

Creative artists are people who cultivate their imagination to always explore art through experimental and trial methods. Experiments carried out by an artist in creating a new work of art are part of an original creative process. As is the case, Zainal Beta is a regional artist in Makassar who develops his artistic creativity by painting using clay media. The purpose of this study was to determine the stages of Zainal Beta's creative process as a clay painter. This research method is described descriptively analysis using the creativity approach. This qualitative research data was obtained through observation, interviews, documentation studies, and literature review. The conclusion of this research is that the stages of the creative process that Zainal Beta went through in the creation of clay painting works originated from inventions accidentally. This discovery motivated Zainal Beta to continue to explore his painting experience using clay media. He continued to develop his creativity in painting using bamboo blades as a painting tool. He used the bamboo slats to make a scratch in painting. Related to the visualization of the object, Zainal Beta clay painting works tend to present the theme of the social and cultural life of the area where he lives, which is depicted in a naturalist and expressive style. The embodiment of the painting object is a representation of various life experiences obtained by Zainal Beta as a clay painter in Makassar.

scholarly journals The Act of Improvisation within the work of Tacita Dean

2013 ◽  
Vol 8 (2) ◽  
Author(s):  
Andrew Sneddon
Keyword(s):  
Decision Making ◽  
Creative Process ◽  
Critical Analysis ◽  
Visual Art ◽  
Decision Making Process ◽  
Art Practice ◽  
The Relationship ◽  
Diamond Ring

This paper sets out to explore the practice of Tacita Dean and in particular the exhibition project, 'An Aside', 2005 in order to fully examine the notion of improvisation within visual art practice. Through this exhibition, Dean draws together a number of other artists that at first seem unrelated and made up of diverse objects in a deceptively provocative exhibition. By conducting a critical analysis of Dean's practice and considering her welcoming of chance, contingency, and chaos, the paper will develop a new understanding and awareness of how sagacity (defined here as "sage-like," or to have the wisdom to recognise something complex) and improvisation co-habit the creative process. By considering Dean's breadth of practice as a case study, we are provided with a number of projects that have initially 'failed,' presenting the artist with an opportunity to improvise. By bringing together 'Prisoner Pairs' (2008), 'Banewl' (1999) and 'Diamond Ring' (2002), Dean demonstrates the creative impulse and ability to respond to serendipitous discoveries and to allow the unimaginable. The paper considers the role of sagacity and its ability to be used as a framing device through which the decision-making process of the artist is revealed. Serendipity also appears to have a bearing on the artist's ability to improvise. As Dean has said, "uninvited disappointments which are unbelievably painful at the time become productive in hindsight." Finally, the paper will consider the relationship between sagacity, improvisation, serendipity, and the temporal, which is also a component within the case studies.

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