Codarts Research Festival, That Will Take Place on Thursday 11 March 2021

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Dear reader,

A wholehearted welcome to the fifth edition of the Codarts Research Festival, that will take place on Thursday 11 March 2021. Due to the continuing covid-19 pandemic this will be an online event, with live streamed presentations in ZOOM 1, and online presentations in ZOOM 2.

This year's edition has a distinct RASL*) -flavor, as the theme is ‘Social engagement and the Arts.’ As the ‘traditional’ jobs in the arts are under increased pressure, and our society is faced by seemingly insurmountable problems, like climate change and pollution, but also social disintegration and loneliness, many artists feel the need to reposition themselves and look for ways to contribute. The covid-19 pandemic has made these problems even more acute. The Research Festival will address these issues, with (inter)national speakers from the world of dance, music and theater, next to a variety of research presentations from Codarts students and staff. And you are invited to caste your vote for the audience award during the annual Master research competition.

*) RASL is the Rotterdam Arts and Science Lab. An intense collaboration between Codarts Rotterdam, Arts & Culture Studies (EUR), Erasmus University College (EUR) and Willem de Kooning Academy, with the aim to examine the relationship between the arts and society in a transdisciplinary way.

If you haven’t done so already, we kindly request you to register for the Festival using this link: https://codarts.zoom.us/meeting/register/tJIoc-ytpz0tGt2-wNg97GnMHAcBsoMGKw6A Upon registration you will receive a confirmation and the ZOOM link plus password that gives you access to the Festival on the day itself.

We are looking forward to seeing you online! Kind regards, Henrice Vonck

Henrice Vonck Artistic Research | Research Fund & Festival Codarts Rotterdam

CODARTS RESEARCH FESTIVAL

March 11, 2021

PROGRAMME (Click on the presenter’s name to read more information) Zoom 1 09:15 Opening Festival | Wilma Franchimon, President Executive Board KEYNOTE | Michelle Teran (Professor Social Practices, Willem de Kooning Academy) Emergent perspectives: Listening with, Learning with, in Dialogue with Moderator: Job ter Haar Zoom 1 Zoom 2 Moderator: Henrice Vonk Moderator: Job ter Haar 10:00 Codarts Research Fund Presentations 10:00 RASL workshop | Vivian Sky Rehberg & Josué Wobbe Kuiper | Theory and Practice Amador |Boundary Work: Exploring Transdisciplinary Rosemarie Samaritter | BHAI. Building Health Compositions in the Arts and Sciences from Arts-based Interventions Suze Steemers | Screening for violinists Soesja Pijlman | Circus talent; spill or 10:40 Merlijn Twaalfhoven | It is up to us (Interview with facilitate? Nicole Jordan) 11:00 Break Moderator: Federico Mosquera Moderator: Katherine Stimson 11:20 Research Platform Launch | Emlyn Stam & 11:20 EXPERT TALK Dance|Prof. Scott deLahunta & Job ter Haar | From Discourse to Discord: Rosemary Lee |Threaded Fine: embracing and creating an online forum for artistic research revealing individuality and commonality with an intergenerational cast

11:50 PLAY & PRESENT Dance | Jonatan Myhre 11:50 EXPERT TALK Art therapies|Simone Kleinlooh | Jørgensen | Chasing the stream of conscious- Dance Movement Therapy for improving self-regulation ness and social engagement

12:10 PLAY & PRESENT Dance |Claudio Murabito 12:10 ALUMNUS Art therapies | Pauline Briguet | Somatic | The dancing organism in the conceptual responses: my body knows best experience of Being

12:30 Lunch break Moderator: Aleksandra Tonelli Moderator: Suzan Tunca

13:20 Research Competition | Ishtar Bakhtali | 13:20 Codarts Professor |Micha Hamel | Listening Space From Patchwork to Fabric: how to weave elements of Indian Classical music into improvisation and composition

13:40 Research Competition | Samuel Wong | 13:40 EXPERT TALK Music theatre |Rajiv Bhagwanbali | Ornamental embellishment J.S. Bach's Aria’s: a Connecting the culture (Interview with Nicole Jordan) toolbox for interpreting and embellishing Bach’s vocal music

2 14:00 Research Competition | Jan Wouter 14:00 Bachelor student Dance in Education |Anneloes Oostenrijk |The Maqam system as a tool for Schuppen | Critical Pedagogies as a tool for preparing horizontal modal melodic developments future dance teachers to engage and work in a multi- diverse workfield

14:20 Break Moderator: Aleksandra Tonelli Moderator: Katherine Stimson 14:40 Research Competition | Cristian Prajescu 14:40 Master choreography student |Silvia Giordano | |Implementing Modern Production Techniques The emerging sense: practicing intuition in my in a Live Music Context choreographic practice 15:00 Research Competition | María Ángeles 15:00 Master choreography student |Yara Boustany | Chaparro |New musical perspectives and Imaginary bodies performing possibilities for the viola in traditional Scottish music

15:20 Research Competition | Elena García Ver- 15:20 EXPERT TALK Circus |Angelique Wilkie |Minding the duras | Dialogues of animated sound and gaps: research as creation and personal creation as visual music research

Moderator: Federico Mosquera 15:40 Bárbara Varassi Pega | The Art of Tango: Book presentation and performance

16:15 RESEARCH COMPETITION | Award Ceremony

16:30 FESTIVAL CLOSURE

3 Ishtar Bakhtali | Master of Music student | Research Competition Research Domain: World Music Research Coach: Michalis Cholevas Main Subject Teacher: Chiranjib Chakraborty, Paul van Brugge

Biography | Ishtar Bakhtali is a vocalist from The Netherlands. Influences for her music are Indian classical music, sounds of nature, electronics and jazz. In projects she likes to incorporate cross-disciplinarity and transcending styles.

Born in The Netherlands to a Dutch mother and Hindustani-Surinamese father she came into contact with different cultures and various kinds of music from a young age. This planted the seed to explore more cultures and languages, leading especially to Portugal and India. During her bachelors study in Jazz at Maastricht and Lisbon she first came in touch with South-Indian music. Over the last few years she spent several months in India, studying vocals and konnakol. At Codarts she currently studies composition and Indian vocals while researching crossover.

From Patchwork to Fabric: how to weave elements of Indian Classical music into improvisation and composition

Abstract | In this research tools for improvisation and composition were developed by taking elements from melodic and rhythmic improvisation in south Indian music: manodharma and thani avarthanam and classical north Indian improvisation: dhrupad alaap. The motivation for this research came from the wish to be able to creatively weave stylistic elements from Indian music into a new musical context - specifically the crossover between Indian classical music and jazz-related styles - with a deep understanding of tradition while finding ways to make the elements fit the new context.

To gain Indian ethnographical insight into the different elements within improvisation, I conducted several interviews with experts, attended multiple classes and concerts, consulted literature on the topic and analyzed improvisations as well as compositions. To turn investigated musical aspects into tools applicable in another context - such as build-up of improvisation, ornamentation, rhythmical patterns, and structure - I conducted experiments, made exercises and designed improvisational strategies. Patterns and structures found in improvisations were used to construct frameworks for composition sketches. In the final creative artistic result all elements come together within a crossover composition. The goal of the research was to gain tools to expand my vocabulary as a vocalist and composer.

Performers: Ishtar Bakhtali - Vocals Filippos Glinavos - Guitar Tarang Poddar - Drums/tablas Ildo Nandja - Doublebass Back to overview

4 Rajiv Bhagwanbali | Cultural entrepreneur|Operadagen festival Website: www.connectingtheculture.nl

Biography | Rajiv Bhagwanbali started as a dancer in the Hiphophuis and has since developed into a teacher, theater player, theater maker, presenter and also cultural entrepreneur.

Through his foundation Connecting the Culture, he realizes his mission to tell stories from different cultures in a multidisciplinary way. For example, three years ago Rajiv founded a carnival group during the summer carnival consisting of artists from the urban sector. Since then, he has been working on Culture Connect, an event where 3 urban dancers research the dance style of their cultural background which are then linked to a traditional musician and spoken word artist from the same cultural background. The result is three performances that form a hybrid between tradition and contemporary dance, spoken word and music.

Additionally, Rajiv works as an artistic director at Rotterdam Street Culture Week, a street culture festival in Rotterdam during the Covid-19 pandemic last September. He also works as a director at the Operadagen festival, now renamed the "O festival", where he gives lectures about urban projects where different cultures from the city are brought together to create beautiful performances.

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5 Yara Boustany | Master Choreography student Research Domain: Choreography Research Coach: Jochem Naafs Main Subject Teacher: Katherine Stimson

Biography | Yara Boustany is a Beirut-based dance / theater performer and choreographer. After graduating in Audiovisual studies, she continued her studies in Dance, Theatre and Circus in Spain and is currently doing her Masters in Choreography at Codarts. She is the founder of Amalgam Studio in Beirut, a dance and theater space. Her interdisciplinary work is a poetic approach to the dilemmas of the human being in a rapidly changing society - technologically, scientifically and philosophically. She uses imagination and improvisation as tools to unravel the hidden layers of existence. She has toured with her shows notably in Lebanon and Beirut, and also in Stuttgart, Ankara, Warsaw, London, Manchester, Liverpool, Chalon sur Saône and Athens. She is preparing to shoot her new play “Noctilūca'' in 2021, supported by AFAC (Arab Fund for Culture).

Imaginary bodies

Abstract | In an endeavor to transform the disembodying effect of this constantly and rapidly evolving postmodern world, this research explores the potential of imagination and dance/theatre improvisation to rewire our minds and bodies through the untangling of the knots we have wrapped ourselves in, in the pursuit of a disciplined and controlled society.

This study involves designing and recording experiences in which people intuitively improvise with their imagination to create “imaginary beings”, hybrid creatures, gods, myths or spirits that flow from conscious and unconscious images and thoughts.

These new contemporary “beings” and myths are consequently used as instruments to induce alternate ways of perceiving, improvising, moving and sounding. I look for methodology that stimulates paths for performers to re-meet their body/voice and discover new possibilities of movement and sound through the embodiment of an imaginary body. My interest is to observe if this context stimulates the performer to undo familiar patterns, to reshuffle the possibilities of the body and connect with a wild freedom of inner movements and impulses.

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6 Pauline Briguet | Codarts alumna |Master of Art therapies

Research Area: Dance therapy and personality disorders

Biography | My name is Pauline Briguet, I am a professional dancer/performer and Dance Movement Therapist MA born in Switzerland and currently based in the Netherlands. Dance has always been part of my life, as means of exploration, expression and eventually as a tool to support others on their path. Since my graduation in 2019 as a dance therapist (DT) I have been working at the acute psychiatry at the University Hospital in Utrecht and since a year contracted in an Intensive Care Centre (CIB) in Den Haag specialized on early attachment trauma, personality disorders and dissociative identity disorders. Next to my therapy career I am still active as a dancer/performer touring around Europe with various freelance dance companies. I also perform my own work in congresses to bring awareness within the mental health field bringing the body, dance and art to the forefront as a form of therapy.

Somatic responses: my body knows best. A DT inquiry into the identification of somatic responses while working with a patient with Cluster-C personality disorder traits in a psychiatric setting

Abstract | This research investigates the identification, meaning and use of somatic responses of the dance therapist (in training) in relation to a female client with Cluster-C personality disorder traits. The data is collected over four consecutive DT sessions through a qualitative arts-based research. In my double role as dance therapist in training and researcher, I investigated my somatic responses through in-depth movement explorations and a dance solo creation. Through the arts-based methods and a reflective interview with the client, five main themes emerged that seem to hold value for the client: inter-relational issues, somatic sensing, the need of expressing herself and the biographical story / trauma. This study encourages the therapist to stay in touch with their somatic responses, allowing unconscious material to surface and daring to reflect and interact with their clients from this somatic perspective. This study has shown that it is a safe and non-judgemental approach, encouraging the transformation of maladaptive patterns by present reflective somatic awareness. Furthermore, this method can be of great support and value in terms of therapeutic approach working with personality disorder (PD) clients. A final artistic product in the form of a dance solo emerged, which added a final (fifth) theme to the above mentioned four, namely emotional regulation. While there is a concrete body of knowledge on kinesthetic empathy, embodiment of the therapist as well as extensive literature on personality disorder non-related to DT, I aim to link these individual topics to somatic responses in relation to my own experience through this research.

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7 Mª Ángeles Chaparro Fuentes | Master of Music student | Research Competition Research Domain: Performance Practice Research Coach: Bárbara Varassi Pega Main Subject Teacher: Julia Dinerstein

Biography | Born in Madrid, Mª Ángeles Chaparro (1996) started her musical career at a young age. She studied in Spain, with among others, violists Victoria Sánchez, Ashan Pillai, Thuan Do Minh, Natalia Thitch, and David Quiggle, and in 2015 with Liesbeth Steffens at the Royal Conservatory of The Hague. She has performed with the Armonia String Quartet in venues as Tivoli Vredenburg and the Concertgebouw, receiving group lessons from their main teacher Janet Krause. The quartet has attended masterclasses with the members of the Jerusalem Quartet and Cuarteto Casals. Angeles also developed a passion for teaching and has graduated in 2019 with a minor in Education, together with her bachelor's diploma from The Hague. She is currently pursuing her masters at Codarts University of the Arts Rotterdam under the guidance of Julia Dinerstein. Angeles's love for traditional Celtic music has led her to become a member of the ensemble Sowulo, which creates its music with early medieval and contemporary instruments, strongly rooted in their pagan past.

New musical perspectives and performing possibilities for the viola in traditional Scottish music

Abstract | The role of the viola has been scarcely developed within traditional Scottish folk music and many violists actually do not know the many possibilities of the instrument within such a musical language. It is my aim in this research to bring new musical perspectives and performing possibilities to the viola while focusing on traditional Scottish music.

As a result of my classical background, I follow a learning-journey that includes new techniques and Scottish ornamentation applied to viola, new musical arrangements, and what I call viola-friendly tunes, thus helping to expand the viola repertoire and performance possibilities. While recognizing that the modern viola is not a regular part of traditional Scottish music’s instrumentation, my goal is to recreate a sound and style that is close to its tradition, both inspired and informed by other instruments that do belong to it, such as the fiddle or bagpipes. The contribution of my research is to provide study material for viola players interested to immerse themselves in this musical tradition. Thus my final report will include a viola-friendly tunes booklet, reviewed by well-known fiddle and viola experts in the field of traditional Scottish music, that results from my musical endeavours as a violist and artistic researcher.

Back to overview 8 Elena García Verduras | Master of Music student | Research Competition Research Domain: Composition and arrangement Research Coach: Federico Mosquera Martínez Main Subject Teacher: René Uijlenhoet

Biography | Elena Garcia Verduras is a composer, cellist and sound video artist based in Rotterdam. She began her studies in advertising in Madrid, Spain, while studying cello and playing in the youth orchestra. Intrigued by how music is made and the contemporary music scene in the Netherlands, she moved to Rotter- dam to study music composition with Hans Koolmees and René Uijlenhoet at Codarts. During the final years of her compositional studies she started introducing video as a new tool to structure music, which became a method of defining her own practice. Currently in her second year of her master’s studies at Codarts, in combination with the Willem de Kooning Academy, she thrives in creating audiovisual works that merge these two disciplines, searching how their relationship can enhance her creative process. When not playing with her synthesisers, she splits her time between biking in the Dutch countryside and pampering her cat Rita.

Dialogues of animated sound and visual music

Abstract | The combination of image and sound is an integral part of our media culture and also of my compositional practice. Deepening the connection of the two, I opened my musical boundaries by introducing a new field for organisation and concepts beyond traditional music composition. My master’s research explores how introducing audiovisual aesthetics into my compositional creation has changed the way I structure and develop new ideas. Playing with this new medium has grown my compositional toolbox by allowing me to organise material in a new way, explore different themes, and to investigate concepts of time, synchronisation and form. Working on different approaches (such as structuring images according to musical logic, adapting music to images, or working simulta- neously) has pushed me to wonder, explore and discover what kinds of relationships music and image can enjoy. This research has born a new artistic practice: a creative playground where I can merge and explore technology, animation, sound and composition. Starting from basic traditional animation based on slow-motion and culminating in computer-based exploration, I have refined a personal aesthetic while studying key artists such as Norman McLaren and Ryoji Ikeda, embracing their techniques and studying their aesthetics.

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9 Silvia Giordano | Master Choreography student Research Domain: Choreography Research Coach: Mariella Greill Main Subject Teacher: Katherine Stimson

Biography | Born in Udine, Italy, Silvia Giordano is a choreographer and author. She began her professional dance training in Florence, then won a scholarship to further her education at Balletto di Toscana and at Biennale College Dance with Cesc Gelabert. She continued her studies in London (The Place) and in Paris (CND and Menagérie de Verre) and she is now attending the COMMA Master in Choreography of CODARTS and Fontys Academy in The Netherlands. As a choreographer she worked at Festival Maggio Musicale Fiorentino, at Guangzhou Opera House, at Teatro La Fenice of Venice, at Teatro Real in Madrid and Teatro de la Maestranza in Sevilla. As assistant director in opera she worked, among others, at Opéra of Tours and Teatro Filarmonico in Verona. She is among the three international young choreographers selected by Marie Chouinard for the dance section of La Biennale di Venezia 2020 (Italy), where she premiered her creation “Tremendous Hop”. She holds a Phd in Management and Development of Cultural Heritage from IMT School for Advanced Studies Lucca with a research on Internationalization practice in opera houses in Italy and China. She has been a visiting fellow at NCPA in Beijing and at Sorbonne University in Paris and is a lecturer at the Master in Performing Arts Organization at Palazzo Spinelli in Florence.

The emerging sense, practicing intuition in my choreographic practice

Abstract | The research deals with fostering intuition in the creation process and on the preparation needed to tune with our sixth sense in choreographic practice. The term intuition is here considered as a fundamental component of thought that has its roots in the process of tacit learning from experience while the tension generated by the swirling intuitive and cognitive intricacies of dance- making, is discussed in terms of fruitful cohabitation. The research explores ways of enhancing the choreographer’s intuitive skills and building trust into intuitive capacities. Through the ongoing work, different ways of attaining intuitive knowledge are addressed for the development of a toolbox of practices allowing the awakening of the senses in the pathway of creation. The aim is to help the maker to tune into his intuitive thoughts and to further explore the transmission of choreographic inputs to other bodies. The methodological approach responds to the hybrid nature of the inquiry and navigates fluidly between a conceptual framing, practice-and-research and practice-as- research methodologies, through auto ethnographic techniques of investigation, prioritizing qualitative enquiries on the choreographer and on the performers’ personal experience in the studio.

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10 Micha Hamel | Codarts Professor Performance Practice Research Area: Performance Practice

Biography | Micha Hamel is a composer, awarded poet, theatre maker and researcher. He composed music for the concert hall, dance and theatre. He also performed as a conductor. Since the composing of his 'tragic operetta' Snow White (2008) he mainly composes interdisciplinary and polystilistic works that require an unconventional line-up, spacing and movement, crossing over with poetry, fine arts or architecture. His most recent success was his opera Caruso a Cuba (2019), produced by the National Opera of the Netherlands. He holds a professorship at Codarts in which he researched the current state and the future of classical and contemporary music, which resulted in the book Speelruimte voor klassieke muziek in de 21ste eeuw. Momentarily, Micha Hamel is the project leader and artistic researcher of the interdisciplinary research project GAMPSISS that gives researches the possibility of using gamification to enhance the listening experience for classical music.

Listening Space

Abstract | Listening Space is a deliverable from the research project Gameful Music Performances for a Smart, Inclusive, Sustainable Society (GAMPSISS), a research project in which Codarts (Micha Hamel and Arlon Luijten), Erasmus University, Willem de Kooning Academy and Delft University of Technology collaborate.

Listening Space is a game prototype that can be played on a computer, a tablet or a smartphone. The gameplay lasts one hour approximately. It is meant to be played as a preparation before going to a concert. Its educational dimension is much different from the regular approach of concert venues and music groups, because instead of informing the members of the audience about the music, this game is designed to train their listening skills. By getting acquainted with three different listening modes (listening strategies) an audience member might be persuaded to commit herself to the adventure of listening as such, and thus be sensibilized to the concert experience, regardless of what music is played. The game prototype has been tested with a population of 100 concert-goers, from newbees to experts in 13 different concerts in Rotterdam and Amsterdam.

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11 Simone Kleinlooh | Codarts lecturer | Master of Arts Therapies Research Area: Dance Movement Therapy

Biography | Simone Kleinlooh, PhD candidate, senior registered dance movement therapist and supervisor (NVDAT, ADTA, LVSC). After a career as a dancer/dance teacher, Simone graduated from the first Dance Therapy Program in 1998 at Codarts. She worked for over 15 years as a dance movement therapist in clinical settings with adolescents and adults and for 12 years as a lecturer of dance movement therapy at Zuyd University of Applied Sciences. In 2010 Simone started to work at Codarts Master of Arts Therapies – Dance Therapy Department in Rotterdam as a lecturer and later as the programme leader of the Dance Therapy department. As a dance movement therapist and trainer, she also offers dance movement therapy and facilitator training on embodiment in China since 2012. Since 2000 she has run a private practice and offers dance movement therapy, coaching and supervision for arts therapists and other mental health professionals.

Dance Movement Therapy for improving self-regulation and social engagement. A systematic review and thematic synthesis on dance movement therapy and personality disorder

Abstract | Dance Movement Therapy (DMT) can be defined as the psychotherapeutic use of movement and dance promoting emotional, social, spiritual, cognitive and physical integration of the individual. By engaging DMT in dance, clients can experience a relief from life as usual, and pathological stagnation can transform into states of flow. This supports clients in surpassing destructive patterns of behavior while new ways of coping are experienced. From time to time every person struggles with regulating his/her emotions. For people with a personality disorder (PD), self-regulation is extremely difficult and leads to significant distress. This severely affects their sense of self, ability to reach goals, and capability to socially engage and develop intimate relationships. Between 4.4 and 13.5% of the general adult population has a PD often in combination with another disorder as for example, a substance use-, eating-, anxiety- or somatization disorder. In this presentation the results from a systematic review and thematic synthesis on DMT and PD are shared. They form the basis for future studies on the possible value of interventions derived from dance (improvisation and choreography) for supporting self-regulation and social engagement.

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12 Wobbe Kuiper | Codarts Lecturer | Music Theory (Research Fund) Research Area: Music theory, music cognition, embodiment

Biography | Wobbe Kuiper studied jazz piano and music theory at the Royal Conservatory in The Hague. He teaches music theory at the department for World Music at Codarts, and the minor “Mind and Ears: Making the Connection”. In his teaching he emphasizes intuitive musical understanding and embodiment. In addition to teaching, Wobbe is a study coach and a research coach.

Theory and Practice

Abstract |Since final competences and qualifications for Bachelor of Music students have changed during the past twenty years, this study (undertaken at the World Music department of Codarts) addresses the possibilities of strengthening the connection between music theoretical education and students’ artistic and professional practice. The study made use of an action research design. The most important findings were a conceptual framework that may serve as the basis for curriculum development and further research, a detailed analysis of what students experience as relevant approaches in music theory, and improvement of the connection between the students’ personal musical experience and formal terminology. Conclusions included students’ perceptions regarding this approach, acknowledging (1) increased musical awareness; (2) the extension of their vocabulary to speak about music; and (3) the larger extent of self-regulation. Implication of this study involved (students’ perception of) a safe and sound learning environment, with space for experiment, in order to build and sustain students’ personal musical awareness in relation to music theory.

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13 Rosemary Lee and prof. Scott deLahunta | Centre for Dance Research, Coventry University Research Area: Dance research

Biography | Known for working in a variety of contexts and media, Rosemary Lee creates large-scale site-specific works with cross-generational casts, video installations and short films. Her work is characterised by an interest in creating a moving portraiture of the performing individuals and communities she brings together, whilst also exploring and highlighting our relationship with our environment. Her recent work includes Liquid Gold is the Air (created with Roswitha Chesher) - an award winning video installation touring cathedrals and galleries, Calling Tree (co-directed with Simon Whitehead) which takes place in the canopies of urban trees, Passage for Par (Groundwork, Cornwall) a durational work for 30 women slowly crossing tidal sands, Circadian (First Light, Lowestoft beach) a 24 hour intergenerational performance and its development Threaded Fine (ZfinMalta, Malta) a 5 hour work. Rosemary’s work is produced by Artsadmin. She is a Senior Research Fellow at C-DaRE Coventry University, and holds an Honorary Doctorate from Roehampton University, an Honorary Fellowship from Trinity Laban.

Biography | Scott deLahunta is Professor of Dance, Centre for Dance Research, Coventry University and Co-Director (with Florian Jenett) of Motion Bank, now hosted by Hochschule Mainz University of Applied Sciences. His research seeks to deepen and apply the understanding of dance as a form of embodied knowledge and choreography as skilful bodily practice. This builds on over a decade of working within contemporary dance companies as research director and facilitator. Since 2010, he has held a research position at Coventry University and assisted in setting up the Centre for Dance Research in 2015.

14 Threaded Fine: embracing and revealing individuality and commonality with an intergenerational cast

Abstract | Threaded Fine (choreographed by Rosemary Lee) is part of a series of evolving durational, location-specific works, involving the creation of 24 solos for an intergenerational cast of performers gathered from each locality. The first of the series was Circadian (2019), commissioned by First Light Festival in East Anglia, and performed over 24 hours on a prepared circle of sand on a beach. The second, Threaded Fine (2020) commissioned by ŻfinMalta, Malta’s National Dance Company, was designed this time for a vast indoor environment in the round and lasted 5 hours. Both works utilise a shared score created to work for non-professionals and professionals alike, aged from 8 to 70 plus years old. The tasks and images that the soloists embody are in part inspired by our shared, inescapable connections with the cyclical rhythms of nature that mould and shape us.

The creation of Threaded Fine was documented by Scott deLahunta for the purpose of giving an insight into how this work was made. Using the video annotation and on-line publication systems built by Motion Bank, the final result is now on-line. In this talk, Rosemary and Scott will share their experiences making and documenting Threaded Fine.

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15 Claudio Murabito | Bachelor Dance student Research Domain: Dance / Performative and Conceptual Arts Research Coach: Suzan Tunca Main Subject Teacher: Suzan Tunca

Biography | Claudio was born at the foot of the volcano Etna on the Italian island of Sicily, in the Mediterranean Sea where fire, water, earth and air merge together. Inspired by unique landscapes and driven by an inexhaustible curiosity since a young age, he showed interest in many diverse fields. He began studying dance when he was 5 years old, then moving to Rome to attend courses at the National Dance Academy and Choreutic High School where he graduated cum laude in 2018. During his studies he cultivated his passions, reading about literature, art history, science and music which informed and stimulated him to write for the Italian magazine Dance & Culture at the age of 17. Currently studying at Codarts Dance Department, he believes in always deeply questioning himself and his role as dancer and artist. While in this state of permanent research he approaches dance and life as a creative scientist.

The dancing organism in the conceptual experience of being

Abstract | My research moves between tangible abstraction and intelligible experience. I am questioning how to depart from the dualisms between experience and concept and between body and mind. Are these dualisms learned or inborn? With these questions I aim to explore a polyvalent kind of knowledge that is derived from a physical-conceptual inquiry into the dancing organism.

In my research I combine the silent exploration of bio-mechanic possibilities and traces of memories with self-exploration and manipulation of space within a personal surface, in order to rewire motor and neural pathways. My research thus finds its way through multi-layered plateaus of perceived reality, and in dance practice, becomes a way to observe habit and patterns by working with accumulation, stratification and a morphing flow. Within this physical-conceptual landscape of experience, movements, words, thoughts, stillness and voice act interchangeably.

“Lines of flight” (Deleuze) that trace resonances with psychology, cosmology, neuroscience, philosophy and somatics, rhizomatically cross the conceptual experience of the being of my dancing organism. The aim is to expand the subjective human perception in regard to its being/consciousness, to create an infinitesimally full engagement of the organism in the process of transforming linguistic understanding and its psychosomatic transduction towards the acknowledgement of the organismic unity in its poly-expressive agency.

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16 Jonatan Myhre Jørgensen | Bachelor Dance student Research Domain: Dance / Performative and Conceptual Arts Research Coach: Suzan Tunca Main Subject Teacher: Suzan Tunca

Biography | Jonatan Myhre Jørgensen was born in Denmark and started taking ballet classes at the age of 13. He has studied classical ballet at the Royal Danish Ballet School and spent his high school years at Interlochen Arts Academy in Michi- gan, United States. He is now a third-year student at Codarts, where he is earning his bachelors in contemporary dance. Jonatan is also a founding member of the newly started performing arts col- lective SPRÆNG Danseteater in Copenhagen.

Chasing the stream of consciousness

Abstract | My research investigates the stream of consciousness and the degree to which it can be traced through the body by movement and words. Only a tiny piece of our stream of consciousness is ever revealed to the world around us. The elabo- rate filtration process which takes place before we speak creates a distance which I was curious to shorten.

I use philosophy and literature definitions of Stream of Consciousness as a point of departure. I have developed a method I call Stream Exposure, which is an improvisational practice that strives to ex- pose the stream of consciousness in real time, through dance and words. I use Stream Exposure to identify and measure the qualities of each means of communication and better understand how they influence each other.

In an increasingly perfectionist world, where the polished and edited image is what we are taught to show - on social media as well as on stage - I find it meaningful to search for a vulnerable space where the uncalculated corners of the mind can be pulled into the light. Initially set out to be a quest for harmonious unity between the stream of consciousness, the moving body and the spoken word, my research has turned out to be more of a chase. Instead of harmony, I have encountered tension. The current phase of my research revolves around understanding this tension and what it can generate.

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17 Jan Wouter Oostenrijk | Master of Music student | Research Competition Research Domain: World music and crossover Research Coach: Michalis Cholevas Main Subject Teacher: Alexandros Papadimitrakis

Biography | Jan Wouter Oostenrijk completed his jazz guitar studies at the Conservatory of Amsterdam (1994). He got the “Gouden Notenkraker” award for his contribution to the Dutch live music with Moroccan formation Raïland. Last decades he has become a succesful international artist known for innovating music crossovers as Sharqi Blues and Maghreb Jazz. Technically gifted, original, with emotion and a sense of adventure, navigating the crosscurrents between guitar-led jazz, rock and Northafrican music. He toured with his band in Europe, Moroc- co, Algeria, Tunesia, Egypt and Sudan. The de- sire to connect the east and the west inspired Jan Wouter to build his own Quartertone Guitar, which has a customised fretboard to add Arabic microtonal flavours. During a 2 years master study at Codarts Turkisch department Jan Wouter is developing new solo repertoire and researching to what extent Taqsim can be performed on guitar.

The Maqam system as a tool for horizontal modal melodic developments, in addition to the more harmony related progressions in jazz improvisation.

Abstract | As a young guitarist in a Moroccan band I discovered there are notes between the notes, not playable on my instrument. That's where my fascination for North-Africa and Middle-East grew. This led me 20 years later to Codarts to study Taqsim performances, considered highest form of modal melodic improvisational art in the Arab culture.

This research allowed me to explore the beauty and richness of this music, to look beyond the equal- ly tempered Western tonal system into the world of Maqam playing. I transcribed and analysed Taqsim recordings of the masters, studied literature, scores and compared the equal 24-tone with the Turkish comma system (Pythagorean tuning). By taking Ud classes I practiced intonation, phrasing and ornaments on fretless guitar.

Outcome: In addition to jazz where improvisation is often is more vertical related to harmonic progressions, the Maqam system provides me a tool for horizontal modal melodic developments. A way to shape coherent storylines (Sayr) with the use of authentic microtonal tetra-chords such as rast, bayat and hegaz, tonicization of scale degrees, sequences and movable pitches that build tension and change modal gravity. Most publications mainly describe Taqsim as a phenomenon, but my research as a musician focuses on how to play and understanding.

Back to overview 18 Soesja Pijlman | Codarts lecturer | Circus Arts (Codarts Research Fund) Research Area: Circus Arts

Biography | Soesja Pijlman was born on October 4, 1987 in Rotterdam, as the daughter of a physiotherapist with Indonesian roots and an engineer from the Dutch polder: certainly not a circus family. Yet in 2007 she applied for ‘Circus Arts’ at Codarts. She obtained her diploma in June 2011 and has been entitled to call herself ‘bachelor of Circus Arts’. From the need of personal growth, her heart for transmission and the conviction that art (education) is important in society, she decided to enroll for the master’s degree Education in Arts, which she completed in August 2015. In her work as a performing artist, coach, teacher, coordinator and project leader, Soesja has developed into a committed, proactive professional with an eye for (new) possibilities and the people she works with. In her work and efforts, she contributes to the development, wonder and well-being of others.

Circus talent; spill or facilitate?

Abstract |'Talent, morsen of faciliteren' provides a blended inquiry into the hurdles talented Dutch adolescents face in entering professional programs as offered by Codarts Circus. Codarts Circus has offered a four-year bSc level course since 2006, yet year upon year the number of Dutch students decreases. The research blends a number of methods and sources to describe how this trend developed and proposes solutions to facilitate aspiring Dutch talents. Through desk research the training history and the admission dossiers of current circus students was analyzed, and the results served as the starting point for a focus group discussion with key figures of the bachelor program. Finally, the approach to facilitation of talented adolescents in Belgium, France and Sweden was compared. Dutch talents face hurdles partly because there are very few connections between youth and professional circus and infrastructure to prepare for admission is severely lacking. A dedicated secondary education track, preparing for admission to competitive institutes and a regular diploma, is feasible as well as desirable.

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19 Cristian Prajescu | Master of Music student | Research Competition Research Domain: Pop music Research Coach: Tjeerd van Zanen Main Subject Teacher: Wouter Hardy

Biography | I discovered my passion for music at the age of 6, when I started violin and guitar lessons. The high-school I attended had no focus on music and I specialized in Mathematics- Informatics. However, it was during this time that I realized that music was my true calling; I discovered my love of performing music while singing at different high-schools proms, where my friends really appreciated my performances. Since then I’ve managed to be a finalist in Romania’s national selection for Eurovision 3 times, turned all four chairs at The Voice of Romania and competed in numerous musical contests. I studied Pop Composition in Bucharest for my bachelor studies and I decided that the Master of Pop programme from Codarts would be the next step for my career, as it clearly focuses on my own artistic needs and development.

Implementing Modern Production Techniques in a Live Music Context

Abstract | Because of technological evolution, nowadays we have many techniques at our hand, and music producers can often find themselves lost in technical details, rather than taking advantage of them to enhance creativity. As I have found myself in this situation a lot of times, I decided to investigate this problem and find my own way of how to use MIDI mapping, audio tracks and effects manipulation with automation in order to implement them in live music performances, a challenging area for myself. And because I will eventually have to control all this by myself on stage, this research will help me develop a way of arranging and producing my own songs in order to be able to perform them to the audience in such a way that my creativity can be live with me on stage, not only in the studio.

The outcome of this research is to creatively develop a personal approach to these automation techniques in order to enhance my musicality and creativity while producing and performing. In these almost 2 years of research, I developed my personal ‘sound’ by experimenting and taking advantage of these techniques, keeping all the time one thing in mind: that this personal ‘sound’ has to entertain my audience. Today, I truly believe that I am closer to being the artist I want to be.

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20 Rosemarie Samaritter | Codarts lecturer | Master of Arts Therapies Research Area: Dance Movement Therapy/Arts Therapies

Biography | Rosemarie is a senior research fellow and the programme leader research at Codarts Master of Arts Therapies. She is a certified senior dance movement therapist and supervisor with many years of clinical experience. After studies in Dalcroze rhythmics (Hochschule für Musik Rheinland, Wuppertal, Germany), Modern Dance (Theaterschool Amsterdam, NL) and Integrative Movement Therapy (VU University Amsterdam, NL), Rosemarie obtained a doctorate from the University of Hertfordshire (UK) with a study on the effects of Dance Movement Therapy on interpersonal attunement in young people with autism.

Rosemarie has been teaching and presenting DMT theory, methods and research at National and International conferences and DMT training programmes. As a researcher at Codarts Arts for Health Rotterdam and KenVaK Research Centre for the Arts Therapies, she is involved in intervention research and innovative research projects with a specific focus on arts-informed research strategies biometrical research tools.

BHAI - Building Health from Arts-based Interventions

Abstract |BHAI – Building Health from Arts-based Interventions was a project conducted at the Arts Therapies department with Codarts Research Fund's support. The aims of the project were: 1) to collect Dance Therapy (DT) and Music Therapy (MT) interventions from the clinical practice of Codarts Faculty Members and dance and music therapists from the mental health field; 2) to describe these interventions systematically, for the replication by other therapists and the use in research studies.

CAFH seeks to build a systematic theoretical body of knowledge on DMT methodology with detailed descriptions of therapy modules and related single interventions and activities. Although the Arts Therapies operate in the experiential realm, interventions need to be well described to be integrated into mental health guidelines or specific treatment approaches. Systematic descriptions of interventions may contribute to consistency in their use across therapists. Also, for the research into the efficacy of Arts Therapies, interventions need to be systematically documented.

In earlier studies of Codarts MAT, intervention mapping was applied in a couple of projects to inventory the architecture of a specific approach. The current study addressed the level of a single intervention or activity used within a particular approach. Arts Therapies literature was analysed for aspects that professionals describe when writing about the application of dance and music-based procedures in the context of therapy. From these materials, a draft template was built for a systematised description of DT and MT interventions. The presentation will give an overview of the BHAI study and show some examples of systematised interventions.

Back to overview 21 Anneloes van Schuppen | Bachelor Dance in Education student

Research Domain: Dance in Education Research Coach: Annemiek Tiemens Main Subject Teacher: Marijke Lips

Biography | My name is Anneloes van Schuppen. After graduating at the University in Liberal Arts and Sciences where I majored in Religious Studies and Philosophy, I decided to become a dancer and dance teacher. I am currently in my final year of Dance in Education at Codarts. During this bachelor I also studied Dance in both Israel and Cyprus. I love to teach dance to diverse target groups, from professionals to community arts and from inclusion dance to primary and secondary education. In my thesis I can combine my passions for community arts, embodied learning, dance, critical thinking and teaching all into one practical research which hopefully will be beneficial for the curriculum of my department.

Critical Pedagogies as a tool for preparing future dance teachers to engage and work in a multi-diverse workfield

Abstract | This thesis is an exploratory research about the applicability and relevance of critical pedagogies within the module Community Arts in the curriculum of Dance in Education at Codarts. Codarts Dance in Education is constantly searching for innovation to be able to keep the connection with societal developments. A current important question is how to prepare and equip future dance teachers to become engaged artists within an increasing diverse and multicultural workfield. In this research, the potential role of critical pedagogies has been investigated for this cause. Based on research about how other Dance in Education programmes already use critical pedagogies in their curriculum, a pilot is set up for the second year students, where they have worked both theoretically and practically from a critical pedagogical approach. The results of the pilot have led to recommendations for the curriculum. Critical pedagogies turned out to work well together with the principles of community arts/dance. It has been found that using critical pedagogies in the classroom leads to an increase of awareness about normative societal systems and social injustices, as well as to an increase in the extent to which the students feel they can actively and positively contribute to societal changes within their field of work.

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22 Vivian Sky Rehberg and Josué Amador | Lecturers Willem de Kooning Academy | Codarts

Research Area: Transdisciplinary studies

Biography | Vivian Sky Rehberg is a Senior Research Lecturer at the Willem de Kooning Academy. As an art writer, researcher and educator, Vivian’s primary areas of focus have been shaped by lifelong encounters with artists and creative practitioners alongside the interdisciplinary study of modern and contemporary art. She obtained her MA in Art History and Criticism from Stony Brook University and her PhD in art history from Northwestern University.

Biography |Josué Amador is a composer, artistic researcher, and lecturer at Codarts focused on expanding the notion of music composition practice beyond the performing arts and exploring its possibilities within transdisciplinary collaborations. In his artistic works, he investigates alternative approaches to music composition and performance practices involving forms of improvisation and the use of the public space.

Boundary Work: Exploring Transdisciplinary Compositions in the Arts and Sciences

Abstract | Collaborations between the arts and sciences explore, challenge, sidestep and transgress boundaries between different forms of knowledge, diverse ways of proceeding, and distinct concepts and habitus. As we have seen in our work with the transdisciplinary Rotterdam Arts and Scienc- es Lab, such boundaries demarcate a dynamic, shared space of negotiation, within which we can move and compose with the material, social and conceptual concerns of disciplines, techniques and methods. Our practice-led workshop will introduce and experiment with the compositional modes of verbal notation and scoring. We hope to collaboratively develop proposals and instructions for ac- tions within arts and design education that may enable us to confront the ecological social, and cultural challenges we face in the present and future.

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23 Emlyn Stam & Job ter Haar | Lecturers at Fontys | Codarts

Biography | Dr. Job ter Haar studied at the Royal Conserva- tory in The Hague with René van Ast, Lidewij Scheifes, and Anner Bijlsma. During and after his studies he specialized in playing chamber music. With his baroque ensemble Musica ad Rhenum he has made a great number of CDs, which distinguish themselves through the use of historical tempi and rubato. In recent years he has delved further into classical and romantic style, with groups such as the Van Swieten Society, the Hortus Ensemble and the Archduke Ensemble. Above all, his interest is in the use of early nineteenth century expressive tools. Next to his performing career, Job ter Haar works at Codarts Rotterdam as a teacher and research supervisor. In 2019 he completed his PhD at the Royal Academy of Music in London with a dissertation on the playing style of 19th century cello virtuoso Alfredo Piatti.

Biography |Violist Emlyn Stam is active as a chamber musician, soloist, pedagogue and performance researcher in the Netherlands and internationally. Since 2014 he has been artistic director of the New European Ensemble, an international ensemble for contemporary and 20th century music. As a soloist Emlyn Stam performed with the Amsterdam Symphony Orchestra, Orquestra d’Espinho and the Schönberg Ensemble. His many chamber music performances have included concerts with the Ysaÿe Trio of which he is a founding member. As a teacher Emlyn gives masterclasses in both viola playing and chamber music. He currently teaches at the Fontys University for the Arts in Tilburg. Emlyn is an active music researcher and completed his doctorate at the Academy for Creative and Performing Arts at the Leiden University in 2019 with a dissertation entitled In Search of a Lost Language: Performing in Early-Recorded Style in Viola and String Quartet Repertoires. His research focuses on late 19th and early 20th century performance practices.

From Discourse to Discord: creating an online forum for artistic research

Abstract |An essential aspect of doing research is to be aware of what other researchers in your area of study are doing. This is not a matter of competition, but of collaboration: the strength of research as a learning tool is to make use of the knowledge and experience of others. Fontys and Codarts have now taken the initiative to create an online discussion forum for conservatory students in the Netherlands and Flanders, where they can share experience and resources. Through this forum you will be able to connect to students from various institutions with similar research topics. In this presentation we will introduce the forum and invite you to create and account, so that we can make a flying start.

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24 Suze Steemers | PhD researcher Student Life / professorship Performing Arts Medicine/ Erasmus MC Research Area: Health problems in music students

Biography| I am a human movement scientist and have worked for the Student Life department since 2012, where I contribute to and coordinate different projects with a focus on injury prevention, performance enhancement, awareness, self-regulation and optimal performance of students. In 2017, I started a PhD about health problems in music students as part of the professorship Performing Arts Medicine. So far, I have published 2 articles and am working on a qualitative study about healthy and optimal performance in violinists.

Screening for violinists

In violin players physical complaints seem to be one of the main causes of study delay. The aim of this project was to develop a preventative tool – a physical screening - to provide violin and viola students with more awareness and insights into their physical strengths, and for areas where attention in needed. To gain more insight into needs and desires concerning this screening, it was designed using both scientific literature and input from different stakeholders by means of interviews. The result is a template for an individual physical screening, executed by a physiotherapist focusing on different body regions. The screening includes items like neck strength, shoulder mobility and grip strength.

With the results of the screening, the first year Bachelor violin and viola students are provided with a starting profile: an advice including their physical strengths and areas of attention they can work on. This way the students can get the most out of their talent and performance in healthy and sustainable ways. After evaluation of the screening with the students, we will look into options to extend this project to other main subjects.

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25 Michelle Teran | Willem de Koning Academy / Hogeschool Rotterdam Research Area: Social practices

Biography| Canadian born Michelle Teran is an educator, artist, researcher and activist. She is a practice-oriented Research Professor of Social Practices at the Willem de Kooning Academy. Her research areas encompass socially engaged and site-specific art, transmedia storytelling, counter-cartographies, social movements, feminist practices and critical pedagogy. She received her Ph.D. in artistic research from the Bergen Academy of Art and Design (2016) within the Norwegian Artistic Research Fellowship Programme. She is co-editor of Gardens! Growing from Ruins of Modernity, one of a three-part publication of publishers ADOCS and nGbK, on how the global ecological crisis and its social repercussions raise questions regarding new forms of education. The English version of Ada Colau and Adrià Alemany's book Mortgaged Lives (original Spanish version Vidas Hipotecas) is a translation project initiated by Michelle Teran and published by the Journal of Aesthetics & Protest. Situationer Workbook / Situationer Cookbook (forthcoming) brings together critical texts and practices of transformative pedagogies by teachers, researchers, students and alumni of the Willem de Kooning Academy and Piet Zwart Institute.

Emergent perspectives: Listening with, Learning with, in Dialogue with

Abstract | Let's begin with a retelling. A small group of learners, carrying a motley collection of used chairs, move in a single-line procession towards a street in the north of Rotterdam. They walk up the stairs into an empty apartment and place the chairs, transferred from other locations and social settings, in a circle in the living room. So culminates the first action in the Study Kitchen of the Performative Action course, WdKA Social Practices. This lecture will introduce the learning model Study Kitchen as an emergent strategy, a method of inter-epistemic dialogue, and feminist, transversal pedagogy (Maree Brown, 2017; Escobar, 2017; Trogal, 2017) - a model that proposes how to listen with, learn with and be in dialogue. How does one learn in movement, through situated encounters, and by building common knowledge? These are questions that offer a foundational nature of the 'loving questions,' questions that are not solution-oriented but remain within the flow of life.

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26 Merlijn Twaalfhoven | Composer and theatre-maker

Research Area: Composition, music theatre Websites: https://merlijntwaalfhoven.com/; https://turnclub.org/

Biography | In his recent book ‘It is up to us’ (‘Het is aan ons’) Merlijn Twaalfhoven sheds light on how art can help transform the world. “Any of us can contribute to solving smaller or bigger global issues.” Merlijn shows us how that works in this “inspired and straightforward idealistic book.”

As a composer and theatre-maker Twaalfhoven organizes “unusual, stimulating” performances all over the world: in a refugee camp in Jordan, a chamber music festival in Jerusalem, an old factory in Zaandam, the Carnegie Hall in New York and at a VN conference in Alpbach. Twaalfhoven argues that beauty and art deserve a place in our daily life and he strives to stimulate us to awaken a creative, playful and inquisitive attitude that he calls ‘the artist’s mindset.’ “We all have it in us to create a work of value and use that for a better world. We can make a difference! It is up to us.”

‘It is up to us’

Merlijn Twaalfhoven will be interviewed by Nicole Jordan, research coordinator Master Arts Thera- pies, about his work and publication.

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27 Bárbara Varassi Pega | Research coach Codarts / Fontys

Research Area: World Music, arrangement, composition, performance, Tango Music, popular music studies Website: https://www.routledge.com/The-Art-of-Tango/Pega/p/book/9781138392069

Biography | Bárbara Varassi Pega is a pianist, arranger, composer, researcher and educator born in Rosario, Argentina, and currently based in the Netherlands. She has toured Europe and Argentina with diverse ensembles, recorded CDs and published articles related to River Plate tango music. She works as artistic research coach, coordinator of the module Musical Diversity and teacher in the Tango Department at Codarts, and is an artistic research coach at Fontys University of Fine and Performing Arts, Tilburg. Her piano studies were first in Rosario and later at the Conservatorio Statale di Musica Giuseppe Verdi, Milan, Italy (2003). In 2009 she completed a Master of Music at the Tango Department within the World Music Department at Codarts University of the Arts, Rotterdam and in 2014 a PhD trajectory at the Academy of Creative and Performing Arts, Leiden University, as part of the docARTES programme. She also completed studies in composition at the Conservatoire de musique, de danse et d'art dramatique du Pays de Montbéliard, France, 2015.

Book presentation and performance: The Art of Tango

Abstract | The Art of Tango offers a systematic exploration of the performance, arrangement and composition of the universally popular tango. The author discusses traditional practices, the De Caro school and the pioneering oeuvre of four celebrated innovators: Pugliese, Salgán, Piazzolla and Beytelmann. With an in-depth focus on both reception and practice, the volume and its companion website featuring supplementary audio-visual materials analyse, decode, compare and discuss literature, scores and recordings to provide a deeper understanding of tango’s artistic concepts, characteristics and techniques. River Plate tango is explored through the lens of artistic research, combining the study of oral traditions and written sources. In addition to a detailed examination of the various approaches to tango by the musicians featured in this book, three compositions by the author embodying creative applications of the research findings are discussed. The volume offers numerous tools for developing skills in practice, inspiring new musical output and the continuation of research endeavours in the field. Illustrating the many possibilities of this musical language that has captivated musicians and audiences worldwide, this book is a valuable resource for everyone with an interest in tango, whether they be composers, performers, arrangers, teachers, music lovers or scholars in the field of popular music studies. Performers: Bárbara Varassi pega – piano Santiago Cimadevilla – bandoneon Stephen Meyer – violin Back to overview Matthew Midgley – double bass

28 Angelique Wilkie | Concordia University, Montreal

Research Area: Interdisciplinary research, Circus Arts, Dramaturgy

Biography | | Performer, singer, dramaturge and pedagogue, Angélique Wilkie has been among the more sought- after contemporary technique teachers on the European professional circuit, teaching companies, schools and festivals. She spent 8 years at École Supérieure des Arts du Cirque (ESAC) in Brussels as a teacher and dramaturgical advisor to the students as well as Pedagogical Coordinator of the school under Gérard Fasoli, current director of the Centre national des arts du cirque (CNAC) in France.

Her dramaturgical work has included projects in dance, music and circus-theatre with artists as varied as Belgian theatre director/choreographer Isabella Soupart, French trapezist Mélissa VonVépy and Dutch choreographers Arno Schuitemaker and Pia Meuthen/PanamaPictures. An ongoing collaboration of over 10 years, Angélique and Pia actively explore approaches to incorporating circus disciplines into dance-theatre productions, developing a hybrid aesthetic and movement language that is fully anchored in both art forms. Since resettling in Montreal in 2014, Angélique has continued to be active in Montreal’s professional community as a teacher, creator and dramaturge. Her current research interests have three main axes: approaches to interdisciplinary artistic creation (i.e. that sits “between” disciplinary boundaries); European circus aesthetics and dramaturgy; and the notion of a personal dramaturgy, inspired by the trajectories of performer Josephine Baker and French transgender circus artist Phia Ménard. An underlying interest in her work remains the use of the voice as a creative tool and performance instrument.

Minding the gaps: research as creation and personal creation as research

Western epistemologies have traditionally seen research and creation as distant and unrelated practices. In research one thinks; in creation one makes. This “silo thinking” has long relegated the live arts of music, dance and theatre in particular to the category of making, without considering the nature of the thinking involved in that making, nor the knowledge produced by and through those practices. Accordingly, the assumption has often been that artistic creation requires the participation of performers who do not think, and who offer themselves essentially as vehicles for the vision of the performance maker. This talk invites a blurring of these boundaries and offers resistance to the notions that a knowledge practice is separate from a creative practice; a making practice separate from a performance practice. The richness of the in-between is precisely what validates research- creation as a personal, critical and artistic engagement that fully embodies the porosity and messiness that characterizes the creative process. The performer, the maker, the artist-citizen, the knowledge practitioner – these are the gaps to be minded, these are the spaces to move through and with.

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29 Samuel Wong | Master of Music student | Research Competition Research Domain: Performance Practice Research Coach: Job ter Haar Main Subject Teacher: Henk Neven

Biography | Born and raised in Hong Kong, baritone Samuel Wong is now pursuing his Master of Music in classical voice performance at Codarts, under the tutelage of Henk Neven. Graduated from the Chinese University of Hong Kong in 2019, he has obtained the Bachelor of Arts in music with First Class honours, where he studied voice with Caleb Woo. Samuel was selected as an active participant of the International Summer Academy 2018 of the the Mozarteum University Salzburg, instructed by Prof. Helen Donath and Prof. Klaus Donath. He has also participated in vocal master classes by Margreet Honig, Maarten Konigsberger, Allen Henderson and Gong Dong-jian. Passionate about J. S. Bach’s music, Samuel has performed his music in both concert and theatrical settings under the batons of Helmuth Rilling, Matthew Halls and others.

Ornamental embellishment J.S. Bach's Aria’s: a toolbox for interpreting and embellishing Bach’s vocal music.

Abstract | Ornamental embellishment plays a significant role in Baroque music, especially by adding variety to the imitative melodic writing and in the recurrence of texts. However, compared to his instrumental music or to repertoire by his contemporaries, J.S. Bach's vocal music is often performed in a more conservative manner. This research aims to first investigate the reasons of ornamental embellishment being unpopular in Bach’s vocal music, then suggest different possibilities for embellishing. Literature research into German baroque vocal treatises on ornamentations serves as a major guideline to perform ornamentation in a historically informed manner. Comparative analysis between Bach’s related repertoire or musical fragments helps in designing ornamental materials that resemble Bach’s compositional language. Various versions of ornamental embellishment designed from different materials collected are compared and examined through quasi-experiment, self-critical practice and opinions collected from experts’ interviews. The research opens up a wide range of possibilities for ornamental design, from implied ornamentations to free ornamental embellishment, which enables a singer with various materials and tools to interpret and embellish Bach’s vocal music.

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30 Research Competition jury members

Marc van Roon (chair)

Marc van Roon (The Hague, 1967) is a Dutch pianist , composer and teacher. As a teacher, coach and curriculum developer, Van Roon has been affiliated with the Prince Claus Con- servatoire, part of Hanze University Groning- en, since 2001. He is also a teacher at Codarts and the Royal Conservatory in The Hague. Together with colleagues from the conservatories in The Hague and from the Iceland Academy of the Arts in Rey- kjavik, van Roon is co-designer of the new HBO music Master New Audience and Innova- tive Practice (NAIP) and between 2007 and 2012 co-researcher in the Lectorate Lifelong Learning in Music. Van Roon is also active as a coach and men- tor within conservatories and the business community. Van Roon is co-founder of the Art in Rhythm organization. Between 1995 and 2009, Art in Rhythm co-created incentives, training and social interventions for the business community and the organiza- tional domain. He worked together with Prof. Dr. Peter Kruse and Joseph Jaworski. In 2018, Van Roon obtained his academic master's degree and MSc degree in social intervention at the LESI training institute (national expertise center for social intervention) and Utrecht University. As of January 21, 2020, van Roon is an advisor to the Council for Culture.

Inês d’Avena (external member)

Inês de Avena Braga (Rio de Janeiro, 1983) is a recorder player, teacher and researcher. Inês is praised for her refinement, virtuosism and unique timbre, and is known for blending these qualities as a performer with her engaging work as a researcher and teacher. Inês records for Passacaille, Challenge Classics, Channel Classics, Ramée/Outhere Music and Sony Classical, and performs as a soloist, and in chamber and orchestral formations throughout Europe, Asia, and Latin America, with ensembles such as the Amsterdam Baroque Orchestra, Concerto Köln, New Collegium, her duo with Claudio Ribeiro, and La Cicala, of which she is artistic director. Inês holds a PhD in Music from Leiden University and bachelor’s, master’s and teaching diplomas from the Royal Conservatoire The Hague, where, since 2012, she is a Teacher and Research Supervisor. Inês has taught masterclasses at the Royal College of Music and Universidad Nacional de Música in Lima. Her research focuses on the rediscovery of Italian Baroque music and its performance practice, and she has had scholarly articles and essays published at Recercare, JAMIS, Tibia, Music+Practice and Blokfluitist. In 2015, Inês was a postdoctoral resident academic researcher at the Cini Foundation / IIAV in Venice.

31 Francesca Ajossa (2020 Research Competition winner)

Born in Cagliari in 1999, Francesca Ajossa started her musical training at a very young age in the class of prof. Angelo Castaldo at the “Palestrina” Conservatory in Cagliari, where she obtained the Bachelor Diploma in 2018. She played re- citals at various festivals in Italy and abroad, amongst which three concerts in Hong Kong and Macao on the occasion of the Pope’s 80th birthday. She’s also performed as a soloist with the Orchestra “La Rejouissance”, with the “Palestrina Chamber Orchestra” and the “Codarts String Orchestra”. In 2015 she was admitted to the “International Bach Academy” in Amsterdam and she won the Second Prize at the “Premio Abbado Competition”. She was a finalist at the “Fourth Inter- national Agati – Tronci Competition” and at the “Ambitus Competition”, as well as one of the eight participants to the “Young Talents Class” at the Haarlem Organ Festival (2016). She recorded a CD dedicated to the Organ Music from the 19th Century in Sardinia (Tactus, 2017) and in 2019 her recording of Organ Works by Italian female composers was published by “Stradivarius”. In 2020, Francesca graduated “cum Laude” from the Master of Music at Codarts Rotter- dam, where she studied with prof. Ben van Oosten. She’s currently continuing her Music Psychology studies at the University of York, as well as being the Organ Scholar in St. Peter und Paul Ratingen (Germany) and the main organist of the Church in ‘t Woudt (Netherlands).

32 Colofon

We are grateful to the team of people who supported the development, planning, and delivery of the Research Festival 2021.

Communication | Floor Wagenaars Production | Federico Dalprà, Bianca Klein, Marcel van Oostrom Audio-visual crew | Pablo Moreno Miras, Adrián Bartolmé, Alejandro García, Stefan Boerman, Thomas van Dop Programme coordinators | Irene Comesaña Aguilar, Henrice Vonck Programme text editor | Ned McGowan

The Research Festival is funded by:

Codarts Research Office +31 10 2171100 Contact: Janine Stubbe ([email protected])

Codarts Master of Music +31 10 217 1058 Contact: Rob Broek ([email protected])

Codarts AV | Production office +31 6 43 23 34 81 Contact: Jan Kuhr ([email protected])

codarts rotterdam kruisplein 26 f 010-2171101 3012 cc rotterdam t 010-2171100 codarts.nl e [email protected]