P.A.R.T.S. Research Studios 2017-2018

Research programme for choreographers, performers, dramaturges

Movement x Sound x Word

General outline of the programme

P.A.R.T.S. Research Studios is a fulltime two-semester program dedicated to intensive artistic investigation during or prior to the process of creation in choreography, dance, and performance. It is aimed at young dance and performance artists with (an equivalent of) a B.A. or an M.A. degree, who are curious and ready to engage in an in-depth study of a topic/field contextualized in their own research. The program will run from 11 September 2017 until 14 September 2018.

The 2017/2018 program will investigate reflective orality/aurality, and will ask how dancing and choreography could be sourced from experimental music and poetry.
The crisscross of sound, word, and movement has had a substantial legacy in 20th century experiments in music, performance art and dance. More recently, poetry has re-emerged in dance and visual art in various antispectacular expressions in which the poetic use of language has renewed imagination beyond an instrumental trade in ideas. Comparably, contemporary music explores a new imaginary of sound through the ethnomusicological study of tuning, reinventing instruments and situations in which sound and bodily movement are composed in studio. Thus, current experiments in music and poetry converge in listening, in both literal and figurative senses of the word: in temporalizing perception and thought, opening up an attitude of reception, and delving into what is not immediately given, into what is opaque or ambiguous, or requires closer inspection and longer reflection. 

How do we envision relationships between choreography and text today? Between choreographed movement and composed sound? What are the current experiments involving spoken word, gesture, voice, sound, music and movement in performance? What is the allure of poetry today and how does poetry pierce contemporary dance? How can we re-imagine and re-tool more exacting relations between movement and sound, sound and word, movement and word? How to mobilize the experimental legacy of ethnomusicology in shaping music and sound together with movement? Does the dancing body have the expressive power to speak and tell beyond itself? What do we mean when we perform in the first person singular, and what do we stand for when we say the plural “we”?  These will be some of the questions in the focus as we investigate reflective orality/aurality. 

The coordinators of this program, the performance theorist and musicologist Bojana Cvejić and the musician and dramaturg Alain Franco have devised a one-year long trajectory of research inputs from a number of guests invited to give workshops, seminars and lectures. Among the invited choreographers, dancers, composers, musicologists, philosophers and writers are Michael Beil, Jonathan Burrows, Mette Edvardsen, Tristan Garcia, Mette Ingvartsen, Janne-Camilla Lyster, Luk Vaes, Kristien Van den Brande, Myriam Van Imschoot & Marcus Bergner, Daniel Linehan & Stefan Prins, and François Nicolas. Each guest will unfold a particular approach, a set of ideas and materials. In addition to the collective research practice they will carry out, Cvejić and Franco will maintain the consistency and continuity of the collective thematic platform in which the research projects of the participants are embedded. 

Candidates are invited to apply on the basis of specific artistic interest in exploring choreography/dance/performance in relation to experimental music and poetry. Their research projects should be thematically linked and sourced from the investigation of reflective orality/aurality. The aim of the program is to provide an opportunity for an in-depth investigation of a choreographic and performance problem related to the topic of study. Thus the program extends the research phase prior to production in order to sharpen the focus and investigate thoroughly the possibilities the artist will later realize in creation after the end of the program. The outcomes of the research could be one of the following:

1) material propositions with respect to the formulated research questions/problems

2) a lecture-demonstration

3) a written account (diverse textual formats, essay, scores and so on)

4) a presentation in another medium than live performance (e.g. sound, video) 

5) a short, small-scale piece as a first step in the creation of a performance

Practically, the program is organized on a weekly basis into workshops and seminars (3-5 days long) and open research periods of open research during which the content and practices of the workhops and seminars can be digested and transformed into self-directed individual or collective research. Participants are strongly encouraged to collaborate with each other in order to make efficient use of the available studio and working time. The coordinators divide the task of supervising individual/collective research, accompanying and supporting the participants over the entire period. The supervision also includes studio visits by the invited guests. The time for the completion of the final outcome is extended over summer, allowing the participants more extracurricular time, mostly outside PARTS, for their research work. The program is concluded in the final presentations and feedback sessions in September 2018. 

photo Tine Declerck

Structure of the program

11/9/2017 until 29/6/2018
The program is divided in 5 blocks of 5 to 8 weeks each, interrupted by short breaks of 1 or 2 weeks.
During the 34 weeks of these 5 blocks, 20 weeks are devoted to seminars and workshops, and 14 weeks are completely reserved for self-directed individual/collective research work.
In the weeks they are taking place, seminars and workshops run during the afternoons (usually 4,5 hours). In the mornings, students can work on the self-directed research or join the dance classes of the Training cycle.
During the breaks, students can continue working in the studios (except during the Christmas break).

Summer 2018
Between 2/7 and 26/8, there is an optional block of 8 weeks. If desired and needed students can continue working on their final presentations, but between July 2 and August 12, this needs to happen outside PARTS because of the summer activities organised there. From August 12 onwards, five PARTS-studios are available again for two weeks to prepare for the final presentations.

Final phase 27/8 - 14/9/2018
The final phase of the program takes place from August 27 until September 14, 2018, with presentations and feedback.

Studio time for self-directed research
In the mornings: there are generally 3 studios available for self-directed individual/collective research
In the afternoons: if approached individually, during the 14 weeks of open time for self-directed research, each student would have approx. 4 weeks for an individual project.
In the evenings and weekends, students can also work, according to availability of studios, which have to be shared with the Training students. In times of full use of the capacity, each student has approx. 4 hours per week studio time in evening or weekend.

Overview of the year
2017
11/9 – 13/10: first block
16/10 – 29/10: break
30/10 - 15/12: second block
16/12 – 3/1: break (no access to the studios between 24/12 and 3/1)

2018
4/1 – 23/2: third block
24/2 – 4/3: break
5/3 – 20/4: fourth block
21/4 – 6/5: break
7/5 – 29/6: fifth block
2/7 – 24/8: summer break (no access to the studios between 9/7 and 12/8)
27/8 – 14/9: final block

photo Tine Declerck

 

Profile of the applicants

Target group
PARTS is looking for a group of young choreographers, dancers and dramaturges who value experimentation and collaboration, who are interested to associate their own research and questioning to the topics and practices proposed and to the research of the other participants. Participants should have an active affinity with the fields of poetry and music, but formal knowledge of music is not required.

PARTS is interested in people whose practice is grounded in working in the studio, and is open to different modes of collaboration, different aesthetic approaches,  and various definitions of authorship.

 

Formal requirements
Choreographers/makers: BA in dance, choreography, performance, or MA in a different field, or at least 3 years of professional experience. Candidates must have experience in making/authoring work (no problem if that was created only in a school context!).

Dramaturges: BA in dance, choreography, performance or theatre/dance/performance studies, or an MA in a different field or at least 3 years of professional experience in dramaturgy. Candidates must have experience with the practice of dramaturgy.

Candidates must have a very good level of English in understanding, speaking and writing.

PARTS aims at a predominantly young group, aged between 22 and 30. Exceptions to this are possible.

Candidates can apply as a team with a research proposal, but each individual should send a dossier, and the selection will be individual as well.

The Research Studios has place for max. 12 participants.

 

Diploma
PARTS is not part of the regular education system and therefore it cannot issue a legal diploma. However, experience learns that many former students have been able to let their experience in the PARTS programs count as equivalencies (as formal qualifications or as competences) in order to access MA or PhD programs. Detailed records can be delivered after completing the course.

 

Application procedure

The application goes in two phases

1/Dossier
Each candidate should send in a concise dossier, containing:

- a short cv containing the education and experiences which are relevant for this program;
- a motivation letter of no more than 2 pages, which addresses the applicant’s interest in the program and the research topics it introduces, and sketches a first idea on how the participants’ interests and possible research could connect to the program;
- 2 reference letters by professionals who are active in the field (these letters can be included in the package you send or be sent directly to PARTS);
- links to a video with an excerpt of relevant work, which should be no longer than 10 minutes.

Dossiers should be sent in by email to Steven De Belder, steven.debelder@parts.be.

The dossier will be studied by the selection committee. 

Deadline for application: 

Dossiers will be treated as they come in, and an answer can be expected within approximately 2 weeks. In order to be able to organise yourself well to eventually travel to Brussels to participate in the final audition, it is advised to send it in as early as possible.
Dossiers sent by January 15 will receive an answer by February 1st
Dossiers sent by February 1st will receive an answer by February 13
Dossiers sent by March 1st will receive an answer by March 13
Dossiers sent by March 15 will receive an answer by April 1st
Dossiers sent by March 27 will receive an answer by April 5.
March 27 is the final deadline. Dossiers received after March 27 may not be taken into account anymore.

 

2/ Final audition
The final audition will take place in Brussels, April 10-13, 2017.
Only candidates who have passed the first round of the audition can participate to the final audition.
The final audition will consist of a performative task, writing, individual and group discussions. Details and tasks to prepare will be sent  at least three weeks before the final audition.
Candidates must be able to participate to the four days of final audition. There is no alternative way of being selected for the program.

There is no fee for participating in the final audition.

 

Study costs and scholarships

Study costs

Registration fee: 2500€ 

Tuition fee: 2500€

A daily macrobiotic lunch (during the periods in which the program is active) is included in the tuition fee.

The living expenses (accommodation, food, other) are estimated between 600€ (minimum) and 1000€ (more comfortable) per month, not including travel to and from Belgium.

Accommodation has to be sought on the private housing market in Brussels. Sharing an apartment with others is usually the most economic option. The student administrator at PARTS can provide information to help with searching for accommodation.

 

Scholarships

A good number of scholarships are available; the budget is limited, but we can help those who need it most.

In order to qualify for a scholarship, a candidate must prove that s/he has searched for scholarships at other funding bodies. Hopefully this will help you to be totally or partially independent of our scholarship fund. Moreover, by searching a scholarship with third bodies for yourself, you will also support all other students! Because the more candidates find support in other places, the more those who need(s)a PARTS scholarship the most, can actually benefit from our scholarship fund.  

PARTS will accompany the candidates in this search. It is strongly advised to start searching for scholarships before the final audition!

If you need more clarity about the possibilities, relating to your individual situation, please contact Els De Meyer.

The budget for the scholarships is provided through the [DNA] Departures and Arrivals project, with the support of the European Commission (Creative Europe program).

 

photo Tine Declerck

Research Studios 2017-2018- Movement - sound- word

Structure of the program

Profile of the applicants

Application procedure

Study costs and scholarships

Biographies of the coordinators

Short descriptions of the seminars and workshops

 

Do you need more information? Please write to Steven De Belder, steven.debelder@parts.be

 

Public information sessions in Chicago, Lisbon and other cities in February and March

PARTS will organise a number of information sessions in different places in Europe. At such sessions, Bojana Cvejic or Alain Franco will give an extended presentation of the background and practice of the program, with room for questions and individual meetings where potential candidates can check their profile and interests.

January 24, 10h: Goethe Institut, Chicago, USA
150 North Michigan Avenue, Suite 200, Chicago, IL 60601, United States  

February 11, 15h: De Brakke Grond, Amsterdam, The Netherlands
Nes 45, 1012 KD Amsterdam 

February 18, 17h: Espaço Alkantara, Lisbon, Portugal
Calçada Marquês Abrantes 99, 1200-718 Lisbon

February 22, 17h, Centre national de la Danse, Pantin (Paris), France
1, Rue Victor Hugo, 93507 Pantin 

February 26, 14h, MDT, Stockholm, Sweden(new date!)
Slupskjulsvägen 3011149 Stockholm

March 15, 16h, HZT/ Uferstudios, Berlin, Germany
Uferstrasse 23, 13357 Berlin 

 

photo Tine Declerckphoto Tine Declerck

The Research Studios take place in the context of the project [DNA] DEPARTURES AND ARRIVALS, which is supported by the Creative Europe program of the European Commission.

 

Biographies of the coordinators

Bojana Cvejić (born in Belgrade/Serbia) is a performance theorist and performance maker based in Brussels. She is a co-founding member of TkH editorial collective (http://www.tkh-generator.net) with whom she has realized many projects and publications. Cvejić received her PhD in philosophy from the Centre for Research in Modern European Philosophy, London and MA and BA degrees in musicology and aesthetics from the Faculty of Music, University of the Arts, Belgrade.
Her latest books are Choreographing Problems: Expressive Concepts in European Contemporary Dance and Performance (Palgrave, 2015), Drumming & Rain: A Choreographer’s Score, co-written withA.T.De Keersmaeker (Mercator, Brussels, 2014), Parallel Slalom: Lexicon of Nonaligned Poetics, co-edited with G. S. Pristaš (TkH/CDU, Belgrade/Zagreb, 2013) and Public Sphere by Performance, co-written with A. Vujanović (b_books, Berlin, 2012). She has been (co-)author, dramaturge or performer in many dance and theater performances since 1996, with a.o. Jan Ritsema, Xavier Le Roy, Eszter Salamon, Mette Ingvartsen, and Christine De Smedt.
In 2013, Cvejić curated the exhibition Danse-Guerre at Musée de la danse, Rennes (in collaboration with C. Costinas) in the frame of which she made videos two videos …in a non-wimpy way (with Steve Paxton) and Yvonne Rainer’s WAR (co-authored with L. Laberenz).  In 2014, she devised a choreography and lecture program titled Spatial Confessions for Tate Modern’s Turbine Hall.
Cvejić teaches at various dance and performance programs in Europe and has been recently appointed as Professor of Philosophy of Art for the doctoral studies at Faculty for Media and Communication, University Singidunum in Belgrade. Her current research focuses on social choreography, technologies and performances of the self, and time and rhythm in performance poetics and Post-Fordist modes of production.

Alain Franco studied music at the conservatories of Brussels, Liège, Antwerp and achieved a DEA master in Music and Music history of the 20th century at the IRCAM-EHESS Institute in Paris. From 1989 until 1993 Franco was the permanent conductor of ensemble Champ d’Action and collaborated with Ensemble Modern (Frankfurt), Ictus (Brussels), the National Orchestra of Belgium, the Orchestra of Lyon’s Opera House and Ah Ton ensemble (Oldenburg), among others. He collaborated closely with composers such as Karel Goeyvaerts, Hugues Dufourt, Philippe Schoeller, Serge Verstockt, Kaija Saariaho, Heiner Goebbels, Jonathan Harvey, Enno Poppe, Benoît Mernier, Kris Defoort, Denis Bosse, Walter Hus...
In addition to his opractice as a musician he developed an original reflection on theatrical issues regarding stage reresentation and practice, which lead him to collaborate with peformers, theatre directors and choreographers, such as Dito'Dito, De Parade, Needcompany, Anne Teresa De Keersmaeker, Meg stuart, Romeo Catellucci, Isabel Schad, Loïc Touzé, Etienne Guilloteau, Benajmin Vandewalle, deuffert@plischke and others. He co-authored the piece 'Zeitung' with Anne Teresa De Keersmaeker in 2007.
He has been teaching at the Akademie der Künste and HZT in Berlin and at PARTs in Brussels.
In 2014-15, he works on a 5-part lecture performance series for the Volksbühne Berlin, the performance of the entirety of Das Wohltemperierte Klavier of JS Bach, and different other projects in Brussels, Berlin and other places.

 

photo Tine Declerck

Short descriptions of the seminars and worskhops

(the descriptions are in alphatbetical order)

Michaël Beil (DE) is currently leading the Studio for Electronic Music at the Cologne Highschool for Music and Dance. His works combine music and video, setting innovative and extended performing techniques and practices. He thus redefines complex themes such as dramaturgy and theatricality in music – a dimension that composers sometimes tend to overlook. Beil got therefore increasingly interested in performance and stage work. He will set up a collaborative practice in the frame of his PARTS lectures.  

Jonathan Burrows (UK) and Bojana Cvejić (BE)
I'm super interested in looking at the question of what is material and what is immaterial in relation to dance practice. It feels to me that the terms get misused and become tools to critique what we do, rather than tools for analysis of what we do. For instance we celebrate the immaterial nature of dance as evidence that we're in tune with the times, and often overlook more material aspects of dance which might offer a useful critique of the times. And this is one aspect of poetry that interests me, because of the dogged materiality of the act of writing. And I'm aware also how as a dancer and performer, I find comfort in the rapid disappearance of what we make, but at the same time there is a level of material doing which is an essential part of it, and a sadness at the constant loss of what we inscribe. Maybe this could be a way into looking at writing? From the correspondence with choreographer Jonathan Burrows and Bojana Cvejić

Bojana Cvejić (RS) will set up an ongoing research studio For a Performance Poetics, which will run over the whole year and will involve the research trajectories of the students embedded in a broader context of research methods in dance and contemporary art and aesthetics. Bojana will explore a selection of aesthetic problems: poetics vs. practice, kinds of imagination (sensorial, poetic, conceptual, social), questions of composition and use of text. Special attention will be dedicated to the emergence of poetry in dance and the other arts.  

Choreographer Anne Teresa De Keersmaeker (BE) will unfold her 'parcours' on two important axes of her work: choreography and research in contemporary music, and choreography and spoken text in two sessions.  

Choreographer Mette Edvardsen (NO) will give a workshop on choreographic structuring of text and spoken word on the basis of a selection of her works (2007-2015) consistently exploring textuality and imagination: Time Has Fallen Asleep in the Afternoon Sunshine, We to be, No Title, Black, every now and then, or else nobody will know (http://www.metteedvardsen.be).
In particular, she will explore the specific procedures, differences and boundaries between the usage of text in theater, performance art and choreography. Given her specialization in formal and narrative approaches to text, Edvardsen will propose exercises and experiments with text/words with the participants. She will also engage in studio visits with those students who are focusing on text in their research.

Tristan Garcia (FR) is a philosopher and novelist, whose two novels published by Gallimard received France’s Prix de Flore (La meilleure part des hommes 2008) and Prix du livre Inter (7 2016). He has developed an influential theory on the “flat ontology” of things, which has had a significant purchase on the arts and dance lately. The following two books Form and Object, A Treatise on Things (Edinburgh University Press, 2014) and La vie intense (Paris, Éditions Autrement, 2016) will frame his workshop in speculative aesthetics. 

Choreographer Mette Ingvartsen (BE) will give a workshop focusing on speech, speculation and the naked body in movement, on the basis of her latest works (Speculations and 69 Positions).

Janne Camilla Lyster (NO) is a dancer and poet, who has developed a distinctive method of writing poetry in the form of scores performed by dancers. Her group works and solos performed by the artist herself or other dancers (The Shaping of Change; Escape and Transformation), as well as five books of poetry, reimagine the body and movement in an intense and sophisticated poetic language, articulated as a score for generating dancing movement. Lyster would work with the participants in the studio on the genesis of dance through her own choreographic poetry. http://www.jannecamillalyster.no

Composer and thinker François Nicolas (FR) is a lecturer at a.o. IRCAM and the Ecole Normale Supérieure in Paris. He recently published a substantial opus called Monde-Musique, in which he emphasizes the theoretical, philosophical, political and scientific dimensions that characterise his work as composer and mathematician. He shares many views and concepts with the thinking of Alain Badiou. Nicolas definitely carries and claims the political – up to he militant – engagement of the artist which is reflected in his work and aesthetic. But he knows as well the potential contradictions of these assumptions.

Composer Stefan Prins (BE) and choreographer Daniel Linehan (BE) will be lecturing together on their common hybriyd music-choreographical creation Third Space (premiere June 2018, for 8 dancersand 13musicians), which deals with the blurred relation between the private and the public, and the live and the mediated. Stfan Prins is one of the most demanded composers of his generation. Over the last decade he developed his own language which implicates actual technologies and theories. Recent compositions such as Piano Hero#1  and Generation Kill are considered milestones in the digital image and sound domain. Prins pursues a PHD at Harvard University (under the supervision of Chaya Czernowin) and is the founder of the Belgian NADAR Ensemble. Daniel Linehan connects a rather “American Spirit” in dance with – an in his field rather unusual - interest in semiotics. He may be considered today as a "nouveau chorégraphe" as much as there has been a « nouveau roman » a few decades ago. His choreographic work is usually based on strong formal structuration and at the same time breaths a certain quietness. Linehan was – among other places - artist in residence in DeSingel (Antwerp) and the Opéra de Lille.    

Robin Schulkowsky (US) is a composer and percussionist. Her achievements as creative artist and innovative sound researcher made her to one of the key figures in the field of percussion for decades. She worked with and for (among many others) Cage, Stockhausen, Xenakis, Feldman, Rihm, Saunders, Volans. She will propose a 'double-headed' seminar at PARTS with on one part an extensive testimony about her work and the building of a specific esthetic in her domain, on the other studio sessions that will allow a more personal and hared working procedure.  

Luk Vaes (BE) is a pianist and programmer. Over the past two decades he also developed a theoretical parcours on avant-garde and conceptual music, which he combined with his concert and academic activity (currently the Orpheus institute Ghent). He performs and lectures worldwide and is actively contributing to a higher understanding of post-modern aesthetics. He will present his actual research on 'Experimental Legacy', which is currently focusing on Maurizio Kagel. A second aspect of his lectures at PARTS will concern studio work with dancers and performers – more specifically on a more exact understanding of John Cage’s and Merce Cunninghma’s long term – and somewhat my(s)thycal collaboration.

Kristien Van Den Brande (BE) is a curator, dramaturg and performance scholar, who is currently researching for a PhD at Goldsmiths University on textual supports and poetry in performance (she has collaborated with Myriam Imschoot and Sarah Vanhee). Van Den Brande will give a brief course on the recent history of the genres, formats and procedures of performing text between literature, performance art and choreography. 

Myriam Van Imschoot (BE) and Marcus Bergner (AU) offer a workshop in Total Poetry, conducting experiments with the in/comprehensible, sensical, nonsensical, perceptive potential of language and its performative capacities. Myriam Van Imschoot has a backgroundin choreography and is a maker of performance ands sound art with the voice as main verhicle. Marcus Bergner is an experimental film maker, performer and writer.

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