{"id":6410,"date":"2022-04-29T12:02:36","date_gmt":"2022-04-29T12:02:36","guid":{"rendered":"https:\/\/thecpr.org.uk\/?post_type=product&p=6410"},"modified":"2022-04-29T12:02:38","modified_gmt":"2022-04-29T12:02:38","slug":"26-4-on-unknowns","status":"publish","type":"product","link":"https:\/\/thecpr.org.uk\/product\/26-4-on-unknowns\/","title":{"rendered":"26.4 On (Un)Knowns"},"content":{"rendered":"

This issue of\u00a0Performance Research<\/em> explores the idea of knowledge in relation to performing arts practices. Its concern, however, is not to simply revisit academic debates about practical knowledge but to offer new contexts and insights. From academic truth claims to claims of ownership, from epistemic objects to multiple epistemologies the topic of knowledge is everywhere. This issue aims to build on the foundations laid by previous work in the field, first by attending to the knowledge generated within the performing arts — specifically the types of knowledge involved in creation, training, production, performance and spectatorship — and second by inviting further critical interrogation of what the recognition of this knowledge achieves in the frame of evolving cultural and political contexts. The issue also calls into question the use of the term in itself, interrogating methods, analysis and languaging in order to offer various conceptualizations of knowledge and the (un)known.<\/p>\n

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READ THE EDITORIAL AND ARTICLE ABSTRACTS\u00a0online<\/a><\/strong><\/p>\n

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CONTENTS<\/p>\n

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1\u00a0Editorial: On (Un)Knowns<\/strong><\/p>\n

HETTY BLADES, SCOTT DELAHUNTA AND LUC\u00cdA PIQUERO \u00c1LVAREZ<\/p>\n

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4\u00a0Dancing in Car Parks [artists\u2019 pages]<\/strong><\/p>\n

\u2018FUNMI ADEWOLE, JONATHAN BURROWS AND KATYE COE<\/p>\n

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9\u00a0[xxxxx]: A video-documented performance study [artists\u2019 pages]<\/strong><\/p>\n

ALEN AGARONOV AND HY FLORENCE LAM<\/p>\n

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11\u00a0Ibn \u2018Arabi and the Shadhiliya of Tunisia: Exploring knowledge as embodied practice in the hadra rituals of Sidi Bin-Hasan<\/strong><\/p>\n

DIA BARGHOUTI<\/p>\n

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18\u00a0Blind Spots [artists\u2019 pages]<\/strong><\/p>\n

MEGHAN MOE BEITIKS AND JOEL FOSTER<\/p>\n

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24\u00a0Choreography as Concept, Dancing as Material<\/strong><\/p>\n

ERIN BRANNIGAN<\/p>\n

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32\u00a0Unfolding Images: Notes on image analysis and choreography in the frame of Ad Extra<\/strong><\/p>\n

BEATRIZ CANTINHO AND T\u00daLIO ROSA<\/p>\n

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37\u00a0What about Knowledgefied Discourse in Artistic Research? Reflections from Brazil<\/strong><\/p>\n

SUSANA CASTRO GIL<\/p>\n

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46\u00a0The Anatomy of Knowledge: On The Dead\/The Undead by Mobile Akademie Berlin<\/strong><\/p>\n

JASPER DELBECKE<\/p>\n

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54\u00a0A Bodily Mental Lexicon: Documenting a choreographer\u2019s method through a multimodal archival resource [artists\u2019 pages]<\/strong><\/p>\n

CARLA FERNANDES AND FRANCISCO HENRIQUES<\/p>\n

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58\u00a0‘Papiers Voisins’, Stories of Entangled Documentations [artist’s pages]<\/strong><\/p>\n

EMILIE GALLIER<\/p>\n

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63\u00a0[Dis]rupting, [mis]understanding, [un]learning and [re]membering\u2014Lerato Shadi, Hamedine Kane and Euridice Zaituna Kala<\/strong><\/p>\n

KATJA GENTRIC<\/p>\n

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71\u00a0\u2018And then again, I draw myself to the detail\u2019: Capturing experiential states in contemporary dance making through Expanded Fields<\/strong><\/p>\n

RUTH GIBSON AND JENNY ROCHE<\/p>\n

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78\u00a0A Trilogy of Getting Stuck: Methods of (un)knowing<\/strong><\/p>\n

SEPIDEH KARAMI<\/p>\n

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83\u00a0Forming Blank, Performing Form [artist’s pages]<\/strong><\/p>\n

JONDI KEANE<\/p>\n

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90\u00a0Magicking possible futures: Viv\u00eancias by Grupo Cultural Bal\u00e9 das Iyab\u00e1s<\/strong><\/p>\n

PAOLA MAR\u00cdA MARUG\u00c1N RICART<\/p>\n

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95\u00a0Dancing with Epistemic Borders: Knowledge and unknowns in mixed-methods Practice-as-Research (PaR) collaborations between dance and social science<\/strong><\/p>\n

AOIFE MCGRATH, VICTORIA DURRER AND PETER CAMPBELL<\/p>\n

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104\u00a0(De)composing the Mongrel: Improvisation and the (un)known<\/strong><\/p>\n

MATTHEW JAMES NOONE<\/p>\n

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110\u00a0Scoring Enquiry, Unsettling Ignorance: Moving with racialized cancer uncertainties<\/strong><\/p>\n

CARO NOVELLA<\/p>\n

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118\u00a0Meeting on Paper: Dramaturgy as a practice of lateral movement [artists\u2019 pages]<\/strong><\/p>\n

EFROSINI PROTOPAPA AND KONSTANTINA GEORGELOU<\/p>\n

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124\u00a0\u2018To all my friends, known and unknown, close and distant\u2019: Or how to think about thinking about performance art<\/strong><\/p>\n

JONAS RUTGEERTS<\/p>\n

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128\u00a0The Artful Agile Atypical Octopussy [artist’s pages]<\/strong><\/p>\n

KAI SYNG TAN<\/p>\n

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130\u00a0Kinesthetic Empathy as Embodied Research: A case study<\/strong><\/p>\n

CELIA VARA<\/p>\n

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137\u00a0Qualic monsters in corridors: Reading Mette Ingvartsen’s ‘Manual Focus (solo version for camera)’ [artists\u2019 pages]<\/strong><\/p>\n

JOANNE ‘BOB\u2019 WHALLEY AND LEE MILLER<\/p>\n

…………………………………………………………………………………………<\/p>\n

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REVIEWS<\/p>\n

142\u00a0At last we were offered a glass of champagne!\u2019: A study of live art<\/strong><\/p>\n

TOMA\u017d KRPI\u010c<\/p>\n

143\u00a0A Mercurial Mirage: Seascapes as event, logic and method<\/strong><\/p>\n

ZIHAN LOO<\/p>\n

144\u00a0Remixing the Movement: Spirit, Sound and Flesh<\/strong><\/p>\n

JADE POWER-SOTOMAYOR<\/p>\n

146\u00a0US Dance and Globalism at Mid-Century<\/strong><\/p>\n

EMILY WILCOX<\/p>\n\n\n