Researching Posthumanizing Creativity: Expanding, Shifting, and Disrupting

Chappell, Kerry

doi:10.1177/10778004211065802

Cited by 11 publications

(4 citation statements)

References 33 publications

(41 reference statements)

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“…This coincides with how I perceive the entanglement between choreography, researching, and teaching, and the ethico-ontoepistemological entanglements that emerge from attending to the itch in such an a/r/tographic practice (Le Blanc & Irwin, 2019). Kuby and Zhao (2022), as well as Chappell (2022), stress that what we are doing, our actions are ethical matters of importance. I recognize this, for example, through how my pedagogical values, and the aesthetic values that I am cultivating through my dance practice, are of significance for the ethico-onto-epistemological entanglements that I create in this inquiry.…”

supporting

confidence: 54%

Diffracting Through an Ethical Itch: Becoming a Response-Able Dance Education Researcher

Flønes¹

2023

JASEd

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In this article I describe and discuss how an ethical doubt has performed on my a/r/tographic research journey and led to ethical, methodological and choreographic-pedagogic insights. The ethical doubt emerges from working with the video format as research presentation in a dance education research project where children are involved. The focus of this article is how I dealt with these ethical challenges through a diffractive inquiry, and further how such an inquiry led into a sense-making process entangling ethics, research, choreography, dance and education. Through exploring how the ethical doubt performed on the research process, this article contributes to a rather scarce field of research on the topic of ethical issues in research presentation and ethical-pedagogical-choreographic and research methodological entanglements. In the article I am thinking with the theoretical frameworks of post-qualitative inquiry and agential realism. The apparatus of inquiry is constructed from a/r/tography, performative inquiry, and diffractive inquiry though a transcorporeal engagement with these research methods. As I unravel the research journey, I also diffract with the concepts of response-ability and the expanded notion of choreography. In the final discussion I propose a response-able practice of research through a relational approach and attunement to research, pedagogy, choreography, and ethics.

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supporting

confidence: 54%

Diffracting Through an Ethical Itch: Becoming a Response-Able Dance Education Researcher

Flønes¹

2023

JASEd

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“…As Chappell (2022) writes, and as we have pointed out earlier, there is not necessarily a gap between research and pedagogy. And as Østern suggests (2018), there is not necessarily a gap between choreography and pedagogy.…”

Section: An Agential Realist Approach To Analysismentioning

confidence: 81%

“…One important task for us (the adults) then is to be responsive to what happens in the process and to care for making the research liveable for all participants. Here, we turn to Chappell (2022) who refers to Donna Haraway and her definition of care: as curiosity and obliging oneself to curiosity. For example, we see diffraction as a methodological concept directing us towards caring for (or questioning) what happens when we are cuttingtogether-apart.…”

Section: The Methodological Research Apparatus; Choreographing Resear...mentioning

confidence: 99%

Plunged into dance

Flønes

Andersen²,

Nymark³

et al. 2022

RERM

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With this practice-based study we inquire into choreographic-pedagogic intertwinements (Østern, 2018) as a cooperative learning community between a choreographer-researcher-teacher and four primary school teachers. We have co-created the article from our experiences with a creative dance project with the third graders in a public primary school in Norway. Through exploring four stop-moments (Fels & Belliveau, 2008) we tap into an artistic and textual diffractive analysis (Bozalek & Zembylas, 2017; Lenz Taguchi, 2012). The study is created through the expanded notion of choreography (Foster, 2010; Klien & Valk, 2007; Lepecki, 2006) and carried out as a performative research (Østern et al., 2021) situated in the theoretical landscape of agential realism (Barad, 2007). With this study we challenge the gap between art and school, and the professional practices of teachers and artists (Hall, Thomson & Russell, 2007), the professional competencies and differences of the artist and of the teacher (Christophersen, 2013b) becoming performative in the dance project.

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“…The indoor groups showed more collaborative tendencies within their groups, while the outdoor group worked in a more solitary manner. However, the outdoor group showed a deeper connection with the materials, opening up to creative posthuman intra-action with non-human actants (Chappell, 2022).…”

Section: Collaborationmentioning

confidence: 99%

Embodied eco-embroidery

Robberstad,

Kvellestad

2023

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The UN Sustainable Development Goal 4 (SDG4) addresses equal access to quality education, focusing on literacy, numeracy and the science-field STEM subjects (Science, Technology, Engineering, Mathematics), - seemingly forgetting the importance of developing practical skills like craftsmanship. STEAM includes Arts into STEM, where the arts represent several independent artistic forms including music, theater, dance, visual arts, crafts and so on. In this article we focus on education for sustainable development through craftsmanship in embroidery. In a transdisciplinary collaboration that includes art, craftsmanship has its own innate value. Our research question is: In which ways can creative collaboration in embroidery enhance a sustainable STEAM education learning experience? We attempt to find answers to this by looking into how STEAM collaboration may affect the ways we teach craftsmanship, and the challenges and opportunities of doing so in a holistic transdisciplinary project, with a focus on ecological sustainability. Three groups of teacher-students help examine how crafts may contribute in building ecological awareness in themselves and an audience through conveying meaningful artistic narratives. Their embroideries were inspired by the UN’s Decade of Ecosystem Restoration. The results were shared through the Global Science Opera, an international STEAM-education initiative. Our analysis of the research data is influenced by posthumanizing creativity, which emphasizes ethically contributing world citizenship through embodied, collaborative creativity between creator and creation. This journey of making and being made shows a reciprocal relationship between humans and non-humans. The slow-art of embroidery invites the students into an embodied dialogue with the materials, tools, techniques and the scientific topics in the transdisciplinary context. As researchers we wonder how this dialogue and in-depth experience affected the students’ attitudes and actions towards sustainability. We found that the data supports the embodied, co-creative embroidery process, that it improved the students' craft experience, as well as increased the understanding and respect for the challenges in the new eco-reality. Cover image: Sewing in nature, on nature, with nature, about nature. Student work. Photos: Randi Veiteberg Kvellestad and Raquel Sans

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Researching Posthumanizing Creativity: Expanding, Shifting, and Disrupting

Cited by 11 publications

References 33 publications

Diffracting Through an Ethical Itch: Becoming a Response-Able Dance Education Researcher

Diffracting Through an Ethical Itch: Becoming a Response-Able Dance Education Researcher

Plunged into dance

Embodied eco-embroidery

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