In lieu of an abstract, here is a brief excerpt of the content:

  • What is a Question?
  • Kate Elswit (bio)

I often teach a two-term graduate-level methods class on practice-as-research. The pedagogical framework is designed to guide students through the process of generating performance by gradually accumulating a constellation of questions. The first term uses a “devise and shed” format to model what it means to follow a line of inquiry. Each week students present material to be discussed by their peers; their task for the following week is to let go of everything they had previously done and begin again, retaining only the part of their work that had emerged as the most sticky in discussion. This “stickiness” can encompass many types of critical thresholds: a friction, for instance, between the ideas that students are grappling with and the artistic process or even medium through which they are trying to do so. This leads to a question or set of questions that becomes the catalyst for a new practice, which is then performed the following week, with the same follow-up task, and so on. It is only during the second term of the course that students are allowed to hold on to their working questions; this ultimately builds to a single performance in which those questions materialize in new forms.

In my own work Breath Catalogue, such a constellation of questions emerges from multiple strands of inquiry that have to do with embodiment, theatricality, technology, and medicine. The often provisional sub-questions of each strand that have been most generative for my collaborators and me articulate concerns arising in the rehearsal studio, while also facilitating discovery through the conditions they pose for possible action. To give a quick background, this research project combines contemporary choreography with technology to create a cabinet of “breath curiosities” in performance. I collaborate with another artist/ scholar, Megan Nicely, as well as data scientist and interaction designer Ben Gimpert and composer Daniel Thomas Davis. Taking [End Page 34] inspiration from the old European cabinet of curiosities, we collect, save, and re-use breath experiences and breath data. This ranges from the stories people tell us or our own choreographies of breathing, to the interaction in performance with additive visualizations that mix the dancer’s live breath from one scene with archived breath from the previous one. The cabinet and indeed the curiosity or curious thing become ways to assemble questions within an artistic framework.

The first strand of inquiry for Breath Catalogue involves questions about embodiment, both everyday and dancerly, that are posed as starting points for physical practice. From the beginning, we have been interested in complicating the intrinsic connections between breath and movement in dance, in order to access forms of breath that circulate independently of a single body. So what happens when, instead of relying on breath to support solo movement patterns, we ask breath and body to move autonomously, and what cues do we need to actually do so? Likewise, instead of breath being the “felt” thing that connects two dancers, can it be visualized as an external third component in the relationship, and what might this catalyze?

This leads to questions about sharing such forms of bodily experience with others through a theatrical medium: how do we bridge the gap between the visual or sonic representations of breath, and the somatic experience of breathing, in order to make the many dimensions of breathing palpable to an audience? Whereas in a “normal” dance show, the breath would tend to be obscured behind lots of movement, we ask whether there are ways to shift that hierarchy in order to keep the breath as a priority for spectators watching a moving body that has all sorts of other things going on.

Using wearable technology to pursue these strands of inquiry also raises other sets of questions. First there are practical issues: for example, because our sensors cannot intrinsically distinguish the movement of breath from other forms of movement that expand the chest, what ways of moving allow the sensors to register breath? The technology has the potential to make breathing visible in a way that is otherwise impossible for the dancing body alone, but there is also a massive difference...


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pp. 34-36
Launched on MUSE
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