Creation of the center for experimental practices in choreography

• Grant number: 19/06262-3
• Support Opportunities: Regular Research Grants
• Start date: September 01, 2019
• End date: October 31, 2021
• Field of knowledge: Linguistics, Literature and Arts - Arts - Dance
• Principal Investigator: Juliana Martins Rodrigues de Moraes
• Grantee: Juliana Martins Rodrigues de Moraes
• Host Institution: Instituto de Artes (IA). Universidade Estadual de Campinas (UNICAMP). Campinas , SP, Brazil

Abstract

The research aims at the creation of the Center for Experimental Practices in Choreography (NPEC), which will manage the elaboration and recording of choreographic works thinking about choreography as an extended field. The processes will follow the methodology of Practice as Research (PaR), following models designed specifically for each experiment, with multi-schematic and multi-dimensional procedures that include video records, photographs, texts in academic, essayistic and performative formats, creative journals, choreographic scores, etc. Intelligent artistic practice or material thinking (NELSON, 2013) will be stimulated in teaching, research and creative fronts, with centralized records stored in a website especially designed for NPEC. The aim is the writing and publication of articles, creation and presentation of artistic works, dissemination of results in national and international congresses, teaching of disciplines in Undergraduate and Graduate levels at UNICAMP and exchanges between research groups from different institutions. Experimental forms of choreography will be fostered, understanding choreography no longer only as movements of human beings expertly trained, chained in sequences pre-established according to the linear space-time unit. Choreography is understood as a multidimensional structure that organizes living and/or non-living bodies, as well as experiences and thoughts (of living beings and/or artificial intelligence). Dance and choreography cease to exist as synonyms and choreography comes to be seen as a structuring function, a systemic agent of elements that interconnect and affect each other. Choreographies in different languages of the arts (performance, theater, video, visual arts, dance, digital arts) and life (user's flow in private and collective transports, car drawings coordinated by apps, data choreography and information flow). Choreography is also seen as a perceptive function that coordinates and controls private and public behavior, as is currently observable in the various forms of choreographic agency of attention on websites and spectators' coordinated movements in museums and art galleries. (AU)