Fine Arts and Music Collected Works

This paper represents my attempts to discern and communicate the information that is relevant to, embedded in, and provoked by my artistic practice. That practice is a hybrid form, within which and centrally positioned are practices of clown and improvised dance. The loci for my inquiries lay in the practice studio, and in the locations of my performances. Engaging deeply with what I 'do' has involved paying attention to what takes place in my practice. I have tried to see the details, the patterns, the oddities and the insights. The term clown refers to a wide and diverse field of practices. In this paper I identify and discuss the nature of my specific practice of clown by considering the English form's origin, and by referencing influential teachers and theorists. The field of artists practicing improvised dance also shows divergent approaches. Having arrived at my particular approach via a more general practice of improvisation, this paper therefore contains a discussion of improvised dance also developing from that direction. The discussion is focused further through a consideration of several different approaches to improvisation and scoring improvisation for performance. Observing and examining my approach to being a creative artist has revealed within its theoretical dimension synergies with certain currents of thought found within modern western consciousness. Most clearly indicated are philosophies associated with Zen Buddhism, Existentialism, and Phenomenology. By describing these particular attempts to form ontological and moral perspectives and locate an understanding of human being, I am indicating that such perspectives contribute to identifying the thought behind my arts practice. This was a practice-led research project formed upon the notion that an arts practice like mine given conditions of reflection and analysis, continuously informs its own development and thus provides opportunities for greater understanding of itself and other people and practices more widely. This way of understanding research is discussed and considered in relation to other recognised methods. A description is included noting this project's particular methodology, in which references are made to auto-ethnographic writing and the value for bringing together in this paper a commentary on practice, critical analysis, and a description of practice. A survey of practioners was undertaken covering in detail the highly influential work of Leo Bassi and Raimund Hoghe. These artists have significantly contributed to the evolution of my arts practice, providing concrete experiences that have energised my work. These experiences are given detailed descriptions. One of the significant aspects of the research project and my creative practice in general is a discursive and dialogic element. I share conversations with mentors, supervisors and artistic colleagues. This is a vital force in my practice and the rendering of these for this writing was one of the possibilities considered. However I have long been interested in several quite particular aspects of my work - it's theoretical dimension, and my performance practice of improvisation and clown. These were chosen as the primary entry points. A discursive experience generally characterised this research project. For the most part this paper separates each aspect of the research into blocks. Due to an inherent disquiet at separating out into "essentials' or "components' with the risk of oversimplifying what I sensed was a more complex picture, the final part of this work presenting certain "findings' is given a more free flowing manner. This has been done hoping to avoid diminishing the projects vital qualities and to avoid suggesting its elements remained at any time exclusive of one another. The contents of this paper draw on an ongoing commitment to writing that has taken various forms. These include a documentary approach and a more analytical kind, which over time offered perspectives on the directions, strategies and influences to my practice. The initial motivation of this research was to investigate the ways that I worked as artist and in so doing come to appreciate the qualities and values of my practice. This paper is contained to the issues and key interests of the creative process and performance outcome You Me and The Mountain, however it is also the record of it�s own creative maelstrom.

Fine Arts and Music Collected Works - Theses

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