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Listening through and with Costume

Østergaard, Charlotte LU (2023) In Nordic Journal of Dance 14(1). p.90-99
Abstract
In performance contexts, costume is often perceived as visual expression that is in service of, for example, a choreographer’s vision. I argue that costume is also an aesthetic and poetic language in its own right that allows individuals such as performers and designers to co-conceptualize and co-create performances. In co-creative performance-making processes, I argue that it is critical that designers open-mindedly listen to performers’ experiences of specific costumes and that we (designers and performer) through listening co-creatively explore potentialities and challenges that are embedded in a specific costume. In the co-creative process, we must pay attention and listen carefully to how a specific costume affects specific performers... (More)
In performance contexts, costume is often perceived as visual expression that is in service of, for example, a choreographer’s vision. I argue that costume is also an aesthetic and poetic language in its own right that allows individuals such as performers and designers to co-conceptualize and co-create performances. In co-creative performance-making processes, I argue that it is critical that designers open-mindedly listen to performers’ experiences of specific costumes and that we (designers and performer) through listening co-creatively explore potentialities and challenges that are embedded in a specific costume. In the co-creative process, we must pay attention and listen carefully to how a specific costume affects specific performers in order to explore the ‘hidden’ performative potentialities and qualities that are imbedded in a specific costume. In this article I will unfold aspects of how listening through and with costume can become a performance- making strategy and unpack details of what listening through and with the costume imply. (Less)
Please use this url to cite or link to this publication:
author
organization
publishing date
type
Contribution to journal
publication status
published
subject
keywords
Costume design, material thinking, co-creation, costume thinking, Dance, movement, material movement, Costumed perfomance
in
Nordic Journal of Dance
volume
14
issue
1
pages
9 pages
ISSN
1891-6708
DOI
10.2478/njd-2023-0010
project
Crafting material bodies - exploring co-creative costume processes
language
English
LU publication?
yes
additional info
Ahmed, Sara. 2010. “Orientation matters”, In (eds.) New Materialism – Ontology, Agency, and Po- litics, edited by Diana Coole and Samantha Frost S, 234–257. Durham & London: Duke University Press. Dean, Sally Elisabeth. 2021. “‘Aware-Wearing’: A Somatic Costume Design Methodology for Per- formance.” In Performance Costume: New Perspectives and Methods, edited by Sofia Pan- touvaki and Peter McNeil, 229–244. Bloomsbury Publishing. Kindle. Haraway, Donna. 1988. “Situated Knowledge: The Science Question in Feminism and the Privilege of Partial Perspective.” Feminist Studies, 14, no. 3: 575–99. Le Guin, Ursula K. 1986. “The Carrier Bag Theory of Fiction.” In Dancing at the Edge of the World: Thoughts on Words, Women, Places, 165–170. New York: Grove Press. Marshall, Susan. 2021., “Insubordinate Costume.” Phd diss., Goldsmiths, University of London. Pantouvaki, Sofia. 2020. “‘Costume Thinking’ as a Strategy for Critical Thinking.” Paper presented at Critical Costume 2020 Conference (21–23 August 2020 online) https://costumeagency.com/project/ sofia-pantouvaki/ Pantouvaki, Sofia, Fossheim, Ingvill & Suurla, Susan- na. 2021. “Thinking with costume and material‚ a critical approach to (new) costume ecologies.” Theatre and performance design, 7:3-4: 199–219.
id
fb057277-bbf6-42b0-bda5-d4f8a1533549
alternative location
https://www.nordicjournalofdance.com/NordicJounal-14(1).pdf?fbclid=IwAR2LMrephGBTg6rdNLJRGzVQFEJ8XL4bnlpndtXT4232qBeDAAEtCTKqKXU
date added to LUP
2023-08-13 21:09:25
date last changed
2023-08-24 15:01:12
@article{fb057277-bbf6-42b0-bda5-d4f8a1533549,
  abstract     = {{In performance contexts, costume is often perceived as visual expression that is in service of, for example, a choreographer’s vision. I argue that costume is also an aesthetic and poetic language in its own right that allows individuals such as performers and designers to co-conceptualize and co-create performances. In co-creative performance-making processes, I argue that it is critical that designers open-mindedly listen to performers’ experiences of specific costumes and that we (designers and performer) through listening co-creatively explore potentialities and challenges that are embedded in a specific costume. In the co-creative process, we must pay attention and listen carefully to how a specific costume affects specific performers in order to explore the ‘hidden’ performative potentialities and qualities that are imbedded in a specific costume. In this article I will unfold aspects of how listening through and with costume can become a performance- making strategy and unpack details of what listening through and with the costume imply.}},
  author       = {{Østergaard, Charlotte}},
  issn         = {{1891-6708}},
  keywords     = {{Costume design; material thinking; co-creation; costume thinking; Dance; movement; material movement; Costumed perfomance}},
  language     = {{eng}},
  number       = {{1}},
  pages        = {{90--99}},
  series       = {{Nordic Journal of Dance}},
  title        = {{Listening through and with Costume}},
  url          = {{http://dx.doi.org/10.2478/njd-2023-0010}},
  doi          = {{10.2478/njd-2023-0010}},
  volume       = {{14}},
  year         = {{2023}},
}