'Headphones' and 'Notes to Self'
- Submitting institution
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Leeds Beckett University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 35
- Type
- I - Performance
- Venue(s)
- ICA, London; Tramway, Glasgow; Arnolfini , Bristol; Kunstbau – Städtische Galerie im Lenbachhaus, Munich; Frieze Art Fair; Tanzquartier Wien/Leopold Museum, Vienna
- Open access status
- -
- Month of first performance
- -
- Year of first performance
- 2014
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Headphones and Notes to Self are performances by Rachel Krische which were embedded within Table of Contents, a live movement installation performed between 2014-16 in the UK, Austria and Germany. The artists in Table of Contents used their own histories as choreographers/performers to question how dance is archived. Krische additionally researched alternative ways to address embodied cognition through improvised movement emerging from and in relation to embodied archival information.
Resembling a movement laboratory, Table of Contents comprised multiple evolving choreographic works within a shared space. Intermingling between audience and performers was allowed, embedding opportunities for dialogue and exchange. In Headphones and Notes to Self, the body as an archival repository of embodied choreographic memory was proposed and interrogated. These works invite the audience to listen with Krische through headphones to spoken texts while she danced. Krische encouraged the audience to consider her movement as listening and thinking equipment, rather than as a physical translation of spoken ideas.
Through Krische’s methods, the audience is encouraged to connect, intellectually and kinaesthetically, the performer’s historical and bodily archive with their own. Krische contributes to growing discourses on archive and embodied cognition in dance performance practice using the proposition of the body as an archive to challenge normative assumptions that movement merely illustrates thinking; Krische proposes that bodily movement is, in itself, a cognitive activity.
Krische’s work was experienced by over 7000 people, was reviewed in the international press including The Guardian, Financial Times and London Evening Standard, and was cited by Professor Sarah Whatley in the Journal of Choreographic Practices (2014). Krische published a related journal article (2016), presented papers at NUI Galway (2015), Leeds Beckett (2015), and Coventry University (2016), and joined a panel conversation with neurophysiologists Jonanthan Cole and Matthias Sperling at the ICA (2014).
- Author contribution statement
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- Non-English
- No
- English abstract
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