In the 2017/2018 season I am participating in the Werkplaats Muzisch Onderzoek of Bart van Rosmalen’s professorship Muzische Professionalisering. 26 researchers are taking part in this trajectory and will work together for a number of times, exploring their own practice-based questions in the larger framework of “musal research” and performative research. Within this program, I am working on the development of three larger and interrelated projects:
- The writing and co-editing of a book on the practices of the Innovative Conservatoire (ICON)
- The (further) development of the concept of “Artistic Research as Integrative Practice”, both in professional practice as well as in education; resulting in a monograph on the topic
- The development of a vision on the musician (or artist in general) in society, specifically in relation to conservatoire education
Since the beginning of the professorship, the work at ICON has a close relation to it. This seems logical, as Bart van Rosmalen, the head of the professorship, is one of ICON’s founding members, next to Helena Gaunt. Concrete plans to create this book go back to 2016. The idea is to write about the work within ICON, its research practices and processes and the various way in which the work has impact on educational practices of its international network. I am working on this book together with Christina Guillaumier [link to the earlier blog post] from the Royal College of London. The close relationship with the professorship is a welcome connection that promises to be most fruitful and inspiring.
The second project is a book project as well, but in itself also a research project. I work on the concept of artistic research as integrative practice (ARIP) already for some time. I position research not next to “the work”, – be it artistic, pedagogic or of any other nature – but rather in the middle of a network of professional activities, within the daily hybrid practice that many of us carry out on a daily basis. Research and a “research attitude/habit” becomes a foundation of everything that we do, and through this, by being a “hub”, it provides the ability to connect all activities in a fruitful way.
The third project concerns the question how we as artists, as musicians in my case, relate to society, and, more specifically, how we as conservatoires educate young musicians towards being part of the society of the 21st Century, and the skills that are necessary in order to fully participate in it, and to contribute to it. [sentence too long, rephrase] I argue that doing research during the conservatoire education, the development of research skills, a research habit en an integrated vision on research plays an important role here.
For more information especially on this last project, see two earlier blog posts: about the ICON seminar, The Musician in Society and about the conference The Protean Musician: the musician in future society in Oslo. My own presentation in Oslo concerned the concept of Artistic Research as Integrative Practice, then in relation to the conference theme; a first connection that I aim to explore during the Werkplaats.