Together with the core team of the HKU professorship Performative Processes I am very happy to announce that the Perilous Experience CARPA5 Colloquium Proceedings are published, in the Helsinki Performing Arts Research Centre’s online publication series Nivel.
In late August 2017, Nirav Christophe, Henny Dörr, Joris Weijdom, Marieke Nooren and I gave a “polyvocal presentation” on the IYANTWAY project, in which we worked together with a group of youngsters who suffer from absence seizure. For more information on the project and a previous post on the colloquium see here.
For the direct link to the professorship’s contribution to the proceedings click here. The article works well as a complement and introduction to our recent book publication on IYANTWAY. Next to the information on the specific project the article includes our more imaginative and provocative Prague Provocations and Helsinki Hindsights. Enjoy the read!
2018 is just a month old, and there are already several news and new activities happening.
The most recent publication of the Professorship Performative Processes is out! In december we published If you are not there, where are you? Mapping the Experience of Absence Seizures through Art, edited by Henny Dörr and myself. The book presents the written outcome of the two-year transdisciplinary artistic research project IYANTWAY, in which a team of nine artists from various disciplines worked with eight youngsters on artistic utterances that match their experiences before, during or after a seizure. On Tuesday, 27th of February, we will officially present and launch the book, beautifully designed by Anton Feddema, at the HKU in Utrecht.
In only one and a half week, Christina Guillaumier and I, both creative directors of the Innovative Conservatoire (ICON), will give a joint presentation at the Reflective Conservatoire Conference 2018: “The musician in society – from craftsman to creative citizen”. For the ones who read the posts on this website regularly it will come with no surprise that I am very enthusiastic about presenting and participating at the Reflective Conservatoire: It is the third large-scale event about the musician in society for me, after the ICON seminar on the Musician in Society in October 2018 and the Protean Musician conference in Oslo last November, thus finishing a series that has provided me with enormous input on this topic.
On the 3rd of March, the new music theatre performance with trumpet player Sef Hermans, silencio, will be performed in its first version for the very first time, in Pamplona, Spain. I am very excited to show this first complete version of the piece, which is inspired by David Lynch’s “club silencio” in Mulholland Drive and the notion of the “ghost light” in theatre. This is also the first time in which the fabulous poem by Lynley Edmeades, Remainder, will be performed in one of my works. I know Lynley since we met at a performance studies conference in Prague, and this is the first actual result of this encounter, with which I am truly happy.
Sef Hermans performing in “silencio”
In the mean time, I have also re-joined the team of researchers of the HKU Professorship “Muzische Professionalisering” in the one-year long “Werkplaats Muzische Professionalisering”. I will publish a first post on my work here soon, but it is incredibly exciting to connect my various research projects with what lector Bart van Rosmalen calls “musal research”, in an inspiring team lead by Bart himself, Daan Andriessen and Peter Rombouts.
As the first post of this season, this is a brief newsletter about a new publication and three, partly collaborative, conference presentations in Helsinki, Oslo and London. There are also several other projects coming up, which will be covered more in depth in the following posts.
The new publication of the core team of the Professorship Performative Processes, When you are not there, where are you?, is in its final stages. This concludes a large project initiated by Dutch documentary maker Maartje Nevejan, which spans many activities during the last two years, including the practical work of the team of the professorship with a group of children suffering from absence epilepsy seizures, a collaborative performance lecture in Prague, the performance installation Down next to a whole range of other artistic work, and the lecture Transforming Absence. Art as Bridge from Multimodal Experience to Transdisciplinary Collaboration in Cape Town in December 2016. In the end of August, the core team of the professorship (Nirav Christophe, Henny Dörr, Joris Weijdom and Falk Hübner) will present another collaborative performance lecture called Transforming Absence. Re-creating Experience through Artistic Research at the Carpa conference in Helsinki.
In November I will give a lecture on artistic research as “integrated practice” at the conference ‘The Protean Musician’: the musician in future society. This is the first lecture in which I develop this concept of artistic research in relation to higher music education and the students’ future in society. A wide array of presenters will join the conference from many countries around the globe, and this promises to be a most interesting and impactful conference “examining the roles of musicians in our increasingly complex world.” (Darla Crispin) The conference is organized by The Arne Hordheim Centre for Artistic Research in Music (NordART), The Centre for Research in Music and Health (CREMAH), The Centre for Educational Research in Music (CERM) and The Centre of Excellence in Music Performance Education (CEMPE) (abstract).
Finally, in February I will join forces with Christina Guillaumier, pianist, Head of Undergraduate Studies at the Royal College of Music in London and a Creative Director of the Innovative Conservatoire (ICON). Together we will present The Musician in Society – From Craftsmanship to Creative Citizen at the Reflective Conservatoire Conference at Guildhall School of Music & Drama in London. We will address conservatoire reality nowadays, in relation to the quickly changing development of our world and social surroundings, and use the work of the Innovative Conservatoire as a case study that might provide a toolkit for innovative practice both in student and teacher training.
Apart from these scholarly activities, two artistic projects are still in process and will be concluded this season: the music theatre silencio with trumpet player Sef Hermans, and a new participatory music theatre work with the Dutch vocal quartet Quatre Bouches. More on these projects in the upcoming posts!
Falk Hübner is a true example of 21st century hybrid professional practice in the arts. He works on the intersections between experimental practice, artistic research and higher arts education. His diverse practice ranges from devising experimental music theatre, performances and installations, publishing articles to working with students and giving shape to research agendas within higher arts education curricula.