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What to keep from Vibzz Vibzz - How to start ?
An understanding of each other's personal context and context of their field. The feeling of being ready to collaborate in other spheres with enough tools and awareness to include the collaborator's approach. The awareness on how to detect in real time disrespectful and problematic behaviors. To regain strength in addressing our opinions, ideas even when they are half-matured, half-formalised. An artistic, friendly bond between us. All of this will stay with me for future projects. However, for now it doesn’t go beyond those direct impressions because I have to admit that Vibzz Vibzz - How to start, is a prototype of a project I would like to reproduce and develop in the future. So I don’t perceive it as research yet. It is an incomplete experiment, it needs to be repeated to understand further its value. It would have been interesting to do several editions during the 2 years master and write research on it. Because of the Covid19 situation it was already a challenge to make this version 0, then I will try it outside school, in the context of a professional world that might imply new preoccupations and questions.
Resistance to networking platform, it’s very important for me to regulate expectations and projectioin into entrepreunarial mindset.
For the upcomings versions, It would be interesting to dive into a research on forms of communications and methods to work in other spheres than in art. Maybe in psychology or management in order to have more alternatives to propose for future groups. To gather some tools that would always adapt and help the plasticity of each group.

During the third week, we presented for the first time what we were busy with to my peers from the Program Studios at PARTS. It was quite a difficult moment. We chose to show an exercise we did the day before because I found it more in line with our idea of working. We didn’t want to demonstrate all the things we did as if they were materials to develop, whereas everything we created were exercises to get into a conversation. To experience feedback from my peers for artists that are not from our sphere revealed how precise, little, narrow our place of action and research are at my school. There was a misunderstanding of our intentions that we struggled to express in understandable terms for the context. I was surprised to see how I integrated a specific vocabulary to talk about art. It makes me see the identity of the school I’m part of, to understand the position of my speech. Some people from our group ground their speech with a very different standpoint (for example with the use of words such as emotion, passion, message, narration) because of that some of them felt excluded, even despised. It became a WE vs THEY. “I think they don’t know how to receive feedback” It could have been instead : “It was difficult to adapt my feedback”. This comment led to the idea to invite people from our own sphere in the studio to receive different types of feedback and compare their positions, however because of the Covid19 measures we didn’t manage to get there. Anyway, we transformed this experience into a staged video we practised for the rest of the process and that we integrated in the public presentation.

Feedbacking - It makes me question the need for feedback from outsiders. If Vibzz Vibzz aims to NOT be developed in an artistic product that can be reproduced, but rather aims to be a space to experiment freely how to work, then what is the necessity to create a will to ‘improve’ material with and by the eye of an outside perspective ? If the idea of development and improvement has another value here (not link to production) then it needs to have another way to get feedback. Maybe to think about it in a similar way as DasArts Feedback Method, adapted specifically for a group.

How to translate what we do to an audience for the context of my graduation ? Why ? Why is it important/interesting to make visible how we are working rather than giving a more direct and precious ‘artistic result’ ?
Which audience ? We could almost make a sociological study on the audience because of covid measures. 60 people, at least 45 or more artists, professionals, and students. the Left over were some family members and invited ‘outsiders’, very young and artsy people.
a traduire Choix de la reconstitution - Avec du recul je me rends compte que nous avons fait le choix de faire un compte-rendu voir une reconstitution de notre temps en studio. Ce qui peut paraître illustratif ou de mauvais goût pour moi et mes collègues car on s’est retrouvé à performer ‘nous dans le studio’ une représentation d’un moment unique en studio peut sonner faux reproduit sur scène. Le choix de la reconstitution n’est jamais perçu comme un choix qui facilite l’authenticité du performeur. Paradoxalement, dû à notre complicité nous nous sommes rendu ces moments de performances IEW A ECRIRE.
Tension entre l’authenticité et une dramatisation. Cette reconstitution a enlevé du vivant. Mais nous étions tellement vivant dans le studio que nous avons garder ça dans notre performativity.
Reconstitution : former de nouveau de qui est disparu, « évocation du passé ou d’un événément appartenant à l’histoire que l’on fait revivre par une composition humaine artistique » ; action de retracer les circonstances, les conditions dans lesquelles se sont déroulés des événements passe, « résultat de cette action »
I know my responsibility towards this audience is different. I’m not here to prove that I am a good choreographer.
For once I didn’t feel the need to do more. Is that lazy ? Mediocre ? I was also sharing
Langage, Place of Speech - Question of the language. We talked in french during the whole process, but then for showings, presentations for an audience how much we should be understandable ? How do we use english ? Choix de la reconstitution explique le choix de la langue.
[De Saussure, Parole, language ]
Brussels is also francophone, it was not addressed to THIS audience, but I do not care half of the people understand french. They didn’t understand because our voices were too low, and not addressed to the audience. Also because of technical issues, not having the right microphone.

“Light, funny and joyful” / “Boring, it was too long !”

“it was heavy, it is not necessary to show that kind of process to an audience” / “The best thing I’ve seen from the all week of the festival”

“Such humility in your performativity” / “It is super Arrogant”

“kind of mediocre... Low choice in composition of space and time” / “The nice complexity of different type of material put together made me feel that I was watching a Live-Documentary of a creation process”

“We enter with you in the intimacy of your exchange” / “ We don’t feel welcome as spectator, we are like ‘voyeurs’, you performed as if nobody’s is watching”

“Lazy, you don’t expose a clear position toward” ; “ I received it as a strong political statement in this context”

All of these comments were directly addressed to me mostly from artists or professionals of different kinds. From people I don’t know at all to people I’m close with. I selected ‘first impressions' on their experience as audience members over feedback or analyses on the presentation to improve or develop the work.

We decided to give initiations of our practices to know someone’s work from the ‘inside’, to reveal the technique and approach by a live transmission from one participant in the most direct way. Teaching an approach or a technique for 30 to 45 minutes showed different ways to hand on knowledge and receive it. It was interesting to see how the teaching differs in relation to what the practise requires. We didn’t approach those classes to acquire knowledge to use. Rather we approach them as a space to move our position (by doing something you might never ever tried before or simply by exchanging roles...). Passation of knowledge was a space to create a situation that leads to new connexion in our conversation. In line with Jacques Rancière approach on equal intelligence, even though we had clear roles where someone leads the class, it was not only about knowledge detained by someone that knows and received by someone that doesn’t. Instead, we used someone’s knowledge to create a situation, to navigate and acknowledge the position of the knowledge’s everyone else in the group. To share classes with each other was also a way to start or finish our day, to reactivate our senses by doing. It also channels discussion of someone’s practise by quoting people that influenced and built a discipline. For Chrysa Parkinson

“Something that is super important in [contemporary dance] and politically complex is citation. To say where this came from, where I learned it. [...] That’s a kind of refreshing the Ghost and also keeping the appropriate humility of a collective artform. We are not single authors”

I was surprised with what I chose to share to give clues about what could be my contemporary dance practise. I proposed to work on getting off-balance (déséquilibre). I think I was looking for basics, for a foundation. I ended up relying on a post-modern dance approach in line with artists from the 70’s in the US such as Doris Humphrey or Trisha Brown. I wouldn’t have done that with contemporary dancers.

« It is funny, I have the impression that we are building an ephemere school together, with our own methods. A programme that suits us specifically our group » N.

The place of writing /reading in the project (more common for some people, less for others)
What is a skill, what means to share a skill ?
Nous avons partagé nos façons d’aborder une mise en scène. je remarque l’utilisation de mots que nous comprenons toustes mais utilisons à des degrés et moment differents dans la création d’une oeuvre.
artisanat, we had to rehearsed. Repeat, to mastered a form together.

What is interesting in artistic research based on personal stories? Can we even call it research? Sharing knowledge through a more scientific way, for example through an explanation process with facts, focuses more on investigating and answering ideas to get to an enriched theoretical result. The act of explanation is often presupposing that the interlocutor needs to be taught ; Then in Vibzz Vibzz where there is no topic to investigate ( even more since we abandoned the vibration research idea) there were not either situations where people needed to be taught a certain knowledge. I think the use of story-telling in Vibzz Vibzz is related to the idea that knowledge is built by subjective translations. To share personal stories makes easier the creation of a space of equal manifestations of intelligence and sensibilities. As a consequence we were not looking to create new knowledge together. We were looking at the knowledge one carries right now and where it is positioned in relation to the other’s. Indeed the focus was not on what knowledge or basis we lack to get into a conversation. Of course if the aim of the work is to answer specific questions and get into a result that could be studied by people from outside, there is a limit to that mode of research but I think it is sufficient for Vibzz Vibzz goals that focus on interpersonal relations at work and has no will to improve anything. Maybe Vibzz Vibzz approach focuses on the step before an ‘actual’ research. Many researches start with a personal interest or desire. By bonding artists together in a personal way, it can trigger new interests.

Telling personal stories allowed us to integrate historical context from each participant. I found it interesting how it fluidifies the intersections between the disciplines. We could retrace in time what happened simeotaneously. The entanglement between the personal and the historical erased the distance that we can create when we study Art History. On the contrary, it makes me see again the simple fact that a discipline is not only an aesthetic regime driven by specific rules but rather it is driven by people that only ‘play’ with those rules, create material and dialogues around it. It can sound simple but I see around me that it is so easy to get impersonal in performing art, it was a good reminder.

The differences between our conditions of work. The privilege we have or not have. We shared different issues related to our fields such as: abuse at work in companies (thibault), Sexism in Pop Music, Project that uses traditional forms despised by some institutions, wrongly appropriated…
Acknowledge our privilege.


Appropriation culturelle et hiérarchie des arts
La formation du goût. Quelle approche artistique est + valorisée que d’autres blabla. à mes lectures de Bourdieu mon interet et mes recherches sur les formes multidisciplinaires qui abuse de pratique. Le groupe n’était pas interessé à donc lacher. Mais bien sur Beaucoup de chose autour de ces questions se manifestait mais nous n’avons pas fait un travail dessus. Nous étions attentif et conscient avec une discipline traditionnelle comme le flamenco ou bien par la distribution de la parole. C’était toujours imparfait
I addressed the topic : presence of abuses of forms and arts in multidisciplinary projects. somehow we never answered the question

Leadership : we combine total collaborative/collective activities with a clear switch of leaderships. It allowed to balanced the right amount of engagement and focus. But also to discover futher the perspective of one participant by hearing its voice. We were waving and changing hierarchies schemas together.
Conflicts: We onstantly directly adress the issues, even when it means to stop in the middle what we are doing. As a consequence, there could be less practises, production time it leads the group to take a collective responsibility on our time together.
Skill I develop : Listening and supporting other proposition I disagree with. Taking distance with my own belief leads me to really good surprises.
How working works ? Ex : l’image de com , pause pour discuter sur la place de la communication dans son domaine ; le but n’était pas l’aboutissement mais inter culture professionnelle ; dialogue et tissage entre le conversé, le verbe et l’action, la pratique, le mouvement ,

Comfort: sadly enough in my experience of being a student for the 6th year now, most of the student creation process are not ‘comfortable’ in terms of conditions to work. Having other classes, sharing spaces with others classmates, being evaluated and mentored is really different from my professional experience. I tried to always procure a catering with nuts, water, coffee/tea and planned, prepare the Breaks.
Responsability of the group to keep working or to know how much time we need to rest, to ‘cut’
The right to be lazy, neoliberalism.
Apparition of friendship, and care, fun. I forgot It was so important in art making. I’m surprise to see that my peers and myself have hard time to enjoy our own time of work.
Deteriorate with the pression of graduation.
What to acquire in fonction of people needs : nuts/fruits/ coffee/tea/ choco twist.
[Neoliberalism and the right to be lazy] paradoxically, it was the most difficult thing to do for me.

Identités artistiques, présentations personnelles, différences des méthodes
When I did interviews to select people that will be part of the project, my criterias were not very defined. Most of all I was looking for people from different fields and people that are ready to shake their positions, maybe try things they never did before. When I was looking for 5 people, I paid attention to parity in the group. I also tried to compose the group with my intuition on their ‘sociality’ how different but complementary people could be.
When we introduce each other = Social location/ Different configurations of the group that we acknowledge : Dancers/musician; Younger/older; experienced in performance/new in performance; Makers/performers ; White/racialised; Women/Men/ different economic background. We acknowledge it because it informs us a lot about each other's artistic interests, boundaries, insecurities, skills, stories. Once we acknowledged our social location, we were in a good place to start to work together. [Anya Topolski]
USE OF OBJECTS : personal objects, link to the practise as a mediation to perform, explain, improvise.
Theory has a different place. Because of the people I am working with. clash between intellectual work vs physical

The dynamic of the group was quite in a Time Managing : it takes 4more times(= the weird relationship between ethics and production) because we do all the decision-making,organisation of our days and planning, communication etc together…
To work on our differences VS what we have in common ?
We had this proposal by Manon my mentor, “Dire oui à tout + tolérance zero”. I already prepare the participants beforehand that they should be ready to try things they might not like or disagree with. The proposition of ‘Tolerance Zero’ is a rule to regulate your disagreement. It works a bit like a veto right. It’s a tool to set your limits and boundaries. We didn’t use it literally but we mentioned it regularly and it set a good mindset to exchange.
Magic moments: Moments of quick agreements and really easy communication.Little by little we created an understanding of our context and interest as a group, then some decisions can go super fast, it become easier to trust and believe in a proposition.
Tension ou la conversation prend le dessus car ça prend du temps de se comprendre avec des mots, de partager les univers ; déception de la part de Fédérico ;

et communauté éphémère (structure etc)
Being in a Huis-clos can be translated by being closed hearing. It comes from closing the doors behind a group of people that will debate, without spectators.
We could perceive our group as a ephemeral collective but I rather call it ephemeral meeting group. Each person led a mini workshop, It was interesting to suddenly shift into a student/teacher relationship.
unconference idea everyone make the conference together during the day ? to check.
Les 5 semaines nous étions comme une petite famille. C’était amplifié dû à l’isolement de la pandémie. On ne voyait pratiquement personne d’autre et on avait pas vraiment de projet autour le sentiment de huis clos est amplifié
[Autour de la table, Loic Touzé]
[Jo Freeman]
Presence of a mentor ??

créer un contexte
In an interdisciplinary project, when each person comes from a very different context, How do we understand and shape the context we are creating ? Acknowledging the space we are working in (especially PARTS ) what does it inform about our context of encounter ? (Talk about how most of the time it’s part of a contemporary field to include other disciplines. It could seems weird that a flamenco dancer invites contemporary dance artists in a project, the opposite is more practise)
Contexte d’une école : what is my responsibility in the context of PARTS ?

[I]"l s’agit d’expérimenter des rencontres où chaque art s’obstine à maintenir son identité et ses principes. […] L’interartistique réside dans l’art d’utiliser au mieux ce que chaque art apporte d’unique tout en lui opposant une autre manière de signifier ou de représenter. L’incompatibilité ou la différence produit un effet de perspective qui oblige à reconsidérer chaque art et à le penser dans son rapport à l’autre "

what implies to co-write in a inter/multi/transdisciplinary form
postmodernity and contemporary art support the plural, the diverse, the inclusion, the intersection the the the.. ?
Multidisciplinary is juxtaposition: études comparatives, instrumentalisation de multidisciplinaire pour faire genre tu transgresses, audacieux.
Interdisciplinary as a critique of discipline ! As a genre :
“ La scène interartistique tend à fonctionner par projet, par collectif de création, suivant des processus chaque fois singuliers”
intermediality : use of medium
INTER-ARTISTIQUE
Why not to melt everything ?Pas art total à la Wagner où les petits se font bouffer par les grands. Je préfère l’idée de voir la totalité d’une approche. Comment en tant que spectatrice si je vois Noemi chanter sur scène j’y vois le Tous se fond mais rien n’est dialogué. Extraire des pratiques et images
To give value to what a discipline holds. A balance.
NOT Gesamtkunstwerk, Total Art is "over" for me
transdisciplinaire ?
What are the ‘limits’ of each discipline? What constitutes a discipline and how much you can play with its limits (harder in the case of Flamenco, respect of codes, traditional pratrimoine) What is a discipline ? (Example of Noemi being an artist that uses many mediums. She is not exclusively a musician, that’s also really common among young artists today) what is the difference with using medium ?
Question about the multidisciplinary show as a form : how there is a massive interest in those formats by institutions, theaters. (in France at least) A form where you have everything at once -> encourage a specific regime of production.
Tissage d’idées, co-co-co-, cohabitation de régimes esthétiques en invitant les uns les autres à rentrer dans un régime plutôt que de mélanger les choses. Ca s’est fait comme ça pas vraiment de façon préméditée. Rend visible des frontières entres nos disciplines qui

‘‘It was the project that kind of split the audience in two’ - staff member.