Papers by Heather Connelly
This event hosted by InDialogue, In Good Company and Dance4 as part of InDialogue 2019, was facil... more This event hosted by InDialogue, In Good Company and Dance4 as part of InDialogue 2019, was facilitated by Dr Rhiannon Jones and Dr Heather Connelly. The aim of the session was to facilitate a conversation with the artists hancock & kelly about practice as research as a methodology. The research processes and methodology designed by Rhiannon Jones for the residency were also disseminated. The event provided a unique opportunity for Dr Rhiannon Jones to reflect and disseminate initial findings from the residency curated for hancock & kelly and how artistic practice works with notions of dialogue. The Residency provided space and time for hancock & kelly to make new work and revisit previously created material, hosted by Dance4 InDialogue Panel discussion at Derby Theatre. Panellists: Dr Traci Kelly and Richard Hancock, Mark Jeffery (Associate Professor, Performance, SAIC), is the curator of InTime and a former member of Goat Island; Nicholas Lowe (Associate Professor, Historic Preser...
University of Derby, Nov 19, 2019
InDialogue is a collaborative artistic research project between Dr Rhiannon Jones and Dr Heather ... more InDialogue is a collaborative artistic research project between Dr Rhiannon Jones and Dr Heather Connelly. Conceived in 2012, whilst both where in the midst of their PhDs in Fine Art, InDialogue was created as an extension of their own practices and aims to provide a platform and hospitable environment for artistic research, experimentation, interrogation and discussion about and through dialogue. Due to the impact of InDialogue on the arts and research community the 2019 symposium is the fourth iteration of InDialogue Symposium event that aims to follow and expand the core values of InDialogue: knowledge sharing, dialogue, and interdisciplinarity, to create a space of intellectual interaction and imagination for the future in society. InDialogue 2019 continues the series of international events as part of an ongoing research project, that interrogates how arts researchers and cultural organisations use dialogue in and as practice. The underpinning research is evidenced through the medium of exhibition, publishing, public debate, conference and commissioning of new work. The research explores the contemporary landscape of dialogic practice, across all contemporary visual arts and performance practice. The impact of InDialogue2019 is noted through the way it attracted a variety of participants from beyond a particular institution to make sure that dialogue happens beyond and between institutions, creative and cultural venues and across boundaries. The evidence of this is through a breakdown of the institutions and disciplines, who are at different stages in their career, artists, academics, arts professionals and researchers and students from a range of Universities, geographic backgrounds and countries. The status and range of international artists who attended have enabled us to further establish InDialogue’s international reputation and raise awareness of both The University of Derby and the University of Lincoln. Partners: Dance4, InGoodCompany, Nottingham Contemporary, Derby Theatre, Deda, Mansions of the Future University of Derby, University of Lincoln, CVANEM. In summary, the methods employed are varied and carefully curated to provide a series of distinct cultural spaces to generate new forms of thinking around the nature of dialogue. This iteration of InDialogue brought UK and International based artists and researchers together, providing a dedicated time, to push the boundaries in thinking about the use of DIALOGUE and SITE within PRACTICE, across the disciplines of art and design. We invited proposals that activated a variety of regional cultural venues Derby Theatre, Déda, S.H.E.D, Mansions of the Future, Nottingham Contemporary. The themes decided by Jones and Connelly, harnessed the potential afforded in the temporary occupation of, and movement between these sites in order to expand the examination of dialogic practices. Selected artists responded to the thematic call, and proposed ways to occupy and alter activities within the sites. Jones was interested in how methodologically, this would generate research spatially by moving the discourse between sites, shifting the locus of discourse between people and place. To this end, InDialogue sought techniques to inhabiting the in-between spaces and the in-between of linguistic construct of dialogue (dia meaning through / from the word) being that which is active and engaged disrupting the rhythms and creating a hybrid space and time. Including an InDialogue commissions, a guided walk facilitated by artist Tom Hackett ‘A Song for Derby’, 2019, taking delegates between sites for InDialogue2019. The decisions made by Jones and Connelly for InDialogue 2019 took an evidently varied approach in order to methodologically engage with a wide range of individuals, practices, methods, forms and materials. Focusing on dialogue as: • knowledge and production • artistic and curatorial process • interactive and collaborative practice • translation and intercultural communication. It has supported over 250 international artists and researchers, created 2 UK based international residencies, financially supported by 10 UK leading Cultural Organisations and H.E partners, and has reached over 100 participants from 12 countries and funding (in kind and cash) reaching 163k to date.Deda Dance4 Arts Council England University of Derby University of Lincoln Mansions of the Future Nottingham Contemporary Derby Theatre CVAN-E
InDialogue, Dec 1, 2016
InDialogue is not just a title, it is an identified way of working for Jones and Connelly to be ‘... more InDialogue is not just a title, it is an identified way of working for Jones and Connelly to be ‘in dialogue’ with each other, with the field and with other researchers and artists. InDialogue is articulated by Dr Rhiannon Jones as both a research process and a project. InDialogue 2016 galvanises the success of 2012 and 2014 International Symposiums andnd the result is the 2016 iteration in which InDialogue was defined as existing to extend Dr Rhiannon Jones and Dr Heather Connelly’s own artistic research into how artists and researchers use dialogue in their work. As such, InDialogue 2016 was created to continue their collaborative investigation into dialogic practices through a methodological framework (InDialogue) in order to provide themselves and other artists and researchers the opportunity to engage with this dialectic and discursive research process /activity. The resulting outcome is that InDialogue in 2016 shifted away from being a bi-ennial symposium from pilot events in 2012 and 2014, and in 2016 it became an established form of practice-research through which their own research enquiries can also be supported by this unique platform and hospitable environment. As a result, InDialogue 2016 research topics were designed by Jones and Connelly, who proposed across three discussion panels which were intended to stimulate a dialogue around the most immediate issues. So, for example, the first was devoted to Speaking through the voice of another, Transcultural Dialogues and We Have A Situation – all re-considering their interests in performative, linguistic and digital aspects to the dialogic enquiry. This framework supported a setting for others artistic research, experimentation, interrogation and discussion about and through dialogue, which resulted in a new understanding for InDialogue, as a driver not just a facilitator or a conversation starter for other. By doing this, it addressed the question of how an ongoing research project, such as InDialogue, can interrogate how arts researchers and cultural organisations use dialogue in and as practice. It did this by generating a dialogical framework – co-designed Jones and Connelly created a programme that had three specialist panels that focused upon the curators' specific research interest, and alongside this were presentations, papers, performances, interventions, workshops and discussions. This was to allow for the exchange of research across cultural, intellectual and social levels. A series of connected research provocations created by Jones and Connelly to be addressed were: • Dialogue as knowledge and production • Dialogue as artistic and curatorial process • Interactive and collaborative dialogic practice • Dialogic bodies: haptic communication, gestures and exchange • Dialogue as an embodied methodology • Motivations for participatory & dialogical practice locally situated • Agendas of institutions in promoting engagement • Reflections on power relations and how collective practice is authored. • Transcultural and transdisciplinary dialogic practices. It is important to note that the above formed provocations are set out of a series of research agendas and questions that the cofounders Dr Rhiannon Jones and Dr Heather Connelly devised together - through and out of their own research interests. These research interests offer a collaborative framework and focus for the dialogic field of enquiry; and call for participation as set out by InDialogue. In order to extend the frame of reference and knowledge exchange in the field for the enquiry Dr Rachelle Viader Knowles was invited to the curatorial team as her research interests aligned with the themes set out. Professor Steve Swindells was invited to act as Chair due to his extensive knowledge of the dialogic field. Papers were peer reviewed by InDialogue 2016 partners from Birmingham City University, Nottingham Trent University, Coventry University, Nottingham Contemporary, New Art Exchange, Dance4. Reach: The 2016 event took place at Nottingham Contemporary (NC) and New Art Exchange (NAE), with an evening of performances in association with Dance 4. It was also supported by Nottingham City Council, which has recently been named UNESCO city of literature of which InDialogue aligned with this accolade for the city of Nottingham. Nottingham City Council (NCC) marketed it through their inhouse team – it featured on the events landing page, in their Whats On weekly emails (reaching 26K), Facebook (15k) and Twitter (7k). Dance 4, Nottingham Contemporary and New Art Exchange also promoted the event and we featured in their brochures and websites and social media campaigns reaching art audiences of approx. 25K. The event was also marketed through our InDialogue mailing list, social media and JISC mail. (10k). InDialogue was chaired by Prof. Steve Swindells, University of Huddersfield, with guests Prof. Grant Kester, University of San Diego, and panelists Helen Varley Jamieson (Germany and New…
Speaking through the voice of another is a practice-based PhD that employs art practice to interr... more Speaking through the voice of another is a practice-based PhD that employs art practice to interrogate translation (as a textual and verbal practice). It uses linguistic translation as both the subject and the method to make multimedia artworks (text, sound, performance and events) that examine and analyse the translation process itself. The research has been conducted from my own subjective position, as an artist and monolingual speaker (a translation user rather than translation professional), investigating translation as a dialogic, subjective, embodied and performative phenomena. It adopts a self-reflexive methodology that places equal value in theoretical and experiential knowledge and proposes that an artist-led inquiry challenges assumptions, translation protocols, conventions and normative behaviour. The artists and artworks discussed in the thesis examine the translators /translation s agency and its linguistic performativity; exploiting it s creative potential as an artist...
Translating across Sensory and Linguistic Borders, 2018
This essay uses Connelly’s practice-based research project Translation Zone(s): A Stuttering as a... more This essay uses Connelly’s practice-based research project Translation Zone(s): A Stuttering as a point of departure to contemplate the limitations and implications of applying linguistic-oriented semiotic theories to non-representational contemporary art practices. Intersemiotic translation is used as a vehicle to discuss a participatory, immersive transdisciplinary polylingual sound work. Written from an artist-researcher’s perspective and drawing upon Felix Guatarri’s a-signifying semiotics, it highlights the need for interdisciplinary research projects to employ a flexible model that acknowledges the affective nature of art practice and is capable of addressing the contingent and relational aspects of artistic research.
Open Cultural Studies, 2018
This essay outlines the potential of artistic research for engaging audiences in cultural literac... more This essay outlines the potential of artistic research for engaging audiences in cultural literacy and linguistic hospitality, which according to Paul Ricoeur occurs “where the pleasure of dwelling in the other’s language is balanced by the pleasure of receiving the foreign word at home” (10). It builds upon Emile Benveniste’s (1969) and Jacques Derrida’s (1997, 2000) transcultural etymological investigation of hospitality which is central to Alison Phipps’ ethical, socially oriented ethnographic praxis. Focusing on the use of a sensory and reflexive methodology in Translation Zone(s): A Stuttering, a participatory arts research project-developed during an Arts and Humanities Research Council Cultural Engagement Fellowship-this essay aims to extol the value of adopting an experimental approach to language, to embrace “not knowing” as a constructive methodological strategy and to extend the scope of research within this area to encompass other epistemological fields. The project is r...
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Papers by Heather Connelly