Page 5 - radio strainer

Radio Strainer
The Winchester University Press PREFACE SERIES
The Winchester University Press PREFACE SERIES stands at the intersection of creative practice and critical interrogation. Each PREFACE SERIES title consists of an extended piece of writing in a chosen form (prose, poetry, script) alongside a self-reflective commentary on the nature and con- struction of the piece, written by the authors themselves. Following in the tradition of writers such as Henry James, who produced insightful commentaries on their own works, PREFACE SERIES titles are both innovative, creative works and sophisticated reflections on the nature of the creative process.
The Author: Alys Longley works as a Senior Lecturer in the Dance Studies Programme at the Na- tional Institute of Creative Arts and Industries, The University of Auckland. She is a performance maker, researcher and teacher with a primary focus on writing and experimental documentation in performance making. Her research foci include practice-led research, interdisciplinary projects, ethnography, narrative research, somatic education methods and inclusive dance education.
the kinesthetic archive project experiments with how the mobile, textured, abstract and kin- esthetic thinking that occurs in performance research might be articulated through differ- ent kinds of writing practices. The artist book performs a series of page works that emerged through one year’s worth of choreographic practice in different settings - including somatic workshops, rehearsals for theatre work, and practice sessions with various artists. Abstract qualities that are central in practice-led research such as felt affect, physical tone, texture, space, intuitive sensing and the porousness of touch are evoked through a poetic written register that also attends to the choreography and materiality of the page. The accompany- ing essay discusses practice-led and critical issues that contextualized the creative process of choreographic writing. Writing has been cast as monstrous – or at least violent – in its abil- ity to disfigure, maim and destroy the life of live arts. Yet for many performance practitioners, writing is an integral part of studio-based processes, a necessary form of reflection and a site for creative experimentation and planning. This project explores writing that is coextensive with dance practice, in relation to critical theory that engages with writing as performance.