New practises

New practises

Breakout session 1
New Practices

Brainstorming terms + concepts for “new practices”, in French “pratiques nouvelles”:
Écritures nouvelles – new styles and aesthetics
“New dance”, “non-danse”, body practices
Formal and informal networks of artistic practices
Dance cultures
Indisciplinés – undisciplined
Interdisciplinary
Contemporaneity
The white box, site specific
Art éngagé – political art
Renewing entertaining word
Renewing the audience relationships
The performance as “an experience” – the “happening”
Art presenter on/with the internet
Presentation of the work-in-progress
Urban art
Arts numériques – media/electronique arts
Renewal of concepts from the 60s and 70s

Short typography of significant practices:
(1) Arts numériques – media arts, art on/in the internet
(2) Renewal of “dancy dance” and compositional strategies (resistance to “non-dance”)
(3) Dancing outside of theatres, in situ, work-in-progrees, and so moving away from product orientation
(4) Renewing interaction with audiences, relational art
(5) Indiscipliné – undisciplined (beyond the interdisciplinary)
(6) Bringing back concepts from the 60s and 70s
(7) Integration of various cultural and popular dance forms – moving traditional forms towards modernity – global art

Politics and new practices:
Fads – being “in” and “out”
Countries in which culture is dictated by the government, or by presenters who tend to stifle these new practices
Countries in which classical ballet still predominates (ex. Italy)

Philosophy and new practices:
New practices are linked to where the artist is coming from and where s/he has been, geography and environment – la provenance des artistes

How artists and presenters can foster these new practices:
Adapt to the demands of new technologies
Create more flexible, multi-functional spaces
Créer des “epaces de vie” — create “spaces for life, for living” – modular residencies, living spaces…
Consider young new publics who are used to the “zapping” of images, acceleration but also
work with the reality of inter-generational audiences
How to work with an excessive amount of programming (ex. in large urban centres)
Need for intelligent, open-minded, ever-evolving presenters who embrace these new practices
Foster better, more sustainable relationships between artists and presenters

How can networks support these new practices:
Work together to provide more money and time for artistic work
Balance the two poles: grouping together to support one artist vs. creating informal and ephemeral partnerships to support artists who fall outside of these kinds of supporting networks
Build spaces that are better adapted to these new practices (more flexible, more windows, etc.)