(writings on) . like crazy. Reflections on dance making and performing with Maja and Sonja.

• Main Author: Aylward, Jacqueline
• Other Authors: fi=Taideyliopiston Teatterikorkeakoulu. Tanssijantaide|sv=Konstuniversitetets Teaterhögskola. Konstnärlig framställning i dans|en=Uniarts Helsinki’s Theatre Academy. Dance Performance|
• Format: Other/Unknown Material
• Language: English
• Published: Taideyliopiston Teatterikorkeakoulu 2023
• Subjects: . like crazy; fi=tanssi|sv=dans|en=Dance Performance|; First Nations
• Online Access: https://taju.uniarts.fi/handle/10024/7902

In the written part of my thesis I reflect upon my personal history and qualities as a dancer and dance maker. I unpack how this functions in my recent collaborative performance making. I situate myself within both Australian and European contexts and discuss some of the particular qualities and difficulties of this. I am critical of the universalising tendencies in Contemporary and Postmodern dancemakers and theoreticians arguing in favour of a more specific discourse. I attempt to model this in my own writing. Throughout the written thesis I use the artistic part of my thesis …like crazy (2023) as a focal point for discussing themes and topics. The images included in the thesis come from professional photography taken of artistic work, from rehearsals and of screenshots of personal messages. I use mainly artistic references to situate my work because this is the body of knowledge through which much of my understanding has been formed - in particular I look to Mette Invargten’s 50/50. I touch upon Post-Lacanian and Deluzian theories of the singularity to broaden my discussion of solo dance. I include Susan Sontag’s explanation of Camp as a possible way to categorise some of the artistic work. I turn to my fellow dance maker Maja Kalafatić to bring in a different inside perspective of the working and cite personal feedback from my peers to help see my work from the outside place. Throughout the writing there are my personal reflections upon and descriptions of dance and dance making. Overall, my approach is that of an artist writing within the context of academia and the style of writing/performative authorial voice is a product of this. I encourage my reader to also take their own approach to the text. In the first chapter, titled Looking through lineage, I have an autobiographical approach. Opening understandings of contemporary dance, postmodern dance, Camp and the impact of working with First Nations choreographers. In the second chapter, I discuss solo dance making and performing. I use my naked dance in ...