QCQ – Kosstrin

Quote: “The stakes for researchers inferring aspects of historical embodiment to flesh out a dance within its time necessitate discernment in word choice and conclusions. Kinesthetic seeing cannot justify a researcher evacuating a research subject’s personhood when engaging kinesthetic empathy (Hartman 1997); similarly, when embodying from the archive, a researcher must recognize how movement practices, even if codified, change over time. Performing dances from score, rendering dances from archival sources, and analyzing dances from video or live contexts all rely on sensitive interpretive processes to pursue responsible discussion.” (27)

Context: Previously Kosstrim discussed how one must be cognizant of the troubled history of Laban in order to utilize the notation. She goes on to explain how she does this in her own research practice. Her she is discussing that this awareness of the historical, political, personal, etc. context must be used to informal how one approached archiving. You cannot just record apolitically but must take into account everything that lead up to the moment of the dance. 

Question: How can we annotate and/or archive our own processes to build the context of artwork as the artist? What methods can be engaged to record the current sociopolitical moment that one is making in, and include the personal state that the artist is in as well? Is there a notation for recording the entirety of context around ones work in a way that makes it archival?