Amphibious Trilogies

About the project

Amphibious Trilogies is a developmental arts and practice based inquiry realised through an extended choreography. The main goal is to artistically explore and monitor littoral spaces via an extending choreography of related literal, bodily and border conditions, environments and communication.

The subsidiary goals are a) to explore the configurations of habitat, inhabitation, migration and mobility through three intersecting thematics that address links between place, agents and movement between the land and the sea, and b) to trace, track, document and distribute the indeterminate, emergent and slippery trajectories garnered through the project to make accessible these shifts between land and sea.

The sea is what separates and connects, what brings life and death, what represents hope, happiness and trauma. Through this project we will not only test the limits of contemporary choreography, but also the power of contingency in art based perceptions and projections of the future.

Amphibious Trilogies encompasses a medley or mixed creative research techniques and methods known, practiced, performed and published by the team. It draws these from the performance related and choreography in particular, from interdisciplinary design and digital media/arts and interaction, and from sociology and related approaches to qualitative inquiry. They are probed interconnectedly within three thematics/works; ‘island’, ‘pond’ and ‘passage’.

Physical and remotely-sensed sea journeys, island landings and pond wallowing are examples of research activities. Via a series of fieldworks stretching from Norway to Central Europe and far across the north European seas we will try to understand the rites of passage that links ‘island’ to ‘pond’.

The project is led by Amanda Steggell, Professor of Choreography, Oslo National Academy of the Arts (KHiO) in collaboration with Professor Andrew Morrison, Director of the Centre for Design Research, Oslo School of Architecture and Design (AHO), Hans-Jørgen Wallin Weihe, Professor of Social Work, Inland University of Applied Sciences (INN) Lillehammer, and Brynjar Åbel Bandlien, Phd student at the Academy of Dance, KHiO. It is financed by the Norwegian Artistic Research Programme (NARP).

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