Maria Ramos

Maria Ramos
Portugal
Cohort 3 : 2006-2008
Website: mariaramos.net

Choreographic projects:

  • ‘7PM Rumour’
  • ‘Nerves Like Nylon’

Thesis:

 ‘DETECTING CHOREOGRAPHING SCULPTING. How does an action create the germ of a narrative?’

This thesis derives from Maria Ramos’s choreographic research (CR) made during the two-year study at the ArtEZ Master of Choreography program Dance Unlimited – Arnhem (DU-A). Written from an author-oriented approach M. Ramos positions herself both as the investigator (detective) and the one whose choreographic work is being investigated (the detected).

Departing from the Research Question (RQ) ‘How does an action create the germ of a narrative?’ this essay will focus on two interrelated subjects that were central to M. Ramos’s choreographic work:

Why, in her work, she compares the choreographic space to an archaeological site and  how an initial interest in the work of Sculptor Antony Gorrmley has led the choreographer into applying sculptural notions/paradoxes into her choreographic compositions.

To do this the author will assume the perspective of the practitioner. Particularly interested in analyzing how, in the creative process, a choreographer (artist) conducts his/her research in order to bring about his/her artistic intentions, an approach that is still unique and necessary, because although the creative process (a creative process is not unique to artistic production but here the author talks about it within the field of arts, more specifically within dance making) has been studied before, it has mainly been done from the perspective of the “expert-spectator” (the scholar, the dramaturge, the academics – studies that in general tend to quickly fix creative processes within philosophical discourses) and not as much from the perspective of the “expert-practitioner”. When “expert-practitioners” document their own creative processes one might get closer to the actual process of making, closer to what sometimes rapidly theorized accounts don’t tell us about, What is, What feels and What happens while at work and while creating a performance.

This essay is about a performance artist discovering and contemplating her own creative process. Fluctuating between individual points of view, assertions, questions, more questions, strategies, methods and descriptions of specific choreographic practices; the author takes each page as a unique moment of and for reflection. Within these pages Maria Ramos constructs the leads into her future works. Within these pages you will find no ends but beginnings.

Photo: David Costa

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Photos:

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