haerenga kōrerorero - choreographing sensing relations

aut.embargoNoen_NZ
aut.thirdpc.containsYesen_NZ
aut.thirdpc.permissionNoen_NZ
aut.thirdpc.removedYesen_NZ
dc.contributor.advisorO'Connor, Maria
dc.contributor.authorRuckstuhl-Mann, Rachel
dc.date.accessioned2014-10-20T03:35:14Z
dc.date.available2014-10-20T03:35:14Z
dc.date.copyright2014
dc.date.created2014
dc.date.issued2014
dc.date.updated2014-10-20T03:10:02Z
dc.description.abstractTwo significant worlds here coincide and correspond: whanaukataka and somatic choreographic knowing. Activated through spatial design questioning, this thesis interrogates storytelling as an ethics of performance and as an ontology of relatedness. This is a complex question, but it goes to the heart of significant ways of knowing that have informed both my performance practice and the ethics it has come to embody. Relatedness is that condition of being with others through an ethics of maintaining and celebrating differences. This Masters performance practice brings me in proximity with a diverse range of people through strategies of invitation, sharing of (water) stories, communal social relations (such as tea drinking), extended durations and diverse spatial environments and dynamics that commonly circulate around water. Difference is explored not in terms of isolated singular human beings but rather the contingent spatial and temporal dynamics that participate in scenes of relatedness. Difference thereby enters performance through strategies of engaging with extended duration; people from different circles of life; spaces - of image, memory, embodiment, scenic and urban sites, idyllic and everyday conditions; national and international borders (Netherlands, Prague and NZ); and bodies of a singular and collective massing. As used here, ethics is not that term concerned with a morality of right and wrong, but rather engages with a concern for a subjectivity distributed through the above named networks. It signals in my critical performance practice that “I” am not at the centre of this work but rather the ego of an “I” that wanes (gets a little lost) to make room for a possible otherness that has yet to be imagined. Relatedness is my term for such unanticipated belonging.en_NZ
dc.identifier.urihttps://hdl.handle.net/10292/7773
dc.language.isoenen_NZ
dc.publisherAuckland University of Technology
dc.rights.accessrightsOpenAccess
dc.subjectPerformanceen_NZ
dc.subjectRelationalen_NZ
dc.subjectSomaticen_NZ
dc.subjectIndigenousen_NZ
dc.subjectMāorien_NZ
dc.subjectWateren_NZ
dc.subjectMemoryen_NZ
dc.subjectSite-specificen_NZ
dc.subjectEmbodimenten_NZ
dc.subjectDurationalen_NZ
dc.subjectStorytellingen_NZ
dc.subjectDifferenceen_NZ
dc.subjectEthicsen_NZ
dc.titlehaerenga kōrerorero - choreographing sensing relationsen_NZ
dc.typeThesis
thesis.degree.discipline
thesis.degree.grantorAuckland University of Technology
thesis.degree.levelMasters Theses
thesis.degree.nameMaster of Art and Designen_NZ
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