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Papers by Charlotte Østergaard

Nordic journal of dance, Jun 1, 2023

Studies in costume & performance, Jun 1, 2018

This visual essay introduces an independent collaborative artistic research project between costu... more This visual essay introduces an independent collaborative artistic research project between costume designers Charlotte Østergaard and Jeppe Worning utilizing mask as costume to examine one's relationship to the MASK from two perspectives: inside and outside. The research process starts with artistic practice: beginning by interacting with the objects/materials of study, we engage in a critical dialogue with the experiences we invoke. How can we as costume designers have an awareness of the costume from within and at the same time keep a gaze from the outside? Starting from the inside, we must dare to act as performers wearing the object of study, feeling it from the inside. As a wearer, the feeling of the material on the body may be a personal experience; it is also critical to incorporate a second perspective-perceiving the MASK from the outside. This project provoked a critical dialogue between the sensorial feeling (inside) and the visual expression (outside) of the mask. The dialogue between these two perspectives challenges us to become 'active observers' to our artistic expression. KEYWORDS costume design method mask sensory qualities aesthetic qualities movement artistic research inside outside CHARLOTTE ØSTERGAARD Independent Costume, Textile and Fashion Designer MASK: Dialogue between an inside and an outside perspective of costume VISUAL ESSAY

Nordic Journal of Dance

In performance contexts, costume is often perceived as visual expression that is in service of, f... more In performance contexts, costume is often perceived as visual expression that is in service of, for example, a choreographer’s vision. I argue that costume is also an aesthetic and poetic language in its own right that allows individuals such as performers and designers to co-conceptualize and co-create performances. In co-creative performance-making processes, I argue that it is critical that designers open-mindedly listen to performers’ experiences of specific costumes and that we (designers and performer) through listening co-creatively explore potentialities and challenges that are embedded in a specific costume. In the co-creative process, we must pay attention and listen carefully to how a specific costume affects specific performers in order to explore the ‘hidden’ performative potentialities and qualities that are imbedded in a specific costume. In this article I will unfold aspects of how listening through and with costume can become a performance-making strategy and unpack...

Peripeti

Costume driven performances. Costumes generative and performative potentialsThis article examines... more Costume driven performances. Costumes generative and performative potentialsThis article examines costume driven performances as a growing trend in international performing arts as well as in costume research. It also provides the more detailed analysis of a costume-driven dance performance from the author’s own practice and concludes with considerations about the potential in Danish performing arts.

Studies in Costume & Performance, 2018

This visual essay introduces an independent collaborative artistic research project between cost... more This visual essay introduces an independent collaborative artistic research project
between costume designers Charlotte Østergaard and Jeppe Worning utilizing
mask as costume to examine one’s relationship to the MASK from two perspectives:
inside and outside. The research process starts with artistic practice: beginning
by interacting with the objects/materials of study, we engage in a critical
dialogue with the experiences we invoke. How can we as costume designers have
an awareness of the costume from within and at the same time keep a gaze from
the outside? Starting from the inside, we must dare to act as performers wearing
the object of study, feeling it from the inside. As a wearer, the feeling of the material
on the body may be a personal experience; it is also critical to incorporate a
second perspective – perceiving the MASK from the outside. This project provoked
a critical dialogue between the sensorial feeling (inside) and the visual expression
(outside) of the mask. The dialogue between these two perspectives challenges us to
become ‘active observers’ to our artistic expression.

Books by Charlotte Østergaard

Creative Work Conditions, Contexts and Practices, 2024

Situating artistic research This chapter is situated in the context of artistic research. In "Con... more Situating artistic research This chapter is situated in the context of artistic research. In "Conditions for experimental knowledge exchange in collaborative research across the science and creative practice" Groth et al. write that "by investigating phenomena through practice rather than mere observation, one can capture the experiential nature of the practice and knowledge becomes transformational rather than documentational" (Groth et al. 2020, 5-6). Groth et al.'s argument builds on Tim Ingold's ethnographical studies of creative craftmaking practices. Ingold suggests that the art of inquiry implies that "materials think in us, as we think with them" (Ingold 2013, 6). Building on Ingold, I suggest that artistic research implies that the researcher is actively and bodily engaged in the phenomena at study. Through practice the artistic researcher entangles with the experimental nature of the phenomena. In "Situated knowledges: the science question in feminism and the privilege of partial perspective" Donna Haraway writes that she "insist[s] on the embodied nature of all vision and to reclaim the sensory system" (Haraway 1988, 581). Haraway suggests that the researcher's vision is bodily situated and hence as a researcher, I cannot escape my embodied situatedness and entanglement with the phenomena that I study. Haraway continues that "the moral is simple: only partial perspective promises objective vision" (Haraway 1988, 583). As I read Haraway, the partiality implies that artistic research is always conducted and studied from a particular perspective-in this case the costume designer's perspective. I would argue that in artistic research it is through my entanglement with the research phenomena that transformational knowledge emerges. My artistic research practice is inspired by (post)qualitative research. In "What is (post)qualitative research?" Lesley Le Grange writes that "(post) qualitative research informed by an immanent ethics opens up pathways for all those involved in research to increase their power of acting, to express their generosity, and love the world (all of life)-it is an invitation to dance (just do)" (la Grange 2018, 9). Inspired by (post)qualitative research, I suggest that if the researcher invites participants into the research-as

Nordic journal of dance, Jun 1, 2023

Studies in costume & performance, Jun 1, 2018

This visual essay introduces an independent collaborative artistic research project between costu... more This visual essay introduces an independent collaborative artistic research project between costume designers Charlotte Østergaard and Jeppe Worning utilizing mask as costume to examine one's relationship to the MASK from two perspectives: inside and outside. The research process starts with artistic practice: beginning by interacting with the objects/materials of study, we engage in a critical dialogue with the experiences we invoke. How can we as costume designers have an awareness of the costume from within and at the same time keep a gaze from the outside? Starting from the inside, we must dare to act as performers wearing the object of study, feeling it from the inside. As a wearer, the feeling of the material on the body may be a personal experience; it is also critical to incorporate a second perspective-perceiving the MASK from the outside. This project provoked a critical dialogue between the sensorial feeling (inside) and the visual expression (outside) of the mask. The dialogue between these two perspectives challenges us to become 'active observers' to our artistic expression. KEYWORDS costume design method mask sensory qualities aesthetic qualities movement artistic research inside outside CHARLOTTE ØSTERGAARD Independent Costume, Textile and Fashion Designer MASK: Dialogue between an inside and an outside perspective of costume VISUAL ESSAY

Nordic Journal of Dance

In performance contexts, costume is often perceived as visual expression that is in service of, f... more In performance contexts, costume is often perceived as visual expression that is in service of, for example, a choreographer’s vision. I argue that costume is also an aesthetic and poetic language in its own right that allows individuals such as performers and designers to co-conceptualize and co-create performances. In co-creative performance-making processes, I argue that it is critical that designers open-mindedly listen to performers’ experiences of specific costumes and that we (designers and performer) through listening co-creatively explore potentialities and challenges that are embedded in a specific costume. In the co-creative process, we must pay attention and listen carefully to how a specific costume affects specific performers in order to explore the ‘hidden’ performative potentialities and qualities that are imbedded in a specific costume. In this article I will unfold aspects of how listening through and with costume can become a performance-making strategy and unpack...

Peripeti

Costume driven performances. Costumes generative and performative potentialsThis article examines... more Costume driven performances. Costumes generative and performative potentialsThis article examines costume driven performances as a growing trend in international performing arts as well as in costume research. It also provides the more detailed analysis of a costume-driven dance performance from the author’s own practice and concludes with considerations about the potential in Danish performing arts.

Studies in Costume & Performance, 2018

This visual essay introduces an independent collaborative artistic research project between cost... more This visual essay introduces an independent collaborative artistic research project
between costume designers Charlotte Østergaard and Jeppe Worning utilizing
mask as costume to examine one’s relationship to the MASK from two perspectives:
inside and outside. The research process starts with artistic practice: beginning
by interacting with the objects/materials of study, we engage in a critical
dialogue with the experiences we invoke. How can we as costume designers have
an awareness of the costume from within and at the same time keep a gaze from
the outside? Starting from the inside, we must dare to act as performers wearing
the object of study, feeling it from the inside. As a wearer, the feeling of the material
on the body may be a personal experience; it is also critical to incorporate a
second perspective – perceiving the MASK from the outside. This project provoked
a critical dialogue between the sensorial feeling (inside) and the visual expression
(outside) of the mask. The dialogue between these two perspectives challenges us to
become ‘active observers’ to our artistic expression.

Creative Work Conditions, Contexts and Practices, 2024

Situating artistic research This chapter is situated in the context of artistic research. In "Con... more Situating artistic research This chapter is situated in the context of artistic research. In "Conditions for experimental knowledge exchange in collaborative research across the science and creative practice" Groth et al. write that "by investigating phenomena through practice rather than mere observation, one can capture the experiential nature of the practice and knowledge becomes transformational rather than documentational" (Groth et al. 2020, 5-6). Groth et al.'s argument builds on Tim Ingold's ethnographical studies of creative craftmaking practices. Ingold suggests that the art of inquiry implies that "materials think in us, as we think with them" (Ingold 2013, 6). Building on Ingold, I suggest that artistic research implies that the researcher is actively and bodily engaged in the phenomena at study. Through practice the artistic researcher entangles with the experimental nature of the phenomena. In "Situated knowledges: the science question in feminism and the privilege of partial perspective" Donna Haraway writes that she "insist[s] on the embodied nature of all vision and to reclaim the sensory system" (Haraway 1988, 581). Haraway suggests that the researcher's vision is bodily situated and hence as a researcher, I cannot escape my embodied situatedness and entanglement with the phenomena that I study. Haraway continues that "the moral is simple: only partial perspective promises objective vision" (Haraway 1988, 583). As I read Haraway, the partiality implies that artistic research is always conducted and studied from a particular perspective-in this case the costume designer's perspective. I would argue that in artistic research it is through my entanglement with the research phenomena that transformational knowledge emerges. My artistic research practice is inspired by (post)qualitative research. In "What is (post)qualitative research?" Lesley Le Grange writes that "(post) qualitative research informed by an immanent ethics opens up pathways for all those involved in research to increase their power of acting, to express their generosity, and love the world (all of life)-it is an invitation to dance (just do)" (la Grange 2018, 9). Inspired by (post)qualitative research, I suggest that if the researcher invites participants into the research-as