<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>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) <italic>through</italic> 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 <italic>through</italic> and <italic>with</italic> costume can become a performance-making strategy and unpack details of what listening <italic>through</italic> and <italic>with</italic> the costume imply.</p>
</abstract>

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 details of what listening through and with the costume imply.

Listening <italic>Through</italic> and <italic>With</italic> Costume

Nordic Journal of Dance

This work is licensed under the Creative Commons Attribution 4.0 International License.

{"article-title":{"italic":["Through","With"],"content":["Listening","and","Costume"]}}

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...

Listening Through and With Costume

Online veröffentlicht: 10. Aug. 2023

Seitenbereich: 90 - 99

DOI: https://doi.org/10.2478/njd-2023-0010

© 2023 Charlotte Østergaard, published by Sciendo

This work is licensed under the Creative Commons Attribution 4.0 International License.