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Submission Number: 311
Submission ID: 376
Submission UUID: 316335f7-addd-496e-bdd1-35e297c89b6d
Submission URI: /ga/form/submit-contribution
Cruthaithe: Sun, 1 Mar 2026 - 12:26
Déanta: Sun, 1 Mar 2026 - 12:59
Changed: Wed, 13 May 2026 - 08:14
Remote IP address: 91.129.107.136
Submitted by: Anonymous
Teanga: English
Is draft: Níl
Current page: webform_confirmation
| Given name | Jaa |
|---|---|
| Surname | Sikk |
| jaak.sikk@eamt.ee | |
| I understand that by submitting this form, I consent to the use of my data for the purposes of the 2026 Forum on Artistic Research'. | Tá |
| I agree to the terms of service. | Tá |
| Title | Endangered Inner Worlds: From Individual Creative Space to Inclusive Transcultural Exchange through Ensemble Improvisation |
| Format | Workshop |
| Main language | English |
| Abstract | In higher music education, assessment regimes and norms of “correctness” can narrow what counts as artistic knowledge, marginalising individual artistic and cultural sense-making. This artistic research develops and tests a reproducible practice format—Self-Determined Mental Creative Space Through Improvisation—in which structured improvisation supports participants’ “inner worlds” as resources for artistic agency and cooperative invention under uncertainty. The workshop transposes this format into an experiential artistic-research session for musicians and non-musicians alike, adaptable across art forms. Participants engage a sequence of short, constraint-based scores that operationalise four interlinked methods: guided imagination; translating imagery into sound, movement, or other material; reframing “error” as divergence between imagined intention and outcome; and shifting core values via multisensory attention. Constraints function as compositional scaffolds that reduce decision overload, temper dominance/withdrawal, and enable a workable shared “common language” through real-time negotiation. Reflection links the shared practice to the project’s questions: how structured improvisation reshapes capacities to initiate, refrain, and respond (“alone together”); how reframing error redistributes authority and supports collective adaptation; and how often-marginalised expressive vocabularies (timbre, gesture, texture, silence) can operate as epistemic resources for equitable participation and early-stage transcultural exchange without flattening difference. The underlying research is based on two iterative three-day courses with mixed-instrument, multilingual cohorts at the Estonian Academy of Music and Theatre; data (field notes, open questionnaires, follow-up interviews) are analysed abductively in ATLAS.ti. The contribution is a transferable artistic-research framework and score-based method for cultivating safe creative space in collective practice. |
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| Additional information | The training session is structured into four 20-minute sections, each combining a short guided practice with discussion and reflection. Each section foregrounds a different sensitising concept—(1) uncertainty, (2) constraints, (3) safety/acceptance, and (4) agency and transcultural interaction—so that participants can both experience the score-based tasks and articulate what emerges in individual and collective practice. The workshop is open to artists working in any field; exercises are adaptable to sound, movement, text, and other materials, and no musical training is required. |
| Spatial and technical requirements | Quiet room with open floor space and movable chairs. If available, an acoustic piano (preferred) or keyboard, and a cello (if possible). Participants may bring their own instruments/objects, but none are required. Requirements are flexible and can be adapted to the space and available resources. |
| Potential risks or ethical concerns | Participation may involve creative risk-taking and may elicit mild discomfort (performance anxiety, vulnerability, or sensitivity to group dynamics). All activities are opt-in, with options to pause or observe. No personal data will be collected; discussion can remain non-disclosive and is art-oriented. The facilitator will establish shared safety/consent guidelines and support inclusive participation. |
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