Charlotte Arculus
I am an artist animateur adventuring in the academy as a doctoral student at Manchester Metropolitan University. I work in multiple art forms and my research focuses on temporal arts as forms of knowledge - especially young children's knowledge. I work and play with posthuman and new materialist philosophy.
Supervisors: Dr Christina MacRae, Dr Rachel Holmes, and Dr Abigail Hackett
Address: http://www.magic-adventure.co.uk/
Supervisors: Dr Christina MacRae, Dr Rachel Holmes, and Dr Abigail Hackett
Address: http://www.magic-adventure.co.uk/
less
InterestsView All (17)
Uploads
Papers
The majority of existing research concerning two-year-old children focuses on measuring their development, progress and school readiness, it is about them and distanced from them (Ingold 2013, Haraway 2016 , Blum 2017,). There is a profound lack of interest in the actual knowledge of and abilities of children (Voneche 1987, quoted in Cannella and Viruru 2004 ) and therefore very little of research with two-year-olds that seeks to understand their emergent thinking. My research proposes improvisational performance-based arts as unique pedagogical tools with particular affordances for thinking with movement, sound and gesture. I wish to offer alternatives to the almost incontestable ‘word-gap’ debate around two-year-old children and to explore and raise awareness of other kinds of rich, collaborative ways of thinking and knowing that are more than words.
The research asks
• What are the pedagogic resonances between temporal arts practices and two-year-old children’s language, literacy and communication?
• What is the potential of non-representational and embodied arts practices as emergent forms of knowledge of two-year-old children?
• What happens in two-year-old practices when adults stop talking?
This research is situated in process ontology, posthumanism and new materialism (Haraway 2016, Braidotti 2013, Barad 2007, Deleuze and Guattari 1987) and builds on new postqualitative work in the field of early childhood by contributing much needed research with two-year-olds and also the abstract materiality of performance art practice. The ineffable practice of improvisation is a thread running through this proposal: the practice, nature and theory of improvisation, and its relation to nomadic and rhizomic thinking; the relationship of improvisation with Events and Refrains; and as a tool for transversal thinking (Deleuze and Guattari 1987, Genosko 2009).
This research aims to explore young children’s transversal and rhizomic thinking (Dahlberg and Moss 2005) and their innate capabilities as improvisers and collaborators in communicative performance arts practices which include music, dance, voice play, gesture, game-making and funniness (Trevarthen & Malloch 2012, Dissanayake 1992, Reddy 2008).
The research takes a Performance (Kuppers 2016, Conquergood 2002), Speculative (Springgay and Truman 2018), and Non-representational methodology (Boyd 2016, Thrift 2008), and uses modest witnessing, polite visiting and Bag Lady-ing (Haraway 2016, 1997, Osgood 2015) as methods.
Rather than a single, elevated researcher, this research will attempt to co-create a research ensemble, who together, will think with practice and theory in order to co-generate and co-collate the emergent research stories/data/artefacts.
Researchers will adopt the use of film in order to resist the hegemony of words (which excludes two-year-olds), and endeavour to collaborate with children through temporal arts practices and innovative uses of film, playback and projection. All research involves choices about what is seen and what is un-seen, the purpose of this research is to make certain aspects of children’s transversal, communicative relationality more visible through temporal art forms.
This small piece of qualitative research focuses on the relationship between musicality and funniness in two year old children’s free play in a day care nursery setting. Focusing on peer to peer interactions as a participant observer, I studied the children’s behaviour through a conceptual framework comprising of the overlapping lenses of two separate existing theories – Communicative Musicality (Malloch & Trevarthen 2009) and Funniness as expounded by Reddy (2010) - and which I term Communicative Musical Funniness (CMF). I observed various, sophisticated, and sometimes surprising ways in which children use communicative musical funniness to create strong complicit relationships with each other. The study draws on similar studies and recent theories of communicative musicality and funniness and explores the pedagogical implications of the study.
This small piece of qualitative research explores the musical nature of infant humour, focusing on playful interchange among a small group of children aged 2-3 in a day care setting.
Focusing on communicative interaction, this paper explores qualities of musical factors present in funniness such as rhythm, repetition and voice play – where, what I term, communicative musical funniness occurs between young children through complicitè, friendship and playfulness
The study investigates the musicality of funniness around the Multi-Modal nature of children’s interaction with the environment and those in it
The majority of existing research concerning two-year-old children focuses on measuring their development, progress and school readiness, it is about them and distanced from them (Ingold 2013, Haraway 2016 , Blum 2017,). There is a profound lack of interest in the actual knowledge of and abilities of children (Voneche 1987, quoted in Cannella and Viruru 2004 ) and therefore very little of research with two-year-olds that seeks to understand their emergent thinking. My research proposes improvisational performance-based arts as unique pedagogical tools with particular affordances for thinking with movement, sound and gesture. I wish to offer alternatives to the almost incontestable ‘word-gap’ debate around two-year-old children and to explore and raise awareness of other kinds of rich, collaborative ways of thinking and knowing that are more than words.
The research asks
• What are the pedagogic resonances between temporal arts practices and two-year-old children’s language, literacy and communication?
• What is the potential of non-representational and embodied arts practices as emergent forms of knowledge of two-year-old children?
• What happens in two-year-old practices when adults stop talking?
This research is situated in process ontology, posthumanism and new materialism (Haraway 2016, Braidotti 2013, Barad 2007, Deleuze and Guattari 1987) and builds on new postqualitative work in the field of early childhood by contributing much needed research with two-year-olds and also the abstract materiality of performance art practice. The ineffable practice of improvisation is a thread running through this proposal: the practice, nature and theory of improvisation, and its relation to nomadic and rhizomic thinking; the relationship of improvisation with Events and Refrains; and as a tool for transversal thinking (Deleuze and Guattari 1987, Genosko 2009).
This research aims to explore young children’s transversal and rhizomic thinking (Dahlberg and Moss 2005) and their innate capabilities as improvisers and collaborators in communicative performance arts practices which include music, dance, voice play, gesture, game-making and funniness (Trevarthen & Malloch 2012, Dissanayake 1992, Reddy 2008).
The research takes a Performance (Kuppers 2016, Conquergood 2002), Speculative (Springgay and Truman 2018), and Non-representational methodology (Boyd 2016, Thrift 2008), and uses modest witnessing, polite visiting and Bag Lady-ing (Haraway 2016, 1997, Osgood 2015) as methods.
Rather than a single, elevated researcher, this research will attempt to co-create a research ensemble, who together, will think with practice and theory in order to co-generate and co-collate the emergent research stories/data/artefacts.
Researchers will adopt the use of film in order to resist the hegemony of words (which excludes two-year-olds), and endeavour to collaborate with children through temporal arts practices and innovative uses of film, playback and projection. All research involves choices about what is seen and what is un-seen, the purpose of this research is to make certain aspects of children’s transversal, communicative relationality more visible through temporal art forms.
This small piece of qualitative research focuses on the relationship between musicality and funniness in two year old children’s free play in a day care nursery setting. Focusing on peer to peer interactions as a participant observer, I studied the children’s behaviour through a conceptual framework comprising of the overlapping lenses of two separate existing theories – Communicative Musicality (Malloch & Trevarthen 2009) and Funniness as expounded by Reddy (2010) - and which I term Communicative Musical Funniness (CMF). I observed various, sophisticated, and sometimes surprising ways in which children use communicative musical funniness to create strong complicit relationships with each other. The study draws on similar studies and recent theories of communicative musicality and funniness and explores the pedagogical implications of the study.
This small piece of qualitative research explores the musical nature of infant humour, focusing on playful interchange among a small group of children aged 2-3 in a day care setting.
Focusing on communicative interaction, this paper explores qualities of musical factors present in funniness such as rhythm, repetition and voice play – where, what I term, communicative musical funniness occurs between young children through complicitè, friendship and playfulness
The study investigates the musicality of funniness around the Multi-Modal nature of children’s interaction with the environment and those in it