Videos by Beatriz Pomés Jiménez
Hub Creativo. Presentación online del proyecto de innovación docente desarrollado por Dr. Sef Her... more Hub Creativo. Presentación online del proyecto de innovación docente desarrollado por Dr. Sef Hermans y Dra. Beatriz Pomés Jiménez en el Museo Universidad de Navarra.
II Congreso Internacional de Innovación y Tendencias Educativas, 2021. 2 views
Conference Presentations by Beatriz Pomés Jiménez
Egregius Ediciones, 2023
Pomés Jiménez, B., Hermans, S., Saenz Abarzuza, I. “Farfarout: la transformación social a través ... more Pomés Jiménez, B., Hermans, S., Saenz Abarzuza, I. “Farfarout: la transformación social a través del público como agente activo en la acción artística”. I Congreso Internacional Arte y Contexto Social: Encuentro para un diálogo transversal de las Artes. 11 y 12 de mayo de 2023. Madrid: Facultad de Bellas Artes de la Universidad Complutense de Madrid y la plataforma arteycontexto.org. En: Antúnez, N. y Albar, J (Coord). Arte y Contexto Social, diálogo transversal de las Artes. Libro de resúmenes del I Congreso Internacional Arte y Contexto Social. Sevilla, España: Egregius Ediciones. ISBN 978-84-1177-009-5. Recuperado de: https://egregius.es/catalogo/arte-y-contexto-social-dialogo-transversal-de-las-artes-libro-de-resumenes-del-i-congreso-internacional-arte-y-contexto-social/
Presentación online de la ponencia del colectivo Farout Artistic Research como parte del I Congre... more Presentación online de la ponencia del colectivo Farout Artistic Research como parte del I Congreso Internacional Arte y Contexto Social: encuentro para un diálogo transversal de las artes.
Dr. Beatriz Pomés, Dr. Sef Hermans, Dr. Igor Saenz
www.faroutartisticresearch.com
International Conference of Artistic Research. Various fields, approaches, experiences. Riga, Latvia, 5-7 May, 2022
How can we trust our perception if we don’t know what we are looking at? What can we learn about ... more How can we trust our perception if we don’t know what we are looking at? What can we learn about our world from the knowledge created when science and art interact? On April 17, 2021, the performance Telescope II (Farout Artistic Research, Dr. Sergio Luque, Dr. Francisco Colomer) was premiered. The work was commissioned by Museo Universidad de Navarra (MUN) and designed by Dr. Sef Hermans, Dr. Beatriz Pomés and Dr. Igor Saenz, founding members of Farout Artistic Research (FAR). Telescope II is a performance that establishes an artistic dialogue between astronomy and music, knowledge and perception, creators, performers and the public. In this way, science, musical composition, and public participation offer three complementary perspectives on the same fundamental questions of our existence. FAR conceptualises, conceives and develops multidisciplinary performative projects through practice-based research, and research through performance. In their actions, the research objective and artistic outcome are in constant dialogue. Their projects revolve around the artistic performance and the academic study of the processes, investigating the frontiers of knowledge and creative tendencies.
Universidad, Innovación e Investigación ante el Horizonte 2030. R. Mancinas-Chávez (Coord.), 2021
La creciente demanda de los intérpretes a investigar en su propia disciplina artística, sin tener... more La creciente demanda de los intérpretes a investigar en su propia disciplina artística, sin tener que necesariamente acercarse a otras áreas, añadida a la necesidad que muchos músicos han mostrado al querer investigar desde un punto de vista científico sobre sus propuestas artísticas, ha suscitado una amalgama de posturas en el mundo académico. Desde la defensa y reivindicación del intérprete musical como investigador y creador, surgen dilemas sobre la legitimización, homologación o la validación académica de estas prácticas investigadoras, para su posterior evaluación como otro de sus puntos calientes. Estas figuras de investigador y creador, separadas tradicionalmente, emergen en una sola persona en la investigación performativa, lo que necesariamente influye tanto en el mundo académico como en las propuestas performativas resultantes. Aquí surge el debate de si es posible ser intérprete y observador al mismo tiempo, así como la validez o el interés que pudiera tener la auto-etnografía. Además, están los necesarios e interminables debates teóricos entre académicos e intérpretes musicales, al tratarse de dos mundos que han convivido más separados que juntos a pesar de mostrar muchos consensos en sus prácticas. Ya desde hace años, la investigación performativa se está gestando como una disciplina que busca diferentes soluciones a sus propios problemas de investigación. Por ello, desarrolla metodologías propias y efectivas, lo que es un verdadero reto tanto para el mundo académico como para el creador que se postula a intérprete creador. Por citar otra cuestión de raíz, el dilema de qué hacer y cómo presentar el apartado de las conclusiones, ya que, si fuera necesario, muchos intérpretes que son investigadores y creadores están dispuestos a replantearlo todo desde dentro de la academia como incidiendo desde fuera, un posicionamiento propio de un mundo artístico musical en experimentación que no solo se visualiza en conciertos, sino también en acciones, performances u otros formatos presenciales y digitales en auge. En este texto se pretende reflexionar sobre estas y otras cuestiones dentro del paradigma de la investigación performativa y en la investigación creación, sin olvidar la vertiente educativa que resulta clave para todo el proceso. La artificial línea entre las diferentes disciplinas artísticas que se empezó a difuminar ya desde la aparición de propuestas artísticas que rompieron drásticamente con el modelo de concierto tradicional, el escenario clásico y el cuestionamiento del espacio, tienen ya una larga tradición de propuestas alternativas. En la Era Post-digital, el debate transciende lo tangible, cuestionando incluso la presencia del público en el lugar de la acción o de cómo es esta presencia. En las siguientes líneas se plantean estos debates, definiciones, posicionamientos y cuestiones de interés para artistas performativos musicales y/o intérpretes creadores. Dentro del Museo Universidad de Navarra (MUN), el colectivo de investigadores creadores performativos denominado Farout pretende dar un primer paso de base en su proyecto a largo plazo mediante el planteamiento de estas cuestiones en el camino a la realización de la primera de sus acciones performativas a desarrollar en el MUN en el 2021.
Universidad, Innovación e Investigación ante el Horizonte 2030. R. Mancinas-Chávez (Coord.), 2021
In the field of performative research, research-through practice has been essential to the broade... more In the field of performative research, research-through practice has been essential to the broadening and deepening of the creative process through the investigative inquiry of performance. In this field, performance is driven by a search for knowledge and a more profound understanding of the processes at play from a performative perspective. It becomes didactic, inducing a change of perception. Performance, or embodying the creative process, allows a performer to centre themselves in a dynamic, collaborative space. The performative creative process is unique in its reliance on other bodies to complete a project, be it other performers, materials, venues, audio-visual media and projections, or more traditionally-oriented creators or directors. A performer is not an isolated subject, but integrated into a larger whole, thus markedly changing their performative identity, relating them to their context and situation. This is not a mere adaptation to one’s surroundings, but a synergy. As an individual, they are changed by the context in which they are performing. This further develops a performer’s knowledge and skillset, thus enabling them to contribute more ‘tools’ to future performances. But what does this mean for the non-performer? How do non performative creative processes benefit from research through-practice and performative research? How do non performers deepen their understanding of creative processes through performing and gain new insights into their fields of interest? How do they increase their abilities of self-assessment and further their experiential knowledge of a given task? At the University of Navarra (Spain), Escuela Técnica Superior de Arquitectura y Diseño (ETSAUN), Dr. Sef Hermans worked with 36 fourth year Design students in his class, “Scenography, a Creative and Performative Guide to Performance and Stage Design.” In small groups, students designed and performed their own modern scenography based on 19th century operas in a performative trailer. Alongside the benefits of collaborative experience, the class allowed students to explore aspects of design from a performative perspective. They gained insight about design functionality and, crucially, design performativity: the relationship between aesthetic, performer and object/material. We consider such projects which explore these new didactic forms of theatre, music and other creative performative arts in the context of Dr. Hermans’ class and published case-studies pertaining to the benefits in multidisciplinary performative processes for non-performers. The article explores the adaptability of this methodology to other non-performative professions or endeavours. We investigate the benefits of non performer experience of kinetic play, the connection between action and creativity; the dynamism of collaborative performance practices; emergence, the unexpected outcomes of collaborative or contextual interaction; and the use of an individual’s less-developed creative pathways.
Universidad, Innovación e Investigación ante el Horizonte 2030. R. Mancinas-Chávez (Coord.), 2021
The Museum University of Navarra (MUN) is home to the vast photographic output of José Ortiz de E... more The Museum University of Navarra (MUN) is home to the vast photographic output of José Ortiz de Echagüe. Born in Guadalajara in 1886, Ortiz de Echagüe was an engineer and pilot who developed his professional life first in the military and later in the private sector. Parallelly, he undertook a detailed photographic recollection of Spanish culture, landscape and architecture, which has earned him recognition as one of the key authors in the history of Spanish photography. His photographic legacy consists of more than 1000 carbon positive pictures and uncountable negatives, divided in four different categories by the author himself. Bequeathed to the University of Navarra in 1981, the collection led to the creation of a permanent exhibition space at the MUN in 2007. Since then, the photographs of Ortiz de Echagüe have directly influenced and articulated many of the other artistic initiatives held at MUN, with specific impact in dance and performance art. More specifically, in the last three years the MUN has commissioned and hosted four dance productions directly inspired in Ortiz de Echagüe’s photographs. Renowned international choreographers such as Daniel Abreu, Dani Panullo, Antonio Ruz and Jon Maya have curated performances aimed to give life to these photographs, and in doing so, have expanded Ortiz de Echagüe’s artistic reach. Furthermore, it also inspired the costume design of Antonio Ruz’s Electra, produced at the “Ballet Nacional de España”. This article reflects on the connections between the photographic output of José Ortiz de Echagüe and these five dance productions, all of them created and performed between 2018 and 2020. How do these photographs act as visual triggers for contemporary choreographers and creators? What movements can be mapped in Ortiz de Echagüe’s photographs? How do still images inspire movement and other scenography elements? What are the creative processes involved in providing movement to a bidimensional work of art? How does photography turn into performance art? How can these portrayals of 20th Century Spain be translated to our present? The goal of this research is threefold. On one hand it contributes to outlining the creative processes related to the creation of a photography-based dance production. On the other hand, it aims to highlight the relevance of Ortiz de Echagüe’s photographs at present, the timelessness of his portrayal of Spanish identity, and the relevance of this archive for modern day creative productions in the arts. Finally, this article will also act as an academic framework for a future artistic collaboration between MUN and Farout (Creative and Performative Artistic Research Collective).
Pablo Sarasate (1844-1908) was a Spanish violinist and composer who contributed greatly to the ev... more Pablo Sarasate (1844-1908) was a Spanish violinist and composer who contributed greatly to the evolution of the violin’s performance practice. Furthermore, he is one of the most performed Spanish composers, and through his compositions he became a leader in the promotion of the exotic Hispanism that captivated the French capital, creating numerous works inspired by popular and folk songs and dances of Spain and Europe. The use of the local folklore as a musical source responds to the search for the exotic and the individuality of every nation. Like numerous other composers, Sarasate took advantage of the European interest in Spanish exoticism to assimilate original folkloric melodies and include them in his repertoire. As a direct consequence, the majority of Sarasate’s compositional activity was inspired by Spain’s popular dances and folk music traditions. Specifically, this output comprises twenty-nine compositions; with his first composition being Serenata andaluza Op. 10 (completed in 1867, when Sarasate was 23 years old) and finishing his life’s work with La canción del marinero (completed in 1907, just one year before his death). In between these compositions, the majority depict the folklore of the northern Spanish region of Navarra, where he was from, the Basque Country, Andalusia or Galicia. These works constitute a wide reflection of the different songs and dances that were part of the Spanish musical identity of the time. The result is a rich and varied set of charming Spanish Dances that constitute a simple and accurate translation of Spanish popular songs and dances. This paper will examine the different sources that inspired the composition of his Spanish Dances, establishing parallels between Sarasate’s compositions and the folk and popular pieces that he drew upon.
Conference Booklet.
My PhD dissertation examines the contexts and sources from which Pablo Sarasa... more Conference Booklet.
My PhD dissertation examines the contexts and sources from which Pablo Sarasate’s folk-inspired compositions were created. Throughout the nineteenth century, the folk music was a source of musical inspiration for many nations, and this was particularly true of Spain. Numerous composers showed interest in so-called Spanish elements, resulting in a rich corpus of works, which were well received both nationally and internationally. Pablo Sarasate (1844-1908) was one of these composers, producing a great number of Spanish Dances for the violin, drawn from a variety of different regional song and dance styles, including jotas, zapateados, zortzicos, vitos or habaneras. My study also examines, from theoretical and performance perspectives, the suitability of these pieces for adaptation into the flute repertoire. Despite their differences, the violin and flute are two instruments that share multiple characteristics, such as their technical agility and melodic brightness. As a consequence, it has not been uncommon for flautists and composers to borrow and arrange violin compositions, in order to enrich the flute’s repertoire and gain access to new styles and possibilities. Finally, by adopting practice-based approach, this dissertation has led to the transcription for flute and piano of eight Spanish Dances by Pablo Sarasate, that will be published in Spain by Dasí Flauta Editorial in 2018. This new showpieces for flute will make a unique and exciting addition to the flute’s repertoire, exploring and extending the
qualities that flautists today associate with the much-loved French Flute
School.
Presentación en formato masterclass-concierto de las transcripciones para flauta de las Danzas Es... more Presentación en formato masterclass-concierto de las transcripciones para flauta de las Danzas Españolas de Pablo Sarasate, elaboradas como parte de mi PhD in Music Performance.
Asociación de Flautistas de España
Pablo Sarasate (1844-1908) was a Spanish violinist and composer who contributed greatly to the ev... more Pablo Sarasate (1844-1908) was a Spanish violinist and composer who contributed greatly to the evolution of the violin’s performance practice. Furthermore, he is one of the most performed Spanish composers, and through his compositions he became a leader in the promotion of the exotic Hispanism that captivated the French capital creating numerous works inspired by popular and folksongs and dances of Spain and Europe. This is the case of his Spanish Dances which comprise a set of eight dances that Sarasate grouped into a collection of four volumes published between 1878 and 1881. Comparison of the different elements that inspired each one of Sarasate’s Spanish Dances has manifested the strong influence that the popular rhythms, melodies and harmonies had in the composition of his Spanish Dances.
Books by Beatriz Pomés Jiménez
Editorial Dykinson S.L, 2023
Pomés Jiménez, B., Hermans, S., Saenz Abarzuza, I. “Farfarout: la transformación social a través ... more Pomés Jiménez, B., Hermans, S., Saenz Abarzuza, I. “Farfarout: la transformación social a través del público como agente activo en la acción artística”. I Congreso Internacional Arte y Contexto Social: Encuentro para un diálogo transversal de las Artes. 11 y 12 de mayo de 2023. Madrid: Facultad de Bellas Artes de la Universidad Complutense de Madrid y la plataforma arteycontexto.org. En: Antúnez, N. y Albar, J (Coord). Arte y Contexto Social, diálogo transversal de las Artes. Libro de resúmenes del I Congreso Internacional Arte y Contexto Social. Sevilla, España: Egregius Ediciones. ISBN 978-84-1177-009-5. Recuperado de: https://egregius.es/catalogo/arte-y-contexto-social-dialogo-transversal-de-las-artes-libro-de-resumenes-del-i-congreso-internacional-arte-y-contexto-social/
Innovación e investigación docente en la educación: experiencias prácticas. ISBN 978-84-1377-593-7, 2021
Son muchos los alumnos universitarios que demuestran tener talento artístico e inquietud creativa... more Son muchos los alumnos universitarios que demuestran tener talento artístico e inquietud creativa, que sin embargo en su recorrido por la Universidad no cuentan con una oportunidad académica para su educación y desarrollo. Con ánimo de solventar esa carencia, en el Museo Universidad de Navarra se creó HUB Creativo, un programa de creación artística encaminado a captar el talento latente entre el alumnado, entendido como un espacio para el impulso del desarrollo artístico y personal, y siempre en la búsqueda de la excelencia académica. El programa está coordinado por Campus Creativo, y está dirigido a todos los alumnos de Grado y Máster de la Universidad de Navarra (UN). En este artículo se relata y analiza la experiencia pedagógica de Hub Creativo en su primera edición.
El devenir de las civilizaciones: interacciones entre el entorno humano, natural y cultural, 2021
The Museum University of Navarra (MUN) is home to the vast photographic output of José Ortiz Echa... more The Museum University of Navarra (MUN) is home to the vast photographic output of José Ortiz Echagüe. Bequeathed to the University of Navarra in 1990, the collection led to the creation of a permanent exhibition space at the MUN in 2007. Since then, the photographs of Ortiz Echagüe have directly influenced and inspired many other artistic initiatives held at the Museum, with specific impact in contemporary dance. This article reflects on the connections between the photographic output of José Ortiz Echagüe and four dance productions. How do these photographs act as visual triggers for contemporary choreographers and creators? How do still images inspire movement and other elements of scenography? What are the creative processes involved in devising movement to a bidimensional work of art? How does photography turn into performance art? How can these portrayals of 20th Century Spain be translated to our present?
The goal of this chapter is threefold. On one hand, it aims to highlight the relevance of Ortiz Echagüe’s photographs at present, the timelessness of his portrayal of Spanish identity, and the relevance of this archive for modern-day creative productions in the art. On the other hand, it contributes to outlining the creative processes related to the creation of a photography-based dance production. Finally, this article will also act as an academic framework for a future artistic collaboration between the MUN and Farout, a Creative and Performative Artistic Research Collective.
El devenir de las civilizaciones: interacciones entre el entorno humano, natural y cultural, 2021
In educational settings, non-professional performative projects have been used as a tool to help ... more In educational settings, non-professional performative projects have been used as a tool to help participants gain insights and valuable knowledge. Likewise, post-graduate professionals engage in research-through-practice, using reflective techniques in an investigative inquiry of performance, searching for knowledge and a more profound understanding of the processes at play from a creative performative perspective.
So how can participants benefit from non-professional projects? What gains can be made through combining research-through-practice with non-professional performative endeavors? What specific methods and techniques can be useful in developing awareness and experiential knowledge?
At the University of Navarra (Spain), Escuela Técnica Superior de Arquitectura y Di- seño (ETSAUN), Dr. Sef Hermans and Dr. Juan Luis Roquette worked with 36 fourth-year Design students in his class, “Scenography, a Creative and Performative Guide to Performance and Stage Design.” In small groups, students designed and performed their own modern scenography based on 19th century operas in a performative trailer. Alongside the benefits of collaborative experience, the class allowed students to explore aspects of design from a performative perspective.
In this chapter, we consider potential benefits of such endeavors. Participants of Dr. Hermans’ class and other non-professional performative projects reported a variety of learning outcomes. Assessed aside research-through-practice investigations, we show how these non-professional performative programs may extend student experiences by integrating research-through-practice techniques.
El devenir de las civilizaciones: interacciones entre el entorno humano, natural y cultural, 2021
La creciente demanda de los intérpretes a investigar en su propia disciplina artística, sin tener... more La creciente demanda de los intérpretes a investigar en su propia disciplina artística, sin tener que necesariamente acercarse a otras áreas, añadida a la necesidad que muchos músicos han mostrado al querer investigar desde un punto de vista científico sobre sus propuestas artísticas, ha suscitado una amalgama de posturas en el mundo académico. Desde la defensa y reivindicación del intérprete musical como investigador y creador, surgen dilemas sobre la legitimización, homologación o la validación académica de estas prácticas investigadoras, para su posterior evaluación como otro de sus puntos calientes. Estas figuras de investigador y creador, separadas tradicionalmente, emergen en una sola persona en la investigación performativa, lo que necesariamente influye tanto en el mundo académico como en las propuestas performativas resultantes. Aquí surge el debate de si es posible ser intérprete y observador al mismo tiempo, así como la validez o el interés que pudiera tener la auto-etnografía.
Además, están los necesarios e interminables debates teóricos entre académicos e intérpretes musicales, al tratarse de dos mundos que han convivido más separados que juntos a pesar de mostrar muchos consensos en sus prácticas. Ya desde hace años, la investigación performativa se está gestando como una disciplina que busca diferentes soluciones a sus propios problemas de investigación. Por ello, desarrolla metodologías propias y efectivas, lo que es un verdadero reto tanto para el mundo académico como para el creador que se postula a intérprete creador. Por citar otra cuestión de raíz, el dilema de qué hacer y cómo presentar el apartado de las conclusiones, ya que, si fuera necesario, muchos intérpretes que son investigadores y creadores están dispuestos a replantearlo todo desde dentro de la academia como incidiendo desde fuera, un posicionamiento propio de un mundo artístico musical en experimentación que no solo se visualiza en conciertos, sino también en acciones, performances u otros formatos presenciales y digitales en auge.
En este texto se pretende reflexionar sobre estas y otras cuestiones dentro del paradigma de la investigación performativa y en la investigación creación, sin olvidar la vertiente educativa que resulta clave para todo el proceso. La artificial línea entre las diferentes disciplinas artísticas que se empezó a difuminar ya desde la aparición de propuestas artísticas que rompieron drásticamente con el modelo de concierto tradicional, el escenario clásico y el cuestionamiento del espacio, tienen ya una larga tradición de propuestas alternativas. En la Era Post-digital, el debate transciende lo tangible, cuestionando incluso la presencia del público en el lugar de la acción o de cómo es esta presencia.
En las siguientes líneas se plantean estos debates, definiciones, posicionamientos y cuestiones de interés para artistas performativos musicales y/o intérpretes creadores. Dentro del Museo Universidad de Navarra (MUN), el colectivo de investigadores creadores performativos denominado Farout pretende dar un primer paso de base en su proyecto a largo plazo mediante el planteamiento de estas cuestiones en el camino a la realización de la primera de sus acciones performativas a desarrollar en el MUN en el 2021.
The transcription of Pablo Sarasate's Spanish Dances for flute and piano represent the creative o... more The transcription of Pablo Sarasate's Spanish Dances for flute and piano represent the creative output of my PhD thesis in Music Performance (University of Melbourne, Australia). By merging the artistic practices of music transcription with qualitative research methods and critical analysis of the original Sarasate scores, I was able to find the solutions for the difficulties presented in the transcription of these pieces. The scores are now published by Dasí Flauta Editorial- Edición Sonata, in an annotated bilingual English-Spanish edition that includes not only the transcribed scores, but also an insight into the features of each dance, notes on the transcription process, and guidelines for its performance. This volumes includes op.21: Malagueña and Habanera n.1. Available here: https://tienda.soloflauta.com/producto/sarasate-danzas-espanolas-op-21/
The transcription of Pablo Sarasate's Spanish Dances for flute and piano represent the creative o... more The transcription of Pablo Sarasate's Spanish Dances for flute and piano represent the creative output of my PhD thesis in Music Performance (University of Melbourne, Australia). By merging the artistic practices of music transcription with qualitative research methods and critical analysis of the original Sarasate scores, I was able to find the solutions for the difficulties presented in the transcription of these pieces. The scores are now published by Dasí Flauta Editorial- Edición Sonata, in an annotated bilingual English-Spanish edition that includes not only the transcribed scores, but also an insight into the features of each dance, notes on the transcription process, and guidelines for its performance. This volumes includes op.21: Romana andaluza and Jota Navarra. Available here: https://tienda.soloflauta.com/producto/sarasate-danzas-espanolas-op-22/
The transcription of Pablo Sarasate's Spanish Dances for flute and piano represent the creative o... more The transcription of Pablo Sarasate's Spanish Dances for flute and piano represent the creative output of my PhD thesis in Music Performance (University of Melbourne, Australia). By merging the artistic practices of music transcription with qualitative research methods and critical analysis of the original Sarasate scores, I was able to find the solutions for the difficulties presented in the transcription of these pieces.
The scores are now published by Dasí Flauta Editorial- Edición Sonata, in an annotated bilingual English-Spanish edition that includes not only the transcribed scores, but also an insight into the features of each dance, notes on the transcription process, and guidelines for its performance.
This volumes includes op.23: Playera and Zapateado
Available here:
https://tienda.soloflauta.com/producto/sarasate-danzas-espanolas-op-23/
The transcription of Pablo Sarasate's Spanish Dances for flute and piano represent the creative o... more The transcription of Pablo Sarasate's Spanish Dances for flute and piano represent the creative output of my PhD thesis in Music Performance (University of Melbourne, Australia). By merging the artistic practices of music transcription with qualitative research methods and critical analysis of the original Sarasate scores, I was able to find the solutions for the difficulties presented in the transcription of these pieces. The scores are now published by Dasí Flauta Editorial- Edición Sonata, in an annotated bilingual English-Spanish edition that includes not only the transcribed scores, but also an insight into the features of each dance, notes on the transcription process, and guidelines for its performance. This volumes includes op.26: Vito and Habanera n.2. Available here: https://tienda.soloflauta.com/producto/sarasate-danzas-espanolas-op-26/
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Videos by Beatriz Pomés Jiménez
II Congreso Internacional de Innovación y Tendencias Educativas, 2021.
Conference Presentations by Beatriz Pomés Jiménez
Dr. Beatriz Pomés, Dr. Sef Hermans, Dr. Igor Saenz
www.faroutartisticresearch.com
My PhD dissertation examines the contexts and sources from which Pablo Sarasate’s folk-inspired compositions were created. Throughout the nineteenth century, the folk music was a source of musical inspiration for many nations, and this was particularly true of Spain. Numerous composers showed interest in so-called Spanish elements, resulting in a rich corpus of works, which were well received both nationally and internationally. Pablo Sarasate (1844-1908) was one of these composers, producing a great number of Spanish Dances for the violin, drawn from a variety of different regional song and dance styles, including jotas, zapateados, zortzicos, vitos or habaneras. My study also examines, from theoretical and performance perspectives, the suitability of these pieces for adaptation into the flute repertoire. Despite their differences, the violin and flute are two instruments that share multiple characteristics, such as their technical agility and melodic brightness. As a consequence, it has not been uncommon for flautists and composers to borrow and arrange violin compositions, in order to enrich the flute’s repertoire and gain access to new styles and possibilities. Finally, by adopting practice-based approach, this dissertation has led to the transcription for flute and piano of eight Spanish Dances by Pablo Sarasate, that will be published in Spain by Dasí Flauta Editorial in 2018. This new showpieces for flute will make a unique and exciting addition to the flute’s repertoire, exploring and extending the
qualities that flautists today associate with the much-loved French Flute
School.
Asociación de Flautistas de España
Books by Beatriz Pomés Jiménez
The goal of this chapter is threefold. On one hand, it aims to highlight the relevance of Ortiz Echagüe’s photographs at present, the timelessness of his portrayal of Spanish identity, and the relevance of this archive for modern-day creative productions in the art. On the other hand, it contributes to outlining the creative processes related to the creation of a photography-based dance production. Finally, this article will also act as an academic framework for a future artistic collaboration between the MUN and Farout, a Creative and Performative Artistic Research Collective.
So how can participants benefit from non-professional projects? What gains can be made through combining research-through-practice with non-professional performative endeavors? What specific methods and techniques can be useful in developing awareness and experiential knowledge?
At the University of Navarra (Spain), Escuela Técnica Superior de Arquitectura y Di- seño (ETSAUN), Dr. Sef Hermans and Dr. Juan Luis Roquette worked with 36 fourth-year Design students in his class, “Scenography, a Creative and Performative Guide to Performance and Stage Design.” In small groups, students designed and performed their own modern scenography based on 19th century operas in a performative trailer. Alongside the benefits of collaborative experience, the class allowed students to explore aspects of design from a performative perspective.
In this chapter, we consider potential benefits of such endeavors. Participants of Dr. Hermans’ class and other non-professional performative projects reported a variety of learning outcomes. Assessed aside research-through-practice investigations, we show how these non-professional performative programs may extend student experiences by integrating research-through-practice techniques.
Además, están los necesarios e interminables debates teóricos entre académicos e intérpretes musicales, al tratarse de dos mundos que han convivido más separados que juntos a pesar de mostrar muchos consensos en sus prácticas. Ya desde hace años, la investigación performativa se está gestando como una disciplina que busca diferentes soluciones a sus propios problemas de investigación. Por ello, desarrolla metodologías propias y efectivas, lo que es un verdadero reto tanto para el mundo académico como para el creador que se postula a intérprete creador. Por citar otra cuestión de raíz, el dilema de qué hacer y cómo presentar el apartado de las conclusiones, ya que, si fuera necesario, muchos intérpretes que son investigadores y creadores están dispuestos a replantearlo todo desde dentro de la academia como incidiendo desde fuera, un posicionamiento propio de un mundo artístico musical en experimentación que no solo se visualiza en conciertos, sino también en acciones, performances u otros formatos presenciales y digitales en auge.
En este texto se pretende reflexionar sobre estas y otras cuestiones dentro del paradigma de la investigación performativa y en la investigación creación, sin olvidar la vertiente educativa que resulta clave para todo el proceso. La artificial línea entre las diferentes disciplinas artísticas que se empezó a difuminar ya desde la aparición de propuestas artísticas que rompieron drásticamente con el modelo de concierto tradicional, el escenario clásico y el cuestionamiento del espacio, tienen ya una larga tradición de propuestas alternativas. En la Era Post-digital, el debate transciende lo tangible, cuestionando incluso la presencia del público en el lugar de la acción o de cómo es esta presencia.
En las siguientes líneas se plantean estos debates, definiciones, posicionamientos y cuestiones de interés para artistas performativos musicales y/o intérpretes creadores. Dentro del Museo Universidad de Navarra (MUN), el colectivo de investigadores creadores performativos denominado Farout pretende dar un primer paso de base en su proyecto a largo plazo mediante el planteamiento de estas cuestiones en el camino a la realización de la primera de sus acciones performativas a desarrollar en el MUN en el 2021.
The scores are now published by Dasí Flauta Editorial- Edición Sonata, in an annotated bilingual English-Spanish edition that includes not only the transcribed scores, but also an insight into the features of each dance, notes on the transcription process, and guidelines for its performance.
This volumes includes op.23: Playera and Zapateado
Available here:
https://tienda.soloflauta.com/producto/sarasate-danzas-espanolas-op-23/
II Congreso Internacional de Innovación y Tendencias Educativas, 2021.
Dr. Beatriz Pomés, Dr. Sef Hermans, Dr. Igor Saenz
www.faroutartisticresearch.com
My PhD dissertation examines the contexts and sources from which Pablo Sarasate’s folk-inspired compositions were created. Throughout the nineteenth century, the folk music was a source of musical inspiration for many nations, and this was particularly true of Spain. Numerous composers showed interest in so-called Spanish elements, resulting in a rich corpus of works, which were well received both nationally and internationally. Pablo Sarasate (1844-1908) was one of these composers, producing a great number of Spanish Dances for the violin, drawn from a variety of different regional song and dance styles, including jotas, zapateados, zortzicos, vitos or habaneras. My study also examines, from theoretical and performance perspectives, the suitability of these pieces for adaptation into the flute repertoire. Despite their differences, the violin and flute are two instruments that share multiple characteristics, such as their technical agility and melodic brightness. As a consequence, it has not been uncommon for flautists and composers to borrow and arrange violin compositions, in order to enrich the flute’s repertoire and gain access to new styles and possibilities. Finally, by adopting practice-based approach, this dissertation has led to the transcription for flute and piano of eight Spanish Dances by Pablo Sarasate, that will be published in Spain by Dasí Flauta Editorial in 2018. This new showpieces for flute will make a unique and exciting addition to the flute’s repertoire, exploring and extending the
qualities that flautists today associate with the much-loved French Flute
School.
Asociación de Flautistas de España
The goal of this chapter is threefold. On one hand, it aims to highlight the relevance of Ortiz Echagüe’s photographs at present, the timelessness of his portrayal of Spanish identity, and the relevance of this archive for modern-day creative productions in the art. On the other hand, it contributes to outlining the creative processes related to the creation of a photography-based dance production. Finally, this article will also act as an academic framework for a future artistic collaboration between the MUN and Farout, a Creative and Performative Artistic Research Collective.
So how can participants benefit from non-professional projects? What gains can be made through combining research-through-practice with non-professional performative endeavors? What specific methods and techniques can be useful in developing awareness and experiential knowledge?
At the University of Navarra (Spain), Escuela Técnica Superior de Arquitectura y Di- seño (ETSAUN), Dr. Sef Hermans and Dr. Juan Luis Roquette worked with 36 fourth-year Design students in his class, “Scenography, a Creative and Performative Guide to Performance and Stage Design.” In small groups, students designed and performed their own modern scenography based on 19th century operas in a performative trailer. Alongside the benefits of collaborative experience, the class allowed students to explore aspects of design from a performative perspective.
In this chapter, we consider potential benefits of such endeavors. Participants of Dr. Hermans’ class and other non-professional performative projects reported a variety of learning outcomes. Assessed aside research-through-practice investigations, we show how these non-professional performative programs may extend student experiences by integrating research-through-practice techniques.
Además, están los necesarios e interminables debates teóricos entre académicos e intérpretes musicales, al tratarse de dos mundos que han convivido más separados que juntos a pesar de mostrar muchos consensos en sus prácticas. Ya desde hace años, la investigación performativa se está gestando como una disciplina que busca diferentes soluciones a sus propios problemas de investigación. Por ello, desarrolla metodologías propias y efectivas, lo que es un verdadero reto tanto para el mundo académico como para el creador que se postula a intérprete creador. Por citar otra cuestión de raíz, el dilema de qué hacer y cómo presentar el apartado de las conclusiones, ya que, si fuera necesario, muchos intérpretes que son investigadores y creadores están dispuestos a replantearlo todo desde dentro de la academia como incidiendo desde fuera, un posicionamiento propio de un mundo artístico musical en experimentación que no solo se visualiza en conciertos, sino también en acciones, performances u otros formatos presenciales y digitales en auge.
En este texto se pretende reflexionar sobre estas y otras cuestiones dentro del paradigma de la investigación performativa y en la investigación creación, sin olvidar la vertiente educativa que resulta clave para todo el proceso. La artificial línea entre las diferentes disciplinas artísticas que se empezó a difuminar ya desde la aparición de propuestas artísticas que rompieron drásticamente con el modelo de concierto tradicional, el escenario clásico y el cuestionamiento del espacio, tienen ya una larga tradición de propuestas alternativas. En la Era Post-digital, el debate transciende lo tangible, cuestionando incluso la presencia del público en el lugar de la acción o de cómo es esta presencia.
En las siguientes líneas se plantean estos debates, definiciones, posicionamientos y cuestiones de interés para artistas performativos musicales y/o intérpretes creadores. Dentro del Museo Universidad de Navarra (MUN), el colectivo de investigadores creadores performativos denominado Farout pretende dar un primer paso de base en su proyecto a largo plazo mediante el planteamiento de estas cuestiones en el camino a la realización de la primera de sus acciones performativas a desarrollar en el MUN en el 2021.
The scores are now published by Dasí Flauta Editorial- Edición Sonata, in an annotated bilingual English-Spanish edition that includes not only the transcribed scores, but also an insight into the features of each dance, notes on the transcription process, and guidelines for its performance.
This volumes includes op.23: Playera and Zapateado
Available here:
https://tienda.soloflauta.com/producto/sarasate-danzas-espanolas-op-23/
Toronto: University of Toronto Press, 2014
ISBN 978-1-4426-4729-9. Hbk, 320pp., ill., mus. exx., bibl., index
Reviewed by Beatriz Pomés Jiménez