Abstract
Educators practice performance pedagogy as the method where an educator/facilitator is seen as a performer or actor (Pineau 1994, p. 4). This paper presents an analysis of the historical roots of performance pedagogies in Fluxus pedagogies and performance pedagogy practices within participatory art events in Lithuania as exemplified by festivals AN88 (1988) and AN89 (1989). The case of my research rests on the contemporary implementation of performance pedagogy techniques during the course The Temporary Department of Time, Space, and Action for BA students at the Vilnius Academy of Arts in Lithuania. This research aims to define the concept theories within performance pedagogy in the art academy education, which developed behind the terms Human Semiotics (Andersen 2002), Hyper Performer,1 and InterMedia (Higgins 1984). This project was implemented using the strategy of critical utopian action research in the context of the Vilnius Academy of Arts. The empirical material was gathered during my employment as a guest lecturer and the implementation of my pedagogical internship at the Vilnius Academy of Arts.2These concept theories are defined through. a reflexive analysis of archive material on the historical origin of performance pedagogies, originating in Fluxus pedagogies, local Lithuanian participatory art, and data from the contemporary case of my project The Temporary Department of Time, Space and Action (2018), in the form of archive material, photographs, interviews, observations, notes, and my diary. The results of this research are the application of performance pedagogy concepts and terminology to the art and education projects and the definition of the key concept theories within this field. These results can be useful for artists and those practicing university pedagogy.
Highlights
This article is built on my research on the historical and conceptual connections between the Fluxus pedagogies and the first performance art festivals in Lithuania – AN88 (1988) and AN89 (1989)
This paper aims to define the concept theories behind the terms Human Semiotics (Andersen 2002), Hyper Performer,3 and InterMedia (Higgins 1984) contextualizing them within performance pedagogies
I have defined the concept theories behind such terms as Human Semiotics (Andersen 2002), Hyper Performer, and InterMedia (Higgins 1984), found within performance pedagogies. The use of these terms was exemplified by the cases of historical projects within the Fluxus Network, pedagogy by Kes Zapkus, the festivals AN88 and AN89, and my pedagogical project The Temporary Department of Time, Space, and Action
Summary
This article is built on my research on the historical and conceptual connections between the Fluxus pedagogies and the first performance art festivals in Lithuania – AN88 (1988) and AN89 (1989). I address these conceptual connections in designing my pedagogical project, The Temporary Department of Time, Space, and Action, which I conducted at the Vilnius Academy of Arts, in Lithuania, in 2018. Performance pedagogy (Pineau 1994, p.4), seen as involving the performative behavior of the educator/facilitator, is within this paper merged with the concept of Fluxus pedagogies (Higgins 2002) Participatory artworks, by their content methodologically reminiscent of Fluxus pedagogies, had been observed by me from the photo and video documentation of the early Lithuanian examples of participatory performance in the late 80s, such as artworks conducted during the festivals AN88 and AN89. The innovative approach of this research is in my contemporary exploration through The Temporary Department of Time, Space, and Action of learning environment creation possibilities, methodologically using performance pedagogies (based on Fluxus pedagogies) as a situation for learning. Fluxus pedagogies can be a useful method in the contemporary context of Lithuanian artistic training in participatory performance, socially engaged art, and cross-disciplinary practices
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