Visual Artist, Researcher, Performer, Facilitator

Writings

 
Masters of Research in Creative Practices, Glasgow School of Art, Thesis, Ashanti Harris 2018

Masters of Research in Creative Practices, Glasgow School of Art, Thesis, Ashanti Harris 2018

Working with a performance paradigm, a post-colonial/de-colonial methodology and a focus on performance practices developed between the continents of Africa, the Caribbean and Europe; this research investigates the position of African and Caribbean diasporic dance practices within Scotland’s diverse cultural heritage. Through dialogue with dance practitioners and using dance theory and embodied research methods, this research aims to unravel and re-assert the legacies of African and Caribbean diasporic dance within contemporary dance in Scotland; suggesting new movement theories which could be developed through engaging with these multifaceted forms.

The methods employed within this research include: interviews with Scotland-based, contemporary dance practitioners with heritage from the African and Caribbean diaspora; working choreographically with archival materials to deconstruct and reconstruct narratives of the dance company Les Ballets Negres and their legacy in Scotland; and a collaboration with a contemporary dance practitioner, using physical embodied research methods to understand, re-imagine and re- perform the dances of Les Ballets Negres from a contemporary perspective. 

 
VOID and the Undercommons,   Ashanti Harris 2018

VOID and the Undercommons, Ashanti Harris 2018

VOID and The Undercommons - By Ashanti Harris

Re-imagine : to re-interpret, imaginatively : to imagine again or anew; especially : to form a new conception of : re-create

In the case of Void, to re-imagine is to re-frame, re-present, re-tell, re-peat; a process of repetition with a critical difference. Void is a re-imagining of J.G. Ballard’s Concrete Island, re-told from the perspective of a black female protagonist