Traditionally, the groom’s side enters the bride’s home first and they all walk together to the wedding venue. It is presumed that this avoids the wicked spirits coming from following the newly wed couple into their house. Often , the finest man and bride’s father will certainly toast the newly weds with personal thoughts, experiences and very well wishes. Wine is usually offered for this the main ceremony.

During this area of the ceremony the bridal party fits in, with the new bride on the left as well as the groom over the right. Originally this was to make certain the star of the event didn’t get hit by sword wielding suitors who all might concept to her simply being given away. The groomsmen could quickly guard her with the right hand and generate any of the henchmen away with their very own left. It also makes sense right from a safety point of view as it ensures the bridegroom is free of charge to sweep his sword about any potential attackers together with his left hand.

It is a custom for the bride to wear or hold something old, new, borrowed and green. This is considered to provide good luck to the couple. Often , the star of the wedding will try and possess one item that fits all of the worth mentioning criteria, like a handkerchief that was put on by her grandmother (thus making it old) but is brand new, a red blouse that this lady has bought with her a single cent and her wedding wedding rings.

Following your ceremony, the couple should go to the groom’s family home for a mels(i) ceremony. This is certainly a chance for the families to meet and greet one another. It is also a period of time to discuss the dowry and verify that the bride and groom are generally not related by simply checking their lineage lower back seven generations.

Work Group

Objective Enactive
This online lecture-demonstration unfolds the term ´Poetic Materiality´ within the context of designing and choreographing with Somatic Costumes. Through critiquing and applying the somatic practice of Skinner Releasing Technique, the poetics of philosopher Gaston Bachelard and the materiality of anthropologist Tim Ingold, this talk begins to map poetic and material agencies between bodies-costumes within the design-performance encounter.

Artist Talk

Objective Enactive

This talk will focus on the first outcome of Glitsch(ening) Ci(rculari)ty, a tripartite site-specific, where I am pursuing a speculative exploration of the ecology of the city, between the urban and the biological, unfolding its layers and materiality of time. The talk will end in a conversation between fellow researchers and artists in the collaborative project Urban Ecologies, where Glitsch(ening) Ci(rculari)ty, is generated from.


Polyvocal Tongue The presentation will focus on relational ethics and polyvocality in performative text. It will also explore the use of plural languages in a play, looking at how a polylingual praxis can open up new aesthetic potential in playwrighting and in artistic research in general.


TRANSPOSITIONS— JAR, Mette Edvardsen and modular diaries At the start, the idea for an artistic research conversation with Mette Edvardsen did not spring out of the topics shortlisted for the conference—hospitality, vulnerability and care—but a book that she had co-edited, and dropped in my shelf.

Panel Discussion

The Ethics of Vulnerability and Artistic Research

Any ethical framework must take account of the vulnerability of the human condition. This is significant in all creative endeavours – especially in artistic practice and the teaching of it – since the very act of creating something and putting it out into the world is an expression of vulnerability.