'Tentacular thinking' in Creative Practice Research as a Radical Intellectual Gesture: A case study of an experimental hybrid film Wash (2022)

Abstract

As a filmmaker and scholar I have been involved in the project of creating knowledge through making films, even before I did a PhD and became an academic. It has always been unclear to me why there is the curious divide between the so called 'academic' and 'creative'. All my documentaries for the broadcasters in some way I would argue were 'practice research' without me being quite aware of it. The paper considers the notion of what 'knowledge' might be for a creative research practitioner and how 'high theory' might be of assistance in inspiring ideas and creative strategies. I will share my most recent experience of working across disciplines with the new experimental film Wash (2022). It is a hybrid documentary with element of animation and drama dealing with serious issues of development in Zimbabwe, a country in which I have done much work over the years. The piece of work has been funded by Strategic England Research 2021 and the University of Edinburgh.

In terms of methodology for any creative practice research work, here I suggest that casting a wide net in the search for theoretical and artistic inspirations, using what Donna Haraway would call 'tentacular thinking' is not only not a hindrance in the creative process but could be positively helpful. In this context I discuss here Surrealism, arguably the most influential artistic and theoretical movement, which itself began with a bold drawing from a different praxis and theory, namely psychoanalysis and the work of Sigmund Freud. Surrealism as a creative tool has of course been re-framed, re-thought and re-positioned by various cultures as demonstrated by Venice Bienale and the recent exhibition at Tate Modern in London.) In some way it has also influenced the hybrid film Wash I am presenting here, even as it deals with important issues of understanding a given community before introducing practices that might even be ‘good for them. In the film I have used a patchwork of knowledge, a patchwork of influences, drawing from Surrealism as well as other influences such as postcolonial theories and intangible local knowledge reservoirs.