Material of movement and thought
This paper has its point of departure in the research project “From Movement out of Reflection in Becoming: The Dancer and the Creative Process”, funded by the Swedish Research Council and hosted by University of Dance and Cirkus (DOCH) 2010-2012. The overall goal of the project was to approach an understanding and a conceptualization of the artistic process of the dancer, illustrated by the dancer’s work with a particular choreography. The focus was both that of the dancer from within the process, and that of outside observers. These perspectives were not deadlocked but rather aimed at an interaction and a dialogue between the theoretical and the practical levels.
A number of issues were explored through the research process: How does the dancer work in the process where the dance takes shape? How does the understanding of a movement material shift through the actual performing of it [doing]? What is it to understand or experience a movement from the perspective of the performer? What kind of body is the dancing body and how can it carry significations? Through what concepts are we to think the dancer’s practice and corporeality?
The gap between the perceived and the verbally articulated is a multilayered and ambiguous space that is crucial for the working process, both with movement and with thought. Here we will present different perspectives on the questions at issue, but also cross and intersect with one another, being the outcome of an at times quite intimate exchange of experiences and ideas.