Brief Analysis of Research Questions and Aims/Objectives

Ò  Considering that dance is a predominantly visual art form, how can one create choreography without sight?

Ò   Does the absence of sight induce an instinctual way of moving?

Ò  Does removing sight allow us to disregard the idea of being aesthetically pleasing?

Ò  How does the communication between the choreographer the dancer influence improvisation without sight?

Relating to our processes through practical experimentation, choreography can be created without sight in a variety of ways. Each experiment differentiates in themes such as being taken to an unknown location, using a score and touch with audio being the key features to choreography without having the expectancy of sight.

In relation to our aims and objectives, these processes have been opportunely successful to create movement without sight by feeling the space, the use of stimuli, textures and atmosphere to influence the minds-eye to devise movement from these factors.

Removing sight allows us to disregard the idea of being aesthetically pleasing through moving instinctually. The absence of sight makes you think less about making your improvisation or choreography pleasing to an audience, you then consider the thought process behind the movement. Due to not being able to use the appearance of the space around you to create or inspire, you have the chance to use your mind and imagination to its limits. This was proven through the process of Terri and Jess taking part in the photograph experiment. Their movements were completely instinctual though being influenced by the body language and behaviour that was given to them. Jess and Terri state that they have not improvised like this before; they performed movements that do not come natural to them, however they happened instinctually through this process.

In terms of the relation between the choreographer and the dancer consists of the choreographer’s voice to provide safety and security when improvising. With each experimental process we have collaborated and advanced our trust of each other by working as a team practically and theoretically. Equally we have researched into gathering information about practisoners, experiments and methodologies with commitment by building a strong collaborative team throughout the process.

We were planning to use non-visual scenography to influence the performance atmosphere, however due to the time-frame of this practise; this aim unfortunately was not experimented and can be explored in the future.