The work reality of most freelance dancers in Belgium and Europe is marked by a rhythm of singular artistic projects as the main form of employment, alternating with longer gaps of project-less time. Within this disjointed temporal organization, the dancer comes as a guest into a choreographer’s project, functioning as a temporary inspirer pouring their physical and intellectual associations as the material glue into a supposedly given conceptual framework. Although it could be argued that the dancer marks the most tangible embodiment of artistic work itself, their particular authorship often remains underexposed and unverbalized.
This research sheds light on the dancer as agent and artist by exploring how they can take on the role of an author figure in the most literal sense.
By analyzing narrative techniques, style and themes of auto-fictional literature I aim to develop a creative writing practice that functions both as reflective and artistic tool to capture the seemingly fleeting, messy and inexpressible knowledge and experience of the dancer´s work. The resulting body of text will explore: Where lies the dancer´s unique authorship?
Self-interviews and embodied conversations with multiple observation focuses (virtuosity, generosity, diplomacy, witnessing etc.) will be conducted with professional dancers and dance students.
The gathered textual accounts aspire to result in a handbook proto-type for dancers offering movement and writing prompts regardless of employment status and access to studio space.
Update: April 2025
