We began with self-directed warm up and improvisation and a short reflection on the accumulation of skills and ideas over the previous sessions.

A brief exercise was introduced, with us in groups of three assuming the roles of Questioner, Choreographer and Performer. The exercise was informed by A Question of Movement by Marcus Coates and Henry Montes. The Questioner proposed a personal question to the Performer, who responded instinctively with a short movement sequence. The Questioner then communicated to the Choreographer how the sequence pertained to the question, offering thoughts and feelings in response. The Choreographer communicates this to the Performer through suggestions and possible inquiries. The Performer re-performs.

We then moved on to the final exercise of the workshop series. In groups of three we each choreographed a 2-minute work for a duo using whichever tools, questions or methods we liked. These were then performed to the rest of the group.



A Question of Movement






Moving freely in the space. Maintaining a closeness to somebody, keeping distance from another. Moving with imagined connections with the whole group, with the whole group in your vision.

Thinking anatomically, moving with the spine, the skull, the arms, each individual bone in the leg. Moving through the connections.

Individually developing a short movement sequence.

Finding a group with contrasting quality of movement. Together, develop a score that combines them. Add to this elements from prior sessions: Unison, Cannon, Contrast, Stillness, Spacing, and so on.

We presented, shared and discussed these sequences.

Moving with a partner as though we had a single consciousness, avoiding initiating, avoiding following, avoiding thinking and decisions. It may not look the same or be the same but think of it as the same.


Joe Moran Singular

Rosemary Butcher  and the work Hidden Voices


Joshua Leon

If I was to say i knew the outcome of anything in the process i would be wrong. But that is what becomes so meaningful. Uncertainty and the figuring out of uncertainty is explanatory. As each week goes on there is more clarity, not in my movements per se, but in my understanding of how to deal with movement. And something comes from this understanding, that is close to authenticity. Our character’s are revealing themselves through the limitations of our bodies, and within the limitations of each score. And this fascinates. As though without words something more genuine comes through. An exorcism of self in movement. And then there is the language to understand it. Noticing things, appreciating things, challenging things in combination. A particular revelation was that i do not use self appreciation enough. In fact i wonder if I have ever sat down and said to myself well done, that was good.


Reflections –


I notice that what I have internalised can be expressed through my body

I notice when I move in time with others I feel focused

I notice I can learn more about character’s through movement than through words

I notice that limits (scores) are treatises in how to create

I notice that as you push scores you push limits

I notice that when you move with kindness we follow with kindness

I notice it is hard to create tension between figures

I notice it is hard to stay within a space

I notice space is complicated by bodies

I notice that I look down more than I thought

I notice that some like constant repetition, whilst others find repetition complicated

I notice that there is very little fear when given the parameters to learn

I notice i do not understand my body

I notice that thought stops in movement

I notice that counting in helps build trust

I noticed how to notice things

I noticed communication can be made not enacted

I notice how limits of space create new combinations

I notice when you feel confident, and when you don’t

I notice that there is pleasure in having no confidence

I noticed that our unlearnedness (humility) allows us to learn in deep ways

I notice i always feel emotionally broken afterwards

I notice it takes energy to build oneself up into position




I appreciate i do not yet know how to appreciate myself

I like when everything falls out of time, and then back into time

I appreciate not having to defend my choices

I appreciate how free from outcome there is unlimited experimentation

I appreciate the fearless of the mechanics of the body

I appreciate when you try to touch each other

I appreciate how much i can learn from your character

I appreciate how deeply we reflect and question each stage

I appreciate learning new languages through the act of failing within them

I appreciate how simple instructions can revolutionize the idea

I appreciate how the idea is always changing

I appreciate how much I learnt coordinating our movements

I appreciate dissonance in timing

I appreciate the quality of taking control of space

I appreciate that we are still afraid to claim authority over our choices

I appreciate how the tools are in place to make those claims

I appreciate the respect we have for one another

I appreciate that I find myself lost in ideas of what to do

I appreciate that I am chaotic


Inquire –


I am interested to know how develop a sense of authorship with movement

I am interested to know how touching would change the dynamic of a score

I am interested to know why going backwards is harder than forwards

I am interested to know how you make your choices

I am interested to know what lead you to feel confident in that movement

I am interested to know what would happen if something went wrong

I am interested to know if you can make accidents become fixed events

I am interested to know the qualities that bring the most out of a character

I am interested to know if we are learning techniques

I am interested to know why you decided to expand into space

I am interested to know what happens when you condense space

I am interested to know what happens when nothing moves

I am interested to know if it is possible to combine two different groups scores without rehearsal

I am interested to know why looking at the wall reads so differently to looking at the audience

I am interested to know if you can fall into positions

I am interested to know why we naturally work in time

I am interested to know what would happen if one member delayed their movements

I am interested to know how you feel when you are moving


Suggest –


Could you try only using one side of your body?

Could you try to move along one line?

Could you try to transition from final position to first position

Could you try to break with all control momentarily

Could you try to incorporate one another’s movements into your score

Could you try to be more precise in your timing

Could you try to perform backwards twice

Could you try to reveal more character

Could you try to move into a space and out of it in one score

Could you try to explore building bigger connections without being so close to one another

Could you try taking 5 steps extra during one move

Could you try to use the floor more

Could you try to touch the floor as little as possible

Could you try to copy one another from afar

Could you try repeating the same movement 50 times

Could you try to examine why you lead with your right hand?

Could you try to stop on a certain position before moving again?


Challenge –


Can you find a way to break a habit?

Can you find a way to incorporate one movement from someone else

Can you find a way to push each other

Can you find a way to be less harmonious

Can you find a way to compliment one another

Can you find a way to unravel

Can you find a way to communicate with one another

Can you find a way to move without moving your head

Can you find a way to explore the limits of space through your score

Can you find a way to change position with each other

Can you find a way to start over

Can you find a way to make it more chaotic

Can you find a way to move from the floor to ceiling

Can you find a way to do the opposite

Can you find a way to create more conflict

Can you find a way to make it more dramatic

Can you find a way to show us more of who you are

Can you find a way to be more abstract

Can you find a way to change timings throughout

Can you find a way to do something that you dont feel comfortable with.



Each week the blog will act as a resource for any notes or references mentioned during the workshop, as well as featuring at least one visual or written response from one or more of the participants.




We began by picking up on feedback models from the previous session, looking at models of feedback including those developed by Liz Lerman, Map Consortium and DAS Arts.

When moving, we were introduced to the idea of questioning, riddles and propositions to draw out new ways of moving. Joe mentioned the methods of choreographer Deborah Hay and her series of ‘What if..?’ questions posed to dancers in movement.

‘What if what I have is what I need?’

These questions are purposefully mind-bending, the intent being to engage the performer in a line of questioning that distracts from over-thinking the movements being made.

Individually, we created our own material consisting of a JUMP, a TURN, a FLOOR and a STRETCH. These short sequences were developed individually and then in groups we combined them into a sequence that consisted of difference movement qualities (fast, slow, mechanical, clumsy, heavy, light…)

Presenting these sequences to the group, we then fed back using the earlier models discussed. The point here being to think specifically about the language we use to develop movement research and what is productive to making. The intent is not to avoid criticism, but to feed back in a way that is productive when working with people.

We spoke about how this general principle can be applied across the crit culture of visual art and not just dance.



Feedback models of the Map Consortium mapconsortium.com
Choreographic questions of Deborah Hay deborahhay.com



Each week the blog will act as a resource for any notes or references mentioned during the workshop, as well as featuring at least one visual or written response from one or more of the participants.




We began with a series of somatic exercises, paying attention to our breathing. In pairs, we felt the breathing of the other by laying hands on the body.

We envisioned a white mist, and allowed this to guide movement.

Lifting the shoulder of your partner.

Your partner giving their arm to you, allowing you to guide and lift.

Revisiting ideas of moving in unison and in mirror, but adding ideas of contrast and compliment.

In groups, following a simple score. Moving from one side of the room to the other at the same pace, whilst remaining in our contrasting and complimentary pairs.

Developing these ideas in small groups, ending with a group score created for one pair. Parameters such as ‘focus more on the fingers’, ‘remain close together’, ‘move from the floor to standing’ and ‘use the benches’ were introduced.

Joe introduced the idea of feedback models and working with performers. Based on the feedback model of Liz Lerman, we used ‘I notice’ and ‘I appreciate’ to feed back and draw out new possibilities from the performers. Using ‘What if…?’ to suggest new ideas for the next iteration.



Liz Lerman Critical Response method

Das Theatre method