What holds up when the wrapping is gone? Is there a leg to stand on once the shining sheen of performance paraphernalia is rubbed out? What was there anyway, before it got stitched up?

In a performed-dance-discussion Rosalind Crisp dances and talks about what she is doing, exposing some aspects of her continually evolving practice around the project d an s e .

d a n s e  is a modality of work that Rosalind Crisp has been developing between Australia and France since 2005. It is about a way of working with the body and an ensemble of unstable principles which guide the production of movement. These principles are continually transforming, constituting a language that is both rigorously identifiable and constantly mutating.

The choreography deals with a palette of tools to produce movement from any part of the body at any time. The practice is about assimilating these tools until the dancer’s attention is on the continual process of noticing how movements are forming.

In a studio with Olivia Millard and Jo Pollitt in Perth in 2005, Rosalind captured the first attention scores of this choreographic process that has led her to her body of work as a mature artist. Through her ongoing studio-based research and in collaboration with artists in Australia and Europe, (Lizzie Thomson, Céline Debyer, Max Fossati, Andreas Müller, Andrew Morrish, writer Isabelle Ginot) the d a n s e project evolves, giving rise to numerous performance works (dance 2005, danse (1) 2006, danse (4) 2008, No-one will tell us… 2010, ≠espèces 2011, danse (3) 2013) and a training methodology for dancer/choreographers.

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