This research has being supported by Fonds Darstellende Künste (2023) with funds from the Federal Government Commissioner for Culture and the Media within the program NEUSTART KULTUR and Tanz – Arbeits- und Recherchestipendium (2023)
Over the course of three months, I conducted extensive research on memory, visual thinking, and disability within the realm of contemporary performance and co-choreography. I organized my research into three main categories: how the body remembers movement, how the disabled body remembers movement, and how dancers remember movement.
My research consisted of two components: reading and practical exploration. In the reading phase, I delved into relevant books and articles pertaining to the aforementioned categories. During the practical phase, I spent four weeks collaborating with disabled dancers in the studio, exploring various methods to enhance movement comprehension, retention, and embodiment for improved memory.
Over the course of four weeks, I experimented with different methods and anchor points for memorization and retention of movement sequences with a group of 10-12 actors/dancers with disabilities, mainly Down Syndrome. We worked Monday to Friday from 9:30 to 15:00, following a consistent daily routine made up of task-based dance research. RambaZamba Theater generously donated their ensemble and studio spaces for the following research.
Week 1 - Imagery and Visualization // Repetition and Slowing Down
Week 2 - Imagery and Visualization // Space Mapping
Week 3 - Imagery and Visualization // Self Originated Movement + Space Mapping
Week 4 - Imagery and Visualization // Space Mapping + Unique Vocabulary
We began each day with a somatic warm up, followed by simple movement sequences, and lastly we implimented codified research exercises.
Somatic Warm Up
Through slow changes of weight, anatomical pictures, movement and perception we put our attention into different qualities and moved through them. We layered tempo, articulation, and perception of the space under other movement prompts. During this journey we explored movement possibilities and discovered new pathways deepening the awareness of our internal and external experiences.Simple Movement Sequences
We repeated the same simple sequences over 5 days. Some sequences were repeated during the 4 weeks, some changed weekly.
3. Research Exercises
We cycled through different exercises based on the following ideas, expanded below:
Imagery and visualization
Space Mapping: Leaning into Visual Cues
Self Originating Movement
Repetition
Unique Vocabulary Within the Phrase
Audible Cues
Imagery and Visualization:
Can imagery help contextualize movement and trigger memory?
For this exercise, we drew inspiration from the movement method called "Butoh," a dance theater technique originating in Japan in 1959. Butoh is not merely a style, but an exploration of the essence of being moved by internal landscapes. As my master teacher, Tiziana Longo, once conveyed, Butoh provides a methodology that utilizes visualization to inspire movement, emotion, and storytelling.
We incorporated exercises from Butoh technique, such as improvisation based on abstract pictures, to shape and influence our choreography. These images created imaginary landscapes that offered tangible context, serving as anchors for memory. As a practitioner and lifelong student of Butoh, I have been integrating these teachings with utmost respect and care into our choreographic and creative processes.
In the book "Kazuo Ohno's World," Kazuo Ohno and Yoshito Ohno eloquently wrote, "Picture for a moment the effortless way in which the winds blow through the skies. Think of rain, clouds, storms. Treat everything with great care" (Barrett, 2004).
Some examples of our exercises included:
1. Imagining that the space is filled with water and walking forward without disturbing it.
2. Standing up without relying on your bones.
By engaging in these exercises, we explored the potential of imagery to enhance our movement, ignite emotions, and establish deeper connections to our choreography.
One of the more useful tools that I found was pulling from images as a source of inspiration for improvised dance. As we moved through these exercises I realized how fast images navigated the dancers’ bodies. The use of imagery and visualization became the base of “A Map of Memory” clearly boosting focus, imagination, and embodiment.
Attaching mental images to a movement or movement sequence helped put things into a logical order. The image’s names offered clues - for example, your head is smoke, or, you have a flower growing from your legs. As long as the images were happening in order, they were aiding the memory of the choreography itself. It quickly showed itself to be a powerful tool
As my research took me deeper into how imagination and visualization can help memorization I came across a process called Visual Thinking, specifically the works of Temple Grandin. Dr. Grandin became a prominent author and speaker on both autism and animal behavior. Through her book “Visual Thinking” I learned word based thinking is sequential and linear. People who are primarily verbal thinkers tend to comprehend things in order. Visual thinkers on the other hand, see images in their mind’s eye which allows them to make rapid-fire associations.
“Generally, visual thinkers like maps … visualizers spent more time looking at the pictures, and the verbal thinkers spent more time reading the instructions” (Grandin, 2022 )
I explored whether the Ramba Zamba ensemble leaned more towards visual or verbal thinking. I engaged them with questions inspired by Dr. Grandin. I inquired if they preferred reading maps over verbal directions, if they had the ability to empathize with others' emotions, and if their thought processes were predominantly visual rather than verbal. By delving into these inquiries, I aimed to gain insights into their cognitive preferences and adapt my approach accordingly.As a result, I learned the dancers mainly preferred visual directions and pictures.
Later on in the book, Dr. Grandin distinguishes two kinds of visual thinkers: object visualisers (thinking in pictures, concrete and detailed images or spatial visualisers (mathematically inclined) Diving into this was like opening a big room with a lot of research to digest. At this point and under the time that I was given, I decided further research on this subject should continue later on when I have more resources and time to fully dive in.
It became evident to me that visual thinking entails the capacity to conjure associated images from one's "visual memory files." From my observations, I recognized that this ability might play a crucial role in comprehending information processing and memory retention, particularly among the majority of participants in this study.
Sometimes attaching a mental image to a step or series of steps can help you to put things in order. The movement’s name may offer clues – for instance Pas de Chat is “step of the cat.” This swift jump directly relates to the pounce of a feline. However, sometimes movements don’t have names or at least not ones that correspond to an image. So, it’s okay to attach your own visuals and/or terminology… no matter how strange.
What does each movement or series of steps bring to mind?
Maybe your sequence looks like this:
chopping vegetables
waves crashing
Popcorn
ice skating
As long as the images make sense to you, you will likely be able to keep these images in order, aiding your memory of the choreography itself and creating an easy to follow logic from one step to the next
2. Space Mapping: Leaning into Visual Cues
Can space become a transformative map that links movement sequences, turning memory into both an external and internal phenomenon?
I researched recontextualizing the space by physically dividing the stage using color tape and threads, creating a clear and comprehensible map for our movement sequences.
This approach utilized how these specific artists already understand space so that they can understand their internal surroundings through their external surroundings. I have observed that the dancers already relied on spatial cues to remember what to do and this technique emphasizes that skill. It is important when working with artists with disabilities to use their strengths and not see their reliances as weaknesses.
We worked a total of 3 weeks on space mapping. This gave me time to see a few interesting results in how the participants benefited from space mapping. The dancers used mapping as a guide, and sometimes when they didn’t know what step was next, theyimmediately checked the space for cues, showing that this technique was extremely helpful in helping them remember what was next.
3. Self Originating Movement
Is it easier to remember movement that comes from one's own body or from someone else?
I tasked the dancers to produce their own movement using improvisation. This provided the dancers with a unique freedom and personal context to follow their own impulses and embrace the intelligence of the present moment.
Improvisation allows for the exploration of movement at the pace of the thinking body and mind while relieving the burden of decision-making. Additionally, improvisation serves as a valuable method for generating material that can later be restructured or incorporated into something else. It allows the dancer to live fully in their own world. It also allows for stronger embodiment and attachment to movement. Recreating these improvised moments using memory or video became an essential aspect of the creative process.
The following are the exercises that we used to generate improvised movement.
1. Self Originating Movement:
Two dancers engaged in an improvisation exercise at a time. One dancer closed their eyes and improvised for 5 minutes. Afterward, they were instructed to open their eyes and attempt to recreate the 5-minute sequence from memory.
This process was then repeated, but this time the entire 10-minute improvisation was recorded through video. From this recording, we selected a sequence known as the "Eco sequence" which aimed to capture the original sequence’s essence. Only approximately 70% of its original complexity was ever reached.
2. Cut and Paste:
This exercise consisted of four dancers. One person improvised while the other three observed and select one movement each to repeat. By the end of the improvisation, typically lasting around 5 minutes, we gathered three distinct movements through this cut-and-paste process. From these movement, we constructed a cohesive sequence.
“We improvise to find the strongest movement and then use cut and paste to put them together - we develop skills of cutting and pasting which draw us back each time to improvisation as a primary tool to find material.” (Burrows, 2010)
3. Transformation of a Sequence
During the days that we explored space mapping, I realized that the dancers transformed given movement throughout the duration of the day. One example was:
right hand up
to the ground
touching the left shoulder and back into normal
I notice that around 50% of the dancers transform the movement. Some used their left hands instead of their right, and some went from the ground immediately to the shoulder. As I could see, that was a transformation from the choreography that I originally showed, yielding a unique choreography that the dancers individually created by what movements made better or worse sense to them. Through this observation I found thatI there were some movements that no-body could remember.
4. Creating a Choreographic Sequence:
In this exercise, dancers took turns entering the space and creating two simple movements. Each subsequent dancer had to replicate the previous person's movements and add their own. To aid in their recollection, the movements were linked to the names of the dancers. It was truly remarkable to witness their ability to remember the sequence when the movement was linked to a person that they already knew.
Later, they worked in pairs to collectively recall the choreography created when we strung the individually generated movements together. I noticed that this was one of the most potent tools for recall, especially for those with dementia. I noticed that when the dancers were able to use their previously created social contexts and work together to remember, the memory retention was much better.
4. Repetition
How big of a role does repetition and going slow play for the performers in order to learn choreography?
There are various ways to apply this effective memory technique. I discovered that fully repeating the movements, dancing them with maximum effort, proved most helpful for memory retention. However, "marking" the movements over and over again , going through the steps to remember rhythm, timing, and coordination, also provided some benefit, was also affective.
To implement this technique, I assigned the dancers to mark the movements as much as possible either during my demonstration of the combination or during other appropriate moments throughout the class.
For example, when splitting the group into two sections, with one performing and the other observing, I requested that the observing group mark the movements. Additionally, when the teacher worked individually with someone else, I encouraged the dancers to utilize that time to repeat the movement for themselves.
I realized the significance of both mental (e.g., visualizing the choreography) and physical practice. This kind of repetition not only strengthened memory but also highlighted any segments of the combination that may have appeared clear in class but became problematic later on.
Over the course of four weeks, I presented the dancers with four sequences that remained consistent throughout each week. My intention was to observe how much they could recall from one month to another. The sequences consisted of simple floor work and standing movements.
As a result, I discovered that repetition and slowing down proved to be highly effective tools for memorizing choreography. I noticed that as the days progressed, students with more severe disabilities were able to remember more details from the sequences. Some of the actors/dancers also had dementia, and I observed that it took them longer to learn the sequence, which was then forgotten during the breaks between sessions. With these particular dancers, I would reintroduce the sequence as if it were the first time, sometimes with the assistance of observing colleagues. However, I also observed that muscle memory was present, as by the second day of the second and third weeks, the sequences became easier.
This indicated that motor memory, or muscle memory, improved through practice and experience, although it took longer. At this point, lack of confidence and overthinking undermined the natural process their minds and bodies underwent, highlighting the importance of providing positive reinforcement.
As Tasha Lawson, a professional tap dancer, eloquently described, the process of learning choreography comes down to an "embodiment on a cellular level." This entails a complete integration of the movement, allowing it to reside within the muscle memory of the body.
5. Unique Vocabulary Within the Phrase
Together we named all the movements and time phrases in different sets of choreography.
We named movement after objects or people creating different phrases for different sets of choreography.
The dancers’ task was to go to the space one by one and create 2 movements. The movements would then be titled the name of the person who made them. To my surprise this method was very effective. By using the name of the person who made the movement the dancers were able to remember phrases quite fast and easy and had excellent recall.
6. Audible Cues
Can audible cues help create new anchor points for memory?
To begin researching how audible cues can aid memory retention and embodiment, I proposed the task of movement that integrates sound. Then, I asked the dancers to propose a movement and then find out “which sound is in this movement?”.
The exercise opened the possibility of adding voice to the choreography which reinforced the context of the movement. When this happened, I found that they remembered the movement well, but it was harder to remember the sound that came with it.Donec eu est non lacus lacinia semper. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Maecenas non leo laoreet, condimentum lorem nec, vulputate massa. Nulla lectus ante, consequat et ex eget, feugiat tincidunt metus. Nulla lectus ante, consequat et ex eget, feugiat tincidunt metus.
Conclusion
I discovered that the combination of self originated movement and imagery helped the dancers remember what to do and the implementation of space mapping helped the dancers to remember where to do it. As well, providing them context clues of what to do when they got there.
The tools of simplicity, adapted movement, social and visual context, and silence during teaching movement yielded the best results in understanding and memory retention.
By allowing participants to breathe between tasks and refraining from imposing my own movements or choreography, I created a space for them to comprehend the tasks on their own terms.
I realized certain movements were better suited for execution on one side of a participant's body, rather than the side that initially made sense to me. This insight emphasized the importance of adapting movement to the individual's unique abilities and physicality. Recognizing and accommodating these differences led to a more inclusive and effective approach to movement exploration and choreography.
I also found that even though simplicity was an important tool, it was actually more beneficial to begin with an elaborate sequence and allow the dancers to self-select what stayed and what didn’t.
Bibliography
Temple Grandin (2022) Visual Thinking. The hidden Gifts of people who thinks in pictures, patterns and Abstractions.
Kazuo Ohno and Yosito Ohno (2004) Kazuo Ohno’s World. From without and within.
Adam Benjamin (2002) Making an entrance- Theory and practice for Disable and Non-Disable Dancers.
Petra Kuppers (2003) Disability and Contemporary Performance. Bodies on the Edge
Ann Cooper Albright (1997) Choreographing Difference. The body and Identity in Contemporary Dance.
Smith- Autard (2004) Dance composition. A practical guide to creative success in dance making.
Emmaly Wiederholt and Silvia Laukkanen (2022) Breadth of Bodies. Discurring Disability in Dance.
Jonathan Burrows (2010) A choreographer’s Handbook.
Anne Bogart + Tina Landau (2005) The Viewpoints Book. A practical guide to Viewpoints and Composition.
Jader Tolja and Francesca Speciani (2019) Pensar con el cuerpo.
Final editing by Sabina Moe.
“Supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media within the program NEUSTART KULTUR.” and Tanz – Arbeits- und Recherchestipendium (2023)
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