In message <5630141@rosencrantz.reed.edu>, Patricia Wong <Patricia.Wong@directory.reed.edu> writes I have seen the work of Candoco, but I was thinking that sometimes as a contemporary and ballet trained person working with disabled people, I impose my movement vocabulary and biased aesthetic of movement and form upon them instead of taking the person and their physical situation into consideration. In the past when working with able bodied and disabled dancers I have imposed physical limitations (restriction of joint range, use or non use of different body parts) upon the able bodied dancers which creates a new movement vocab for the individual. To get back to my point: Would the Lifeforms figure/figures need to have the same limitations/restrictions as the choreographer? If any disabled choreographers/dancers would like to comment that would be good :) Cheers Kema > >Dear Kema - > >I would say that learning to use Life Forms would be one option for >wheelchair bound dancers or choreographers. You might want to >investigate the choreography being created by such groups as the >Danceability Project and CandoCo. Possibilities for dance performance >and choreography by people with various kinds of physical disabilities >are being explored worldwide. Adam Benjamin's book, Making an >Entrance, recently published by Routledge, is an excellent resource on >theory and practice of dance for those with disabilities. > >The following web site has a very good statement by a dancer who, after >an accidental fall, found a way to continue in dance and even to expand >her dance aesthetic. >http://www.dadaanat.net.au/resource/papers/dance.html > >Patricia Wong >Reed College >Portland, Oregon > -- Kema T. Ekpei Esq. kema@kema.org.uk www.kema.org.uk
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