ABSTRACT
This exploratory chapter is an effort which links several bodies of thought in an attempt to theorize embodied knowledge through choreographic practice. The case study I use to focus attention on my concerns is a performance work I both choreographed and currently perform titled Muscle Memory. The title is not a coincidence; this chapter begins to explain how choreography and performance are modes of research which address questions about embodiment including the corporeal quality of oral speech and, subsequently, the role of oral history as a documentation methodology for dance as an art form.
