ABSTRACT
In the light of this, it is unsurprising that six of the chapters in this book engage with discussions about the use of technology, either in support of teaching choreography, or in the processes of making or performing, or indeed in terms of considering the potential of dance making. Five chapters converge around issues broadly dealing with questions of interculturalism and globalisation across international boundaries; two others articulate investigations into choreographic cognition from opposite hemispheres. Of common concern to the writers is the increased need for reflexivity and analysis, and the desire to investigate choreographic processes more thoroughly. This may have come about because of the growth of dance as a discipline in the university sector, but equally, because of the demands placed on dance artists to communicate their practice in languages other than dance. Funding bodies require articulated information about artistic vision in relation to new works; festivals, choreographic forums and post-performance discussions place exacting demands on dance makers to explain intention and process, and co-commissioning of collaborative projects by arts, science and other research funding put the onus on the artist to be a thinking, reflective and careful communicator. As choreographic boundaries expand rapidly and in unforeseen directions (as evidenced by the wide range of applications presented here), the need to develop and interrogate new theories grows.
