ABSTRACT
This essay provides an analysis of a piece of choreography that might be described as a staged practice-as-research. Against this backdrop, the creative potential of a dance and choreography-centered artistic research, and in particular choreomusical artistic research, will be explained. 2 Respective studies and their theoretical reflections are often part of an investigation of a specific dance knowledge, or more generally body knowledge. These studies also discuss process-oriented choreographic working methods, such as praxeological studies of dance creativity. As such, these discussions can lead directly to a discourse on dance as an art form and cultural practice and, if they critically question traditional methods, can provide significant scholarly and cultural-political insights. Apart from these contexts and with a focus on the question of what kind of artistic research could be done in dance, it soon becomes apparent that choreographic work without practice-based research is hardly possible. Choreographic creativity always goes hand in hand with artistic curiosity—provided it aims to be innovative. What is comparatively new about choreographic creativity is the increasingly wide variety of reflections on research based on dance practice that includes historical perspectives to discover processes and tendencies of choreographic creativity in all their diversity.
