| This paper grew from my ongoing investigation with researcher Niki Pollard into how as a choreographer I may begin to articulate the research engagement of my dance-making in different modes of writing, formal or creative. In the notebook page reproduced to the right, I recorded for the first time musings that, many months later, came into existence as a performance work, Passage (2001). This page, amongst others, was later reproduced on a website created in collaboration with Pollard and designer Roberto Battista to probe how I prepared myself and the cast for the making of Passage.
In one layer of this paper, Pollard reads my first notebook for Passage and, drawing upon our conversations and her observation of rehearsals, lightly speculates as to where my choreography begins. In a second layer of writing I respond to her speculations, turning on its head the frequent predicament of artists to be represented by others in formal writing with no recourse of appeal. Formed as afterthoughts, my writing does not adopt a formal register. I should say too that the distinction between our perspectives in this paper is not absolute; during drafting and revision, our words have migrated voice to voice.
Rosemary Lee
the paper
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