This is from Carol Brown (and I’d recommend the Dempster writing she is responding to as well):

As both a subject who moves and a subject who writes, spoken and written language have mobilized my presence as an academic scholar. This normative practice is perpetuated in my current status as academic supervisor for a number of Masters and PhD students who are required both to perform their research and write about this performance as theoretically rationalized research outcomes. Like Dempster, I recognize that despite the ‘corporeal turn’ of much recent academic discourse, dance studies as a field has produced disciplined bodies persistently subjected to the commands of writing (see Lepecki 2006).


The twenty-first century presents us with a huge task: to understand the inherited knowledge and embodied practices of previous eras, but not to be so constrained by these that we cannot imagine different futures and ways of moving and creating. An evolving world demands continuously adaptable forms of creativity. it also demands recognition of the redundancy of those discourses that inhibit our ability to bring about a better future. As a choreographic researcher, I experiment and experience, I feel the angles and rhythms at the interfaces of performing bodies and performatively constructed worlds.

Link to Carol’s writing:

appropriated space

I don’t remember when or how I happened across this but I thought the writing might be useful to you (as an example) with respect to how you might make words work towards your practice(s).

I do not know you, you do not know me. There is a space between us. Within this space there occurs a series of collisions, misfires, commonalities, and inescapable bounds wherein we are tied by a relation of non-identification and otherness. We form our own narratives based on our inability to understand completely.

Here’s the complete PDF: Appropriate Text

And this is where it’s from: