A study of the hidden choreographic properties of an object. Inspired by the philosophies of choreographers Merce Cunningham and William Forsythe the starting point of the project is the thought of creating an artefact that could choreograph a (contemporary dance) performance, in other words can we create an object that would direct the performer autonomously and what would the performance look like?

What does this proposition require from its elements? Moreover, what does it require from the object. (Music is not seen as a necessary element but could be inspired by and implemented on the performance afterwards. This independence from music is relative to Merce Cunningham’s ideas on contemporary dance.) Firstly, we believe, the object has to be able to communicate to the performer and trigger movements in his / her body. Secondly, the object should have such characteristics that it generates specific types of and recognizable gestures. Meaning, are the movements aggressive and fast or joyful and slow.

In a way the object is like a score (see below), offering general guidelines for movement thus giving space for interpretation by the performer. This leads to unpredicted outcomes since each performer will interpret the object differently. A performer from Finland might create a totally different performance using the object than a performer from Brazil.

The first objects created for the project are glass masks hand-blown in Leerdam, the Netherlands. Glass, when worn on the body, has already such characteristics as translucent, optic, brittle, heavy, potentially dangerous, glossy, fluid, cold etc. When given a shape the different characteristics of glass can be amplified and thus the gestures the performer will emit can be manipulated. Also the shape will dictate how the mask is used and what movements the performer can and will execute.

The three masks created are all different and therefore the performances created by the masks and the performer wearing them are different.