Abstract
How can dance or embodied explorations of narrative become a catalyst for re-imagining the self and other within an everchanging reference. I am creating a dance piece through a process we can call “devised choreography” to answer this. This chapter is told from the perspective of LUG’s suitcase, LUG is a character that I have been inhabiting for about 16 years. The suitcase asks “Am I tired of her yet? … sometimes, and then she does something that wakes me up, bristles me and disrupts my rusty latches!” “Now she has asked a group of young dancers to work with her collection of old smelly suitcases and strange broken objects that she has ‘Lugged’ into the studio. I think they are skeptical and would rather have familiar movement, clear counts, and beautiful music, but they’ve got LUG. They don’t know it yet, but they are about to embark on quite a journey! Did I mention that both the objects and the suitcases come from a lineage of many former owners? We can actually hear all of those stories and so… it gets a little complicated….” LUG’s suitcase will unravel what really happened with this young group of dancers and their borrowed suitcases.
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Ricketts, K. (2023). Hold on to Your Hat! All Aboard for the Train Called Fiction no Fiction!. In: Mreiwed, H., Carter, M.R., Hashem, S., Blake-Amarante, C.H. (eds) Making Connections in and Through Arts-Based Educational Research. Studies in Arts-Based Educational Research, vol 5. Springer, Singapore. https://doi.org/10.1007/978-981-19-8028-2_15
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