ABSTRACT

This chapter appeared in the first edition of Contemporary Choreography: A Critical Reader, published in 2009, and has since stimulated much debate and numerous applications from graduate and postgraduate students, both in Europe and internationally. During 2016, I determined to test out knowledge of this model with professional dancers from ZfinMalta Dance Ensemble and Scottish Dance Theatre, two companies that I am involved with as a board member. The insights gleaned suggest that these contemporary dancers are now very familiar with a broad range of choreographic approaches in the studio, and that they are also extremely articulate about their personal contributions to the choreographic process, as demonstrated in their answers to my questionnaire discussed in the last section of this revised chapter.