Perceiving the interactive body in dance: Enhancing kinesthetic empathy through art objects

Through a consideration of audience experience of embodiment in\ud contemporary dance performance, this project used kinesthetic empathy as a\ud theoretical construct to inform choreographic decision-making. The research\ud outcome challenged the traditional performer/audience relationship through\ud an interactive dance performance work entitled Planets. This acted as a\ud platform that allowed both audience and performer to collaboratively listen to,\ud process and form movement in a shared kinesthetic state. This connection\ud was enabled through the distribution of interactive art objects, which\ud responded to the shifting proximity between performer and audience. The\ud performance was thus experienced through following a shared goal as\ud instigated by the interactive technology. Through practice-led research,\ud knowledge from kinesthetic empathy, embodied cognition and the mirror\ud neuron system were used to develop the project’s aim in encouraging\ud interactive audiences to engage in movement. This aim influenced studio\ud explorations of movement through an enquiry into the kinesthetic self in dance.\ud Investigations used movement quality, tension, mobility and acceleration to\ud access a familiar movement vocabulary appropriate for a broad interactive\ud audience. This informed the role of the researcher as performer. Planets was\ud developed as a collaborative project between Michael Smith and interactive\ud visual designer Andy Bates and performed over three nights at the Ars\ud Electronica Festival 2014 in Linz, Austria. Supported by documented footage\ud from Planets and audience responses to the performances, this paper draws\ud together the theoretical underpinnings behind the development of the work\ud and includes the experiential perspective of the performer