Dancing elusive knowledges across the research terrain

The narrative of knowledge is almost always underpinned by the cognitive but how we know the world is often through the experiential. Whilst we have moved a long way in redefining knowledge in research terms to include the processes and outcomes of our practices (artistic, creative, professional) and importantly have privileged the artist’s voice as the expert in this recasting of what a knowledge claim might look like, some art forms prove more problematic than others in this endeavour. What if the artist’s voice is embodied thought, articulated through movement, and not text or image or code? For dance artists our narrative of knowledge resides with and in the body