Abstract
This paper considers the role of annotation in three recently developed dance ‘scores’. Synchronous Objects for One Flat Thing, reproduced (Forsythe/OSU 2009), Using the Sky (Motion Bank/Hay 2013) and A Choreographer's Score (De Keersmaeker and Cvejić 2012), each utilize annotation in various ways to analyse, re-present and reveal the shapes, relations and traces of movement. At times annotation provides a hidden methodological tool, helping researchers to systematize features of the works; in other cases it takes the form of written notes, digital inscriptions and spoken articulations. I consider how such methods relate to a codified notational system and draw on perspectives from philosophy (Apostolou-Hölscher 2014; Sabisch 2011) and human geography (McCormack 2013) to consider the aesthetics and ‘affect’ of annotation, highlighting its potential to offer innovative ways to observe, understand and experience dance.
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