This presentation will consider notions of spatiality with a view to mapping the dancer’s relationship with and occupancy of space from the first-person perspective. To this end, architectural concepts associated with both internal bodily space and external surrounding space will be examined.

Internal bodily space will be considered in relation to the architectural principle of tensegrity, amalgamating notions of tension and integrity, stemming from the field of fascia research. The biotensegrity model (Levin, 2006) offers a global perspective of the human form, which, when applied to the fascial system, provides an organic, unifying, dynamic model that could be seen to resonate with dance.

Defining an architectural frame of reference for the dancer moving in the surrounding space, aspects of Laban’s Choreutics provide contextual background for considerations of body and space in dance practice. Additionally, the written reflections of Mary Wigman provide a valuable source of reference, offering an embodied insight into Laban’s vision of dynamic space and a stimulating resource for movement exploration.

Discussion will consider analogies between these theoretical concepts and propose that the biotensegrity paradigm may offer new insight into dance practice, furthering understanding and articulations of internal and external body architecture from the subjective perspective of the dancer.

Findings from my own practice-based movement explorations, conducted as part of my MA research into fascial anatomy and movement theory will provide insight into an individual dance research journey. This research draws on my own kinetic history. Laban’s movement theories were formative to my own dance training and are firmly embedded in my body chronology. The notion that my experience as a dancer is characterised by an attention to my immediate and surrounding space, will be examined in relation to the concept of biotensegrity with a view to establishing a dialogue between the dancers internal and external body-space.