Our research team members spent an entire summer interviewing pre-professional contemporary dancers with the aim of understanding their conceptions of health in relationship to their creative projects. At the beginning of autumn we (co-workers Martyne, Catherine, and myself) came together in our comfortable office to begin our data analysis. We had previously planned to use a computer-based, qualitative research analysis program to wade through our sizeable volume of data. We were ready to look systematically for themes emerging from our nine hours of interviews. Unexpectedly, however, things turned out differently, and we found ourselves excitedly reliving the interviews we had had with the interviewees. Through the act of listening and formally recording, we had succeeded in giving rich voice to the participants and the touching stories we were sharing anew were as revealing as when we heard them firsthand. Directing the project, I was pleased to notice how the interviews had found echoes in our own experiences; and, in fact, our discussions were being influenced by and filtered through our own subjective perspectives.

Introduction: This article cross-references metaphors in therapy, performance, and writing. It is an exploration of the power of metaphor and image in a path of personal discovery. Utilizing interpretive and aesthetical modes of inquiry, I investigate my lived experience in these three activities as applied and manifested in a concert performance, “No Two Alike and Other Dances by Alan Good and Philip Grosser” (Grosser 2001a), within which I was a featured dancer. Through meta-analysis of my clinical work in therapy, deconstruction of certain sections of the dance work as it was created and performed, and a review of personal journals, text and drawings, I examine the transverse effects of the dance, psychotherapeutic processes, and writing, as well as the aesthetical concern of discovering and conveying personal voice in performance.

In September of 2003, Bolshoi Ballet dancer and media star Anastasia Volochkova, 27, was fired from her job. The main reason given was that at 5′7″ and 110 lbs., she was too tall and too heavy for her partners to lift. Yekaterina Norikova, spokeswoman for the Bolshoi, said: “The problem is that male dancers complained of her height and weight and refused to dance with her” (quoted in Isachenkov 2003). Yevgeny Ivanchenko, her former partner, publicly declared her too heavy to lift, saying that he risked injury in working with her. The Russian newspaper Vremya Novostei used the headline “Not even bears could hold [her]” (Kishkovsky, 2003, A1).

In her interviews with the press, she said that she is in excellent shape and follows a strict diet. “I don't eat ice cream now,” said Ms. Volochkova, who once told a Russian interviewer that she adores it. “I eat spinach leaves and vegetables.” She also declared that “Height and weight are not the test of a great ballerina” (2003, A1).

In this statement the American dancer Merrill Ashley, who had a memorable 30-year career with the New York City Ballet, expresses a view on injuries that goes against the grain of dominant thinking within the world of ballet. According to Ashley, who suffered from several injuries in her first two years with the company, an injury can be a positive experience for a dancer, because it heightens her awareness of her body and teaches her about its possibilities and limitations. This is a rather exceptional view in a world where the vast majority of professionals commonly see injuries as a disaster (Wulff 1998; Wainwright, Williams and Turner 2005). The dominant realization that a dancer's career is short makes dancers fear an injury, because it will prevent them from dancing and cause them to lose roles. Because “there is a rule in the ballet world against casting or promoting dancers who are injured” (Wulff 1998, 106), dancers who suffer from an injury will wait as long as possible before letting others know, because they are afraid it will stop them dancing (Mainwaring, Krasnow and Kerr 2001).

This article investigates the relationship between movement, communication, and medical presentation in three contemporary dance performances. In particular, I wish to present three instances of collaborative work: of work where boundaries between specialists and “lay people,” between different kinds of expertise, and different kinds of knowledges become questioned, dismantled, and (re)erected through performance. My argument hinges on the ongoing creative work involved in the translations between embodiment, phenomenological experience, narratives of self, medical stories, and cultural context. Living as a body in the world means a constant readjustment of these frames, a productive and often painful emergence of life through tensions. What it means to be a (gendered) specialist or a lay person, a patient, or a spectator, emerges in the call-and-response of everyday life, as roles are taken on, re-created, changed, and discarded.

A celebrated U.K. dance performance (winner of the Critic's Circle National Dance Award 2004), a U.K. exploratory sci-art experiment by medical experts, writers, and performers, and an Australian music theater piece are at the heart of this analysis: the article explores alignments between semiotic and phenomenological knowledges in these performances. In all of these performances, women are center stage, sometimes as informers, sometimes as playwrights and visual artists, sometimes as main performers.