This research project for LocoMotion 7 was initiated by Iskra Sukarova, Biljana Tanurovska- Kjulavkovski and Peter Sciscioli, who invited other artists to collaborate and share research interests together. The purpose of this collaboration, aside from connecting artists who share an interest in formats engaging international communities in the arts, is to bring particular focus to the ways in which each artist uses a body-based approach to their work, which reverberates into other areas of discipline and inquiry.
Kohji Setoh’s work examines ways of improvising movement through music; Martín Lanz Landázuri is researching thresholds of attention, tolerance, color and pulse, trying to approximate a psychedelic state or aesthetics, purple, immersive, are some elements to explore. Iskra Sukarova’s research deals with her interest in finding/defining choreographic tools as means of manipulation. In this process manipulation is put as the major choreographic tool to create movement language. Elena Risteska through research explores co-operation and empathy of movement and sound. The emotional reaction to specific musical segments in direct correlation with the movement, further will be explored through the space. Leonina Korneti Pekevska is interested in making abstract parallels of literature in sound/movement projects (stage performances or movies). Working with classical science-fiction books and bringing them to life through music, dance and other visual expressions, she is trying to achieve in the audience's perception and reaction the similar feelings, thoughts and conclusions which a book would trigger in a reader. Peter Sciscioli explores his curiosity about the relationship between vocalizing and moving, how movement effects sound in the body and vice versa. He has also been engaging in the simplicity of performance that requires no technical enhancement (no pre-recorded music, no electronics, no video) instead following a line of research that Ben Spatz proposed called “what a body can do”. Ursula Eagly is interested in the edge of awareness and the physical experience of sight; Emily Sweeney is researching, through Deborah Hay's score "Dynamic," around the edges of intention in performance, concerning the ways in which the interplay of seeing and being seen as complementary actions occurring in a space can be brought perceivably to bear in performance.

This research brings together ideas proposed from the structures/formats of Lokomotiva’s/ Nomad Dance Academy’s/ JdE Teaching the Teachers, International Interdisciplinary Artists Consortium residencies (U.S.) and Laboratorio: Condensacion (Mexico). 
This project is supported by the Trust for Mutual Understanding, administered by Movement Research.