LAUSR

ABSTRACT Screendance, as an interdisciplinary practice influenced by the histories and intersections of cinema and dance, necessitates a vocabulary aimed specifically at perceiving it as an autonomous art form. Within the Laban Movement Analysis (LMA) context, perceiving refers to recognising changes regarding specific spatial, temporal and dynamic qualities attributed to movements, gestures and expressions. This article explores the autoethnographic process that forms part of a larger qualitative, practice-based investigation into the ways in which LMA can further contribute toward the development of a screendance vocabulary. Since LMA addresses personal uniqueness and the influence of sociocultural backgrounds on the body, this article suggests a self-reflexion on the creative process followed by interrogating the functionality and expressivity of LMA as a choreographic tool towards screendance. In addition to foregrounding Sawyer's sociocultural model for creativity and the three dynamics at play that influence creative decision-making processes, this article refers to Munro's consideration of these dynamics as the culture of idiosyncrasy, the culture of practice and the culture of gatekeeping. Cultural shifts that occur between dance and filmmaking communities and the relational shift of the camera's gaze from an observer to an active partner participating in a pas de deux with the mover are underpinned.