Snyman, Bailey2023-09-122023-09-122022-09-16http://hdl.handle.net/10539/35882This paper explores the evolving landscape of choreographic research in South Africa, focusing on the interdisciplinary nature of contemporary choreography and its reliance on embodied knowledge. The paper examines the theory of tacit knowledge proposed by Michael Polanyi and its intersections with embodiment theories. It further investigates the four interpretations of tacit knowledge presented by Harald Grimen. The study documents the intuitive and implicit choreographic processes behind the creation of “L.I.F.E.: A History of Distance,” a dance-based physical theatre performance. The presentation highlights the importance of understanding choreography as an embodied arts practice and emphasizes the interplay between explicit and tacit knowledge in the choreographer’s creative process.enThis article is licensed under a Creative Commons Attribution 4.0 International (CC BY 4.0) licence: https://creativecommons.org/licenses/by/4.0Articlehttps://doi.org/10.54223/10539/35882