Audiences will come to the Luther Theatre/Dance Department’s spring dance production expecting to see a finished product. The lights, set, music and movement will present just that, but this does not necessarily mean that the dance hands out easy answers.

The questioning that fueled most of the development of “Paper Weight” is inherent in the piece and will perhaps cultivate the same inquiry in the viewer even after the production’s end.

“Paper Weight,” an original dance work directed by Amanda Hamp, will open May 1 at 7:30 p.m. in Jewel Theatre, Center for the Arts. It will run May 2-3 at 7:30 p.m. and May 4 at 1:30 p.m.

Hamp, assistant professor of dance, worked with multiple collaborators to form the devised piece, including a cast of eight students that helped to compose the movement and overall performance.

A devised piece, typical for the department, begins with an abstract idea that is expanded and communicated through movement and the other elements of performance like music, lights and set.

Hamp’s conception of “Paper Weight” originated a few years ago, while looking at the shift from paper material to the electronic world —letter writing to e-mailing, the paper vote to the electronic one.

Eventually, it evolved as is the nature of conceptual pieces, exploring the issue of protecting ourselves to the point of our own detriment.

One of the most prevalent issues explored within the dance is the idea of boundaries, highlighted by the controversy around the U.S.-Mexican border. As an open-ended piece, however, the meaning is fluid.

“This piece can be as personal or political, individual or community- oriented as each person wants it to be,” said cast member Karen Jensen (‘08).

Most of the cast members became intrigued with the idea of boundaries, which they heavily explored in rehearsals. Each dancer, through working within the group, formed individual ideas and questions surrounding the work.

“For me, it is about noticing the way we construct borders — sometimes out of necessity, but other times out of unfounded fear or ignorance,” said Marie Palmquist (‘08). “Too often we construct borders without a thought to why.”

The majority of the piece was built from improvisation by the student dancers, while Hamp provided some set phrases or series of specific movements.

Rehearsals, held two mornings a week and Friday afternoons, varied. They were aimed at either building the work or exploring movement and the concepts of the piece.

The cast and Hamp did not begin setting the piece until well into the rehearsal process.

The exploration that occurred throughout the piece’s development included improvisational work from word impulses, exploring relationships to walls and borders, free writing, discussion, imagery and dealing with set limitations.

The cast encountered real physical challenges, as well as ideological ones.

One specific investigation had the dancers working in pairs, one acting as a wall while the other tried to move or change the wall.

“It was a powerful experience,” said Kate Blair (‘08). “Because one person had to confront the fact that walls do not change easily, so the only choice you can make is to change your own relationship to it.”

Using this exploration, the group continued with an interesting idea and let it expand, eventually forming movement used in the performance.

The overall process was an open one, subject to change by discoveries made in dance and discussion.

“Although Amanda came with extensive research and things she wanted to be part of the piece, she also came with a really unique open-mindedness,” said Palmquist. “I adored the process, because I have an investment and ownership in this show that I haven’t felt in other productions.”

Other collaborators include Julie McLaughlin, an Iowa papermaker and returning guest artist, the Confronting Borders class with Lea Pickard and multiple students. Tom Bourcier, instructor in music, composed and recorded the sound scores, performed by Luther’s Philharmonia ensemble.

According to Hamp, because of our interdependent nature, there is value in using many individual, authentic voices to express an idea.

“I want the dancers to be themselves,” said Hamp. “I’m always aiming to cultivate a connection among them but also to retain and develop their individuality. I want to get to know them and what they think and feel about the issues at hand.”

The process of creation not only generated movement and eventually, a complete dance performance, but also more questions for those involved.

“For me this piece has been a real exploration of dealing with many issues, from personal to political and where the two interact,” said Blair. “I wonder why our lives all have different boundaries imposed on them because of our race, class, gender or nationality. What borders are open and closed to me? What boundaries are open to me, but closed to others?”

This kind of performance may be intimidating to view, since it does not hand over concrete answers or opinions. Jensen and other cast members advise viewers to be open and not search too hard for “the meaning.”

“Allow yourself to ask questions, to look through different lenses, look in different ways,” said Jensen. “Attune yourself to your own experience of witnessing this piece.”

“Paper Weight” was formed from and aims to communicate the changeable nature of boundaries, as well as the difficult issues of body and race. Although the U.S.-Mexican border is over a thousand miles from Iowa, the subject matter is still pertinent here.

“In Iowa and at Luther these things matter,” said Hamp. “This piece, both its rehearsal process and its performance, is an attempt to invite discussion that we’re hesitant to have.”