Episodi
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ResDance Series 7: Episode 11: Sharing Dance Science knowledge to empower young dancers with Kendall Baab
In this episode, Kendall shares insight into her background and experiences as a dance science educator and her interests in ways of enhancing performance and preventing injury through the creation of her business, Bodykinect. Through afocus on education and training, we discuss her online presence in generating ways to create healthier training practices and in finding accessible and originalways of disseminating dance science knowledge. Throughout the episode, Kendall shares the value she places on the individual dancer through a holistic and consistent approach in the hope to continue empowering the young dancers.
Kendall is a personal trainer for dancers and dance science educator located in Los Angeles, CA. She grew up as a competitive studio dancer and Texas high school drill team member of the Southlake Carroll Emerald Belles Dance/Drill Team in Southlake, TX. She earned herBachelor of Arts degree in Dance Science from California State University Long Beach where she trained in ballet and modern dance, and a Master of Science degree in Dance Science from Trinity Laban Conservatoire of Music and Dance in London, UK where she completed dance science research involving perfectionism and self-efficacy in online dance classes and trained in contemporary dance. Kendall is a NASM Certified Personal Trainer and a BASI Certified Pilates Instructorwith a dance specialization. She is also a Certified Health Coach through Dr. Sears' Wellness Institute. Kendall works with dancers all over the United States on strength, conditioning, and flexibility to enhance performance and prevent injury. Kendall is the CEO and owner of Body Kinect. Profile weblink: https://www.bodykinect.org/meet-the-team
Contact details:
Email: [email protected]
Socail media links:
Instagram: https://instagram.com/trainwithkendall
YouTube: https://youtube.com/@trainwithkendall
TikTok: https://tiktok.com/@trainwithkendall
Other links:
Free Resources & Publications: https://www.bodykinect.org/freeresources
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ResDance Series 7: Episode 10: Thinking differently about the body in interdisciplinary research contexts with Susanne Foellmer
In this episode, Susanne shares insight into her background and experiences as a researcher in dance studiesand her various interests positioned within contemporary dance, choreography and performance art. Through situating her ideas within her research practice, we explore perspectives for thinking differently about the body and the importanceof understanding dance theory as a critical practice. Throughout the episode, Susanne highlights the need for greater visibility of the field of dance studies and continued open conversation in interdisciplinary research contexts.
Susanne Foellmer is full professor in dance studies at the Centre for Dance Research, Coventry University, UK. Her research interests include aesthetic theory, corporeality,media, and materiality in contemporary dance and performance art and in the Weimar era. She also engages in interdisciplinary research with regards to choreography in an expanded sense, particularly exploring social movementsâinterrelations of the onsite, embodied public sphere and its media reverberations online. From 2022-23 she has been Senior Fellow at the Alfried Krupp Wissenschaftskolleg Greifswald.
Staff profile weblink: https://pureportal.coventry.ac.uk/en/persons/susanne-foellmer
Contact details:
Email: [email protected].uk
Bluesky: @sufoellmer.bsky.social
Other links:
LinkedIn: Susanne Foellmer
Centre for Dance Research, Coventry University
Published resources of interest
Foellmer, S. (2024). Communal Choreographies: Claiming the Embodied Public Sphere in Recent Climate Activism. Critical Stages, 29. https://www.critical-stages.org/29/commmunal-choreographies-claiming-the-embodied-public-sphere-in-recent-climate-activism/
Foellmer, S. (2023). The Archival Turn in Dance/Studies.Reflections on (Corporeal) Archives and Documents. (Reprint) Theatralia: Journal of Theatre Studies, 25(2), 129-147.
Foellmer, S. (2020). Series and Relics: On the Presence of Remainders in Performanceâs Museum. In S. Whatley, I. Racz, K. Paramana, & M.-L. Crawley (Eds.), Art and Dancein Dialogue: Body, Space, Object (1 ed., pp. 147-162). Palgrave Macmillan. https://doi.org/10.1007/978-3-030-44085-5_9
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Episodi mancanti?
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ResDance Series 7: Episode 9: The Reciprocal Relationship between Research and Practice with Catherine Haber
In this episode, Catherine shares insight into her experiences as an educator and researcher and her interests in the intersection of functional and aesthetic components of dance performance. Through situating her ideas within her research practice,Catherine offers insight into methodological approaches for validating dance-specific measures and the value of working collaboratively across disciplines. Throughout the episode, Catherine reflects on how an openness to dialogue and embracing new perspectives continue to inform her curiosity within the field.
Catherine Haber, MSc, MAS, FHEA, is the Programme Leader of the MSc/MFA Dance Science Programme at Trinity LabanConservatoire of Music and Dance, London, UK. Catherine teaches Motor Control, Biomechanics, and Research Methods across the BSc and MSc/MFA Dance Science Programmes, further supervising and supporting student research. Additionally, Catherine leads the Fitness Screening and Health Tracking Program for dancers within the institution. Catherine is also a guest lecturer on the MAS Dance Science Programme at the Institute of Sport Science, University of Bern,Switzerland. Within her doctoral research, Catherine is particularly interested in the intersection of functional and aesthetic components of dance performance. Her research thus aims to examine methodological approaches for validating dance-specific performance measures, and to evaluate the contributions of diverse perspectives and disciplines in furthering our understanding of dance performance. Through her research, Catherine has presented her work at numerous international conferences; such as the International Association of Dance Medicine and Science, Performing Arts Medicine Association, and the International Society of Biomechanics.
Contact details:
Email: [email protected].uk
Instagram: @catherine__haber
Instagram: @trinitylaban_dancescience
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ResDance Series 7: Episode 8: Bodies, materiality and touch in multi-person VR: creating immersive performance with Lisa May Thomas
In this episode, Lisa May shares insight into her experiences as a dance artist and researcher and how these continue to inform her interests in embodiment, immersive performance and digital technologies. Through situating her ideas in practice, Lisa May offers insight into the body as a site of research, the use of combining dance-somatic and improvisation practices and the value of finding stillness in life and movement.
Dr Lisa May Thomas is a dance artist and researcher, investigating the intersections of dance, embodiment, immersive performance and digital futures. Her PhD (2021, University of Bristol) investigated the role of immersive technologies in performance, combining dance-somatic and improvisation practices with multi-person VR technology. She is currently a Senior Research Associate at the ESRC Centre for Sociodigital Futures (CenSoF) atthe University of Bristol. She is a resident at the Pervasive Media Studio in Bristol and Studio Wayne McGregor QuestLab Network Artist. She directed VR experience âSomaâ which launched at the Bloomsbury theatre (2021) as a participatory performance and has since been remodelled as a social experience and used as a method for exploring embodiment and the senses, materiality, presence and connectedness across real and virtual worlds with a range of under-represented communities including blind and visually impaired people (working with the CenSoF, University of Bath and Bristol Digital Futures Institute. Lisa teaches and supervises undergraduate and postgraduate students in dance and somatic practices, improvisation, immersive performance, and screendance as part of BA dance/theatre and MA immersive arts courses at theUniversity of Bristol and as guest lecture at Bath Spa University. As artistic director for her company May Productions, she is continually developing her practice in performance and film-making, as well as mentoring, consultancy, and training.
Contact details:
Freelance email: [email protected]
Work email: [email protected].uk
Lisa May Thomas on LinkedIn
Published sources of interest:
Please see the following for publications:
https://research-information.bris.ac.uk/en/persons/lisa-may-thomas/publications/
Projects:
https://www.bristol.ac.uk/bristol-digital-futures-institute/research/seed-corn-funding/making-mixed-reality-experiences-accessible/
https://www.bristol.ac.uk/bristol-digital-futures-institute/research/seed-corn-funding/inclusive-digital-innovation-community/
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ResDance Series 7: Episode 7: EcoSomatics, kindness as methodology, and Skinner ReleasingTechnique with Polly Hudson.
In this episode, Polly shares insight into her experiences as adancer, maker, researcher, teacher and gardener. Through situating her thinking in her practice and life we explore notions of care, rest and kindness as ethical stances, and as vital components of an artistic methodology that places ecological consciousness at its core.
Polly Hudson is an artist-scholar working with performance & film, with ecology (gardening), & with writing. The unifying focus of Polly's work is embodiment: how do we inhabit our psycho-physical selves in ways that serve us best in any given situation? Her work in every area is characterised by the concept of inhabiting our inner and outer landscapes simultaneously.
Her background was in ballet and then in the youth dance movement in the UK. She was a student at London Contemporary Dance School in the late 1980âs, joining their fourth-year graduate company by invitation whilst stillin her third year of study, and graduating with a distinction in contemporary dance. She studied Contact Improvisation and related Somatic Practices extensively before discovering Skinner Releasing Technique (SRT). She is a certified teacher of SRT, and her PhD examined SRT in relationship to creativity and choreographic practices. She has made performance and Screendance works thathave been shown internationally to critical acclaim.
Fore-fronting process within artistic making, ethical embodied approaches to teaching & leadership, and somatics in dance, Pollyâs work integrates approaches from SRT, EcoSomatics & Ecofeminism. Grounding thepractice in a connection to the environment, specifically an urban allotment plot, there is a current focus on her working-class roots and womenâs labour of the body and on the land. She is curator of the EcoSomatic Conversations Series.
Polly is a Reader in Dance, and Head of Movement at RoyalBirmingham Conservatoire, Birmingham City University.
Photo credit: Ming de Nasty
Contact details:
Personal Email: [email protected].uk
Instagram: https://www.instagram.com/polly__hudson/
EcoSomatics Conversations Series: https://www.researchcatalogue.net/view/3022557/3022558
Published sources of interest:
https://www.bcu.ac.uk/conservatoire/acting/further-info/tutor-list/polly-hudson
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ResDance Series 7: Episode 6: Researching the nexus between dance education and dance science withElsa Urmston
In this episode, Elsa shares insight into her journey as an educator and researcher and how these continue to inform her interests in professional practice within various educational contexts and settings. We discuss the researchmethodologies, approaches and methods employed in her PhD research and how such experiences have allowed her to embrace other ways of seeing and understanding. Elsa reflects upon the value she places on embodied knowledge, the foregrounding of the subjective embodied person and the importance of play in helping to translate ideas and foster opportunities for open dialogue. Throughout the episode, Elsa highlights the need to de-centre knowledge to avoid the siloing of understanding in research and to foreground others lived experience.
Elsa is an independent dance educator and researcher basedin the UK, having worked in the arts and especially dance for the last 30 years or so. Her interests span performance and training, vocational education and pedagogy, community practice, dance science and the impact of arts participation on peopleâs lives. The themes of professional practice, and the interplay of pedagogical encounters on participantsâ experiences are common threads sewn into her work. Elsa has recently completed her PhD in Education at the University of Exeter, exploring the implications ofperiodisation on dance education, pedagogy, and practice.
Elsa works as a teacher/lecturer in Higher Education (HE), and consults on educational change, developing curricula with a number of institutions and organisations. She has written several dance HE degree programmes, and recently supported London Contemporary Dance Schoolâs adoption of periodisation as part of their curriculum development. She continues to advise on the embedding of dance science education throughout their offer, whilst alsocontributing to longitudinal research focussing on studentsâ health and wellbeing, and facilitating the teachersâ learning exchange programme at the School.Much of Elsaâs work is also as an evaluator, exploring dance participation and its impact on peopleâs lives from social, psychological andhealth perspectives with companies such as Made by Katie Green, English National Ballet and Dance Umbrella. She is also a mentor for early-and mid-career dance artists, particularly those for whom teaching and dance education are part of their wider portfolio of work.
Elsa has held a number of leadership positions including as Dance Educatorsâ Committee Chair at the International Association for Dance Medicine & Science; Expert Panel Member for One Dance UKâs Children and YoungPeopleâs programmes; and External Examiner of a range of undergraduate and postgraduate programmes both in the UK and internationally. Now, Elsa is Vice Chair and trustee of the Essex-based Dance Network Association.
Website: https://www.elsaurmston.com/
Photo credit: Urmy Urmston
Other details:
LinkedIn: www.linkedin.com/in/dr-elsa-urmston
Instagram: @elsaurmston
X:@ElsaUrmston
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Future Ecologies: Producing Dance Network with Christopher Bannerman, Anita Clark & Sarah Hopfinger
In this episode, Christopher, Anita and Sarah share insight into the focus of the network, which brings together academics and arts professionals to reimagine an inclusive, extended and sustainable ecosystem for dance. They reflect upon their network experiences thus far and share thinking around the fragility and vulnerability of the ecosystems that exist in the arts. Throughout the episode, they consider what a future ecology means to each of them and they re-imagine what opportunities might emerge from the artist offerings and lived experiences shared throughout the network. The importance of seeing producers as creative practitioners and the continued value placed on dance research is highlighted throughout.
https://www.fepdn.net/â
Christopher Bannerman (PrincipalInvestigator) London Contemporary Dance School
Professor Christopher Bannerman had a distinguished international career as a performer and choreographer principally with the National Ballet of Canada and London Contemporary Dance Theatre. One of the first dance artists to lead a UK university department, he also achievedone of the first UK practice-research PhDs and professorial conferment. He has contributed to policy as Chair of Dance UK, Arts Council Englandâs Dance Panel and through membership of the UK Department for Digital, Culture,Media and Sport Dance Forum. He is an Emeritus Professor at Middlesex University and a Visiting Professor at London Contemporary Dance School (LCDS) and Beijing Dance Academy (BDA). He co-leads international collaborations including ArtsCross, an intercultural choreographic research initiative with LCDS, BDA, Hong Kong Academy for the Performing Arts and University of Taipei.
Contact: [email protected].uk
Anita Clark (Co-investigator) The Work Room
Anita is Director of The Work Room an artist-ledorganisation, committed to supporting a sustainable environment for independent dance artists in Scotland. It acts as an incubator for dance ideas to be researched, developed, tested and produced, that go on to performances across Scotland and throughout the world. From its base in Glasgowâs Tramway arts centre, The Work Room connects over 250 artists working in dance, movement and choreography in Scotland.
Contact: [email protected].uk
Social media:
F: https://www.facebook.com/TheWorkRoomGlasgow
I: https://www.instagram.com/the_work_room_dance/
Other links:
www.theworkroom.org.uk
Sarah Hopfinger (Co-investigator) Royal Conservatoire Scotland
Dr Sarah Hopfinger (she/her) is an award-winning queer disabled artist and researcher based in Glasgow. She works across live art, dance, choreography, performance, disability and crip practices, queerness, ecology and environmentalism. Her current performance project, Pain andI, is a diversely accessible body of work made in response to her lived experience of chronic pain, which has toured nationally and internationally. Her current practice-led research project, Ecologies of Pain, explores through dance how chronic pain experience can offer insight into what it means to live and relate with wider ecologicalpain. She publishes her research across academic books and journals, performance lectures and podcasts, and through creative writing.
W: https://www.sarahhopfinger.org.uk/
Contact: [email protected].uk
Social Media
I: https://www.instagram.com/sarahhopfinger/
F: https://www.facebook.com/drsarahhopfinger/
AHRC-funded Dance Research Matters Networks
The five AHRC-funded Dance Research Matters Networks explore current issues and generate change and legacy for the sector. The ecosystems created by the Networks traverse across South Asian dance, digital black dance, future producing dance ecologies, critical dancepedagogies, and pluriversal dance practices and will be mapped for reach and impact in and beyond the sector.
Please visit: danceresearchmatters.coventry.ac.uk
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ResDance Series 7: Episode 5: Reflections on âShaking-Upâ Learning with Linzi McLagan
In this episode, Linzi shares insight into her experiences as an educator and lecturer in various educational settings. Throughout the episode we discuss her dance research in Scottish Primary schools, reflecting upon the: âShake It Upâand âStep It Upâ projects at YDance which aim to raise attainment and support the confidence and skills of primary teachers delivering dance as part of the curriculum in Scottish schools. We discuss how dance might be used as a method to support the curriculum and the importance of managing expectations in research projects, whilst ensuring the voices of teachers and dance artists are heard. Linziadvocates for dance within the Education sector and shares the value of having a Head of Education role within organisations to bridge the gap between them andschool settings.
Linzi is a GTCS registered lecturer. She has various roles at Scottish Qualification Authority and is Head of Education at YDance (Scottish Youth Dance). At YDance, Linzi is principally responsible for the Education strand of the companyâs work which includes strategic planning,management and delivery of education projects and events. Her role aims to promote the delivery of dance within the formal education sector and influence the future development of dance within the Scottish curriculum. She has worked extensively throughout Scotland as a Dance Educationalist in Early Years, Primary, secondary andFurther Education settings. Linzi has a passion for learning and teaching and is an advocate for dance within the Education sector. Her goal is to initiate and facilitate discussions that empower teachers as well as challenge theirperceptions and tacit assumptions of dance.
Contact details:
Personal Email: [email protected]
YDance Email: [email protected]
Website: www.ydance.org
Twitter: @LinziMclagan
Useful Resources:
âShake It Upâ: About Shake It Up | YDance
âShake It Upâ video footage: https://youtu.be/XLlPQN0cajg
âShake It Upâ Report Evaluation: YDance-Shake-It-Up-Programme-Evaluation-Final-Report.pdf
âStep It Upâ video footage: https://youtu.be/8xI65e_Z4vs
âStep It Upâ report evaluation: https://ydance.org/s/FINAL-YDance-Step-It-Up-Final-Report.pdf
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ResDance Series 7: Episode 4: Doing movement research through practice with Alexandra Baybutt
In this episode, Alexandra shares insight into her experiences as an artist, researcher and somatic movement educator. Through situating her thinking in her research practice, we explore ideas around collaborativepractices and experimental methods of festival making, the cultures of practice in dance, and the centrality of the body. Throughout this episode, Alexandra reflects upon her positionality as a researcher and the importance of sharingthe voices of the people she researches to ensure their visibility is known.
Alexandra has worked as a researcher, somatic movement educator, dramaturg and dance artist internationally since 2004. She is interested in questions of embodiment and the construction of space. Her mixed-methods PhD (Middlesex University, 2020) concerned contemporary dance festival curatorial praxis as a form of imperceptible politics and explored how the field contemporary dance mediates changes and transformations to the organisation oflife in the former Yugoslav space, taking a long-term view of the dissolution of SFRY. Alexandra is a certified Laban Movement Analyst (2010) and registered somatic movement educator with ISMETA as a practitioner of the Laban/Bartenieff Movement System. Her artistic work includes collaboration with choreographer Stephanie Felber (DE) and dramaturgy for choreographer Tania Soubry (LX/UK). Alexandra's work has been published in range of contexts and journals including Global Performance Studies, Critical Stages, and Something Other.
Staff biography: https://www.ucl.ac.uk/institute-of-advanced-studies/dr-alexandra-baybutt
Contact details:
Website: https://alexandrabaybutt.co.uk/
Instagram: https://www.instagram.com/alexandrabaybutt.movement/
Facebook: https://www.facebook.com/alexandrabaybutt.movement
Other social media links:
1. PAWA / Moving
Strings https://www.instagram.com/moving.strings/
2. Whole Movement: https://wholemovement.org/
3. Academia profile: https://ucl.academia.edu/AlexandraBaybutt
Links to any published resources
Youtube free Bartenieff Fundamental movement principles classes https://www.youtube.com/@alexandrabaybutt5570
My book https://www.routledge.com/Contemporary-Dance-Festivals-in-the-Former-Yugoslav-Space-independent-Scenes/Baybutt/p/book/9781032344645
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ResDance Series 7: Episode 3: Dance Pedagogy:Curiosity and Collaboration with Emily Powell
In the episode, Emily shares insight into her experiences as a dancer, teacher and researcher and how these continue to inform her research and teaching practices. We discuss the research methodologies and approaches employed in her MA research and how these provided a foundation to explore feminist and democratic perspectives within her teaching. Emily shares ideas around how play and risk-taking are used in the learning environment she creates and ways of cultivating trust in the studio. Throughout this episode, Emily highlights the importance of open dialogue within teaching and learning and the value of being curious as a practitioner.
Emily is a dance practitioner based in London. She began her training at The Place CAT, before going on to study vocationally at London Contemporary Dance School. Emily is currently a Contemporary Dance Tutor at Central School of Ballet and at London Studio Centre. She also teaches for various pre-vocational programmes including Central School of Balletâs Associate Programme, The Place CAT and English National Balletâs Youth Company. In 2023 Emily was awarded the Fellowship of Higher Education and she recently completed her Masters in Dance Education atLondon Studio Centre. As a researcher, Emily is interested in exploring the use of feminist and democratic pedagogies within the contemporary dance technique class. Emily is also a fully certified STOTT Pilates instructor and has been a Guest Lecturer of Pilates at London Contemporary Dance School.
Headshot: Camilla Greenwell
Contact details
Contact email: [email protected].uk
Instagram: @emilypowell
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ResDanceSeries 7: Episode 2: Bridging the fields of dance producing and popular dance with Laura Robinson
In the episode, Laura shares insight into her research experiences in the areas of popular dance and dance producing and management. She reflects upon how these experiences have come together to inform her teaching and research and discusses the wider value of producing andmanaging dance practices. Throughout the episode, we consider factors pertinent to the organisation of popular dance and consider economical drivers within the producing field. The need for an entrepreneurial spirit as both a producer and researcher is celebrated throughout.
Laura is a Senior Lecturer, Programme Leader, and dance researcher with over 15 years of experience in dance and cultural studies. With a passion for fostering intrigueand entrepreneurship in students, Laura holds teaching specialisms in dance producing and management, research methods and dance dissertation writing, dance pedagogy and education, dance policy and practice, dance philosophy and his/hertories, and employability skills. Portfolio career ranging from dance artist, community dance practitioner, dance development manager, and currently dance studies in Higher Education. PhD thesis and research interestsfocus on spectacle in popular screendance, drawing upon post-capitalist theory, identity studies, and Posthumanist discourse.
Biography - https://uel.academia.edu/LauraRobinson
Contact details:
Email [email protected].uk
Handle - Insta @lauralauraexplora
@londonstudiocentre
Other links
Research Links: https://uel.academia.edu/LauraRobinson
LinkedIn: https://www.linkedin.com/in/dr-laura-robinson-36a189208/
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ResDance Series 7: Episode 1: Creating Movement Ruptions in Educational Research with Kerry Chappell
In the episode, Kerry shares insight into her research interestâs in creativity in arts, science and transdisciplinary education. Together, we explore the theoreticalframeworks that inform her research and teaching practices and the richness of using a dialogic approach to see what practices might emerge. Throughout the episode, Kerry highlights the value of working in a multidisciplinaryway and the importance of bringing dance into conversation with other disciplines.
Kerry is currently an Associate Professor in the School of Education at Exeter, where she leads the MA Creative Arts in Education Programme and provides danceexpertise to the course. Kerry also leads the Creativity and Emergent Educational Futures Network and is a PhD and EdD supervisor. Her research investigates creativity in arts, science and transdisciplinary education and educational futures, alongside participatory research methodologies. Kerry continues to work as a dance-artistwithin Exeter-based dance lab collective.
Kerry is also an Adjunct Associate Professor at the Centre of Creativities, Arts and Science in Education at the Western Norway University of Applied Sciences, Bergen, Norway where she contributes dance and creativity in education expertise.
https://education.exeter.ac.uk/people/profile/index.php?web_id=kerry_chappell
Contact details:
Email: [email protected].uk
Twitter: @X KerryChappell1
Social media platforms
Twitter: @EducationUoE
Published sources of interest:
Chappell, K., Turner, C. & Wren, H. (2024). Creative Ruptions for Emergent Educational Futures. Palgrave MacMillan.
https://link.springer.com/book/9783031529726
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ResDance Series 6: Episode 11: Racial Equity in Dance with Stacey Green and Imogen Aujla
Stacey and Imogen share insight into their thinking and considerations around racial equity in dance. Through exploring the work of the TIRED movement and theircurrent 3-year research project looking at representation in dance training and education (Red Research Project), we discuss the importance of removing the fear of discussing racism in dance and acknowledging the need for good practices to be adhered to within the dance industry. Through reflecting upon her personal and professional experiences, Stacey advocates for a unitedness and bringingtogether of the dance community, an openness of communication and a greater celebration of the pioneers and origins of dance influenced by black culture. Staceyand Imogen highlight the value of giving voice to students and practitioners within the field and a quest to work collectively to improve racial equality and representation in the dance industry.
Stacey Green -IOD Diversity and Inclusion Ambassador for Derbyshire and Nottinghamshire
âFrom the very first time I stepped into a ballet classback in 1979, I immediately noticed I was different. Even at the age of just four years old, the predominately white environment I found myself in felt strange but I didnât know why. I do now. What was apparent then, is still apparent now. The lack of black representation within dance education is clearly something that needs to be addressed. If children and young people donât see someone that looks like them at the top of the pyramid of power, then how do they aspire to be in that space or identify with that profession? As the principal of my own performing artsschool and over 25yrs of experience working within the industry, teaching children and young people to embrace not just the artform but their ethnicity has always been paramount. As a mixed race educator I have spent the past42yrs competing in a sector that is predominately white, with very few opportunities to voice my concerns about the lack of representation within The British Festival Federation and various examining boards.â
Contact details:
[email protected] @movementtired on Instagram and X TIRED Movement on Facebook www.tiredmovement.comOther social media handles:
Shades Dancewear [email protected] @shadesdancewear on Instagram, TikTok, X, Facebook, Pinterest www.shades-dancewear.comImogen Aujla
Imogen is a freelance dance psychology researcher, lecturer,and life and wellbeing coach. She originally trained as a dancer before specialising in dance science and later dance psychology. She has a PhD in dance psychology and a Diploma in Cognitive Behavioural Therapy. Prior to goingfreelance, Imogen was a Senior Lecturer in Dance and Course Coordinator of the MSc Dance Science at the University of Bedfordshire. As well as her project-based freelance work, she is a regular guest tutor on the MAS Dance Science at the University of Bern, Switzerland, is a peer tutor for the mental health charity Mind, and is a member of the Mental Health Advisory Group of theInternational Association for Dance Medicine and Science. Imogenâs research interests include talent development, inclusive dance, and psychological wellbeing among dancers. She has published over 30 peer-reviewed journalarticles and book chapters, and has presented her research internationally.
Contact details:
Facebook: @danceinmindUK
Instagram: @dance_in_mind_UK
Website: www.danceinmind.org
Published sources and recommendations:
https://www.danceinmind.org/post/let-s-talk-about-representation-in-dance
https://www.tiredmovement.com/research-project/
https://www.tiredmovement.com/imogen-aujla/
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ResDance Series 6: Episode 10: Dance, Touch and Awareness, - Reflections on somatic-informed research and practice with Natalie Garrett Brown
In the episode, Natalie shares insight into her experiences and interests in dance, somatic practices, performancephilosophy and feminist inquiry. We explore the role of somatic informed research and practice and how these can bring attention to the body in relation to moving practices, making processes and the relationship to the self. Throughout the episode, Natalie reflects upon the shared sense of principles and philosophies that embodied knowledge can bring in experiencing the moving bodyand advocates the value of dance research, throughout.
Dr Natalie Garrett Brown undertook her dance training and education at Trinity Laban and London Contemporary Dance School completing her PhD at Roehampton University inthe areas of Dance, Somatic Practices and Performance Philosophy. She is also a trained executive Coach and Somatic Movement Educator and is currently Dean,Faculty of Arts, Science and Technology at the University of Northampton.
Her practice and research interests are situated within feminist understandings of embodied subjectivityand the ways in which somatic and reflective practices can inform dance performance, dance making and performance philosophy. Most recently this took the form of a 3-year research project Sensing the City supported by the AHRC(2017-2020). Natalie is Chair for Dance HE and founding member of enter and inhabit, a site-responsive collaborative project and editor of the Dance and Somatic Practices Journal and related international conference series.
Contact details:
Social media platforms
Twitter: @nataliegarrettb
Facebook https://www.facebook.com/GarrettBrownCoachingandFacilitation/
Linked In http://linkedin.com/in/dr-natalie-garrett-brown-ba4b0326
Related social media
Enter & Inhabit: www.enterinhabit.com
Editor Journal of Dance & Somatic Practices https://www.intellectbooks.com/journal-of-dance-somatic-practices
Chair Dance HE (Standing Conference of Dance in Higher Education) https://www.dancehe.org
Reflect, Re-align and Reframe (RRR Online Programme) https://www.amyvoris.com/facilitation/
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ResDance Series 6: Episode 9: Advocating and celebrating dance research with Louisa Petts
Louisa joins ResDance for a second episode and shares insight into her PhD research through discussing her research processes and considerations. Throughreflecting on her research experiences, we explore ideas around the continued need for advocacy in research, the value of person centeredness in dance practice and the importance of imploring researchers to question the decisions they make and to explore ways of facilitating research and teaching practice. Sharing honest reflections on her PhD journey thus far, Louisa explores her identity and positionality as a researcher and her ongoing experience ofimportantly finding the confidence to staking a claim as a dance researcher.
Louisa is a postgraduate researcher at the Centre for DanceResearch (C-DaRE) at Coventry University. Her PhD thesis is titled, âAll dance is legitimate: an advocation and celebration of person-centred older adult dance practiceâ. She is the recipient of the Arts and Humanities Research Council studentship award, offered by Midlands4Cities Doctoral Training Partnership. Her research interests broadly concern person-centred dance practices, that work to empower and include disadvantaged and marginalised communities. She has worked as a community dance artist for people living with dementia and Parkinsonâs. She lives with mild/moderate hearing loss and is currently learning British Sign Language (BSL). In 2019, Louisa graduated witha Distinction in MSc Dance Science from Trinity Laban Conservatoire of Music and Dance, and with First Class Honours in BA Dance Studies from the University of Roehampton in 2018. She currently works as a lecturer at bbodance, and as editorial manager for the Journal of Dance & Somatic Practices.
Contact details:
Instagram: lou_petts
Link to any published resources:
LinkedIn: linkedin.com/in/louisa-petts-1702
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ResDance Series 6: Episode 8: Science inquiry in dance practice with Sarah Needham-Beck
In this episode, Sarah shares insight into her background as a researcher and her research across dance and occupational performance settings. We discuss her interests in applying scientific principles to a dance context and how researchers can assist dancers with the training and performance demands they may face. Throughout theepisode, we explore the wider considerations around supporting the individual in their dance pursuit through the importance of open communication and finding effective ways of working collaboratively between the researcher, artist and practitioner. Sarah highlights the value of dance science education and the need for a greater understanding around the nuances of dance practice within research settings.
Sarah is a Research Fellow in Exercise Physiology and Program Coordinator of the MSc Dance Science at the University of Chichester, UK. Sarahâs research spans dance and occupational performance settings and investigates topics including field measurement of physiological demand, monitoring training load, and developing fitness tests. She has published original research in various peer-reviewedjournals and regularly presents at international conferences. Sarah is a longstanding member of the International Association for Dance Medicine & Science (IADMS) where she currently serves on the Board of Directors.
Contact details:
Twitter: @SarahCBeck
Other social media handles:
Instagram: @_IADMS_
Website: www.iadms.org
Links to any published resources:
Needham-Beck, S., Wyon, M.A., & Redding, E. (2019). The Relationship Between Performance Competence andCardiorespiratory Fitness in Contemporary Dance. Medical Problems of Performing Artists, 34(2), 79-84.
Beck, S., Redding, E., & Wyon, M.A. (2015). Methodological considerations for documenting the energy demand ofdance activity: a review. Frontiers in Psychology: Performance Science, 6: 568.
Link to Google Scholar for full publications list: https://scholar.google.com/citationsuser=WWYHBTwAAAAJ&hl=en
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ResDance Series 6: Episode 7: Dance Ecology and Empowering Communities with Ashley (AJ) Jordan.
In this episode, AJ shares insight into his experiences in dance and the work of his company-Ascension Dance. Throughout the episode, we explore his approaches
to creating work and the value he places on the sharing of practices, community engagement and inclusive practice, in relation to the composition of the work he makes. AJ reflects upon the importance of embracing new opportunities and offers considerations and advice for both freelance artists and graduates looking to start their own company.
AJ is a Black British Dancer, Choreographer and Company Director of Ascension Dance Company. He has produced work for the BBC (BBC Dance Passion 2022 & BBC Contains Strong Language 2021), Sky Arts and worked with the
Birmingham Commonwealth Games 2022 to create and tour a piece of work throughout the game’s activities. Inspired by movement physicality and the fusion of contemporary dance with parkour and freerunning, AJ’s work embodies a
raw and unrelenting quality that tackles topics relating to us as humans.
Contact email: [email protected].uk
Social Media: Ascension Dance
IG: @ascensiondanceuk
FB: @ascensiondanceuk
T/X: @ascension_DC
Social Media: Ashley Joran
IG: @ashleyltjordan
T/X: @ascension_DC
Link to other Published resources
· Hotfoot 2021 - Pg54 - 55 / Paving the Way - https://issuu.com/onedanceuk/docs/hotfoot_spring_2021
· Motionhouse Blog - https://www.motionhouse.co.uk/2023/03/10/supporting-artists-through-peer-mentoring/
People Dancing Animated Publication - Winter 2023 (Pg 44) - https://edition.pagesuite.com/html5/reader/production/default.aspx?pubname=&edid=449ee8fa-266b-45f1-bffb-0a4702054849
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ResDance Series 6: Episode 6: The Politics of Contemporary Dance in South Africa with Sarahleigh Castelyn
In this thought-provoking episode, Sarahleigh shares insight into her experiences as a dancer, choreographer and researcher. Through situating her thinking in her practice, we explore ideas on how contemporary dance in South Africa is a political art form, choreographic practices as
activism, the importance of the moving body and the geography of space. Sarahleigh offers further reflections on how dance and choreography continue to inform her curiosity of practice.
Sarahleigh is Reader at the University of East London (UK) and a performer, choreographer, and researcher: a dance nerd. She has performed in, and choreographed works, for example at JOMBA! Contemporary Dance Experience
and The Playhouse. She recently was part of a screen dance residency with Ivan Barros and Pak Ndjamena with the outcome of a dance film titled HOME that was shared at the 25th Anniversary of JOMBA! Contemporary Dance Experience in September 2023. Her latest book is Contemporary Dance in South Africa: The Toyi-Toying Body (2022) develops an understanding of the body in contemporary dance and its political and social meanings both in the chosen performance and within the broader context of South African society from 2003-2007. Her work is centred on how contemporary dance in South Africa is a political art form that is at its core choreography as activism.
Staff Bibliography link: https://uel.ac.uk/about uel/staff/sarahleigh-castelyn
Contact details
Email: [email protected].uk
Social Media: @dr_sarahleigh
Other social media handles of interest:
Centre for Creative Arts
Flatfoot Dance Company / @flatfootdanceco
JOMBA! Contemporary Dance Experience / @jomba_dance
Mhayise Productions
Siwela Sonke Dance Theatre
The Ar(t)chive
Thobile Maphanga
Val Adamson Photography
VERSFELD & ASSOCIATES
Published sources of interest
2024. JUMPING Over/Under/Across and Towards: Choreographic Statements/Collaborations/Exchanges and Intentions at JOMBA! In: Ballantyne, T. (ed) Archiving History and Memory: 25 Years of the JOMBA! Contemporary Dance Experience. University of KwaZulu Press.
2023. We need to talk about Giselle JOMBA! Masihambisane Dialogues, Issue 23.
2022. Contemporary Dance in South Africa: The Toyi-Toying Body Cambridge Scholars Publishing 2022. Choreographing the Archive of a White Female South African JOMBA! Masihambisane Dialogues, Issue 2.
2021. Intimacy as a Political Act: Contemporary Dance in South Africa JOMBA! Masihambisane Dialogues, Issue 1.
2019. Saartjie Baartman, Nelisiwe Xaba, and
me: the politics of looking at South African bodies South African Theatre Journal, 32:3.
2018. Choreographing HIV and AIDS in Contemporary Dance in South Africa In: Campbell, A., Gindt, D. (eds) Viral Dramaturgies. Palgrave Macmillan.
2018. Why I Am Not a Fan of the Lion King’: Ethically Informed Approaches to the Teaching and
Learning of South African Dance Forms in Higher Education in the United Kingdom. In: Akinleye, A. (ed) Narratives in Black British Dance. Palgrave Macmillan
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Dancing Otherwise: Exploring Pluriversal Practices Network
In this episode, Vicky, Daniela and Michelle share insight into the focus of the network, which aims to explore howpractices created by artists from diverse backgrounds and artistic perspectives, produce new understandings, positionalities and new modes of knowing. They reflect upon their network experiences thus far and offer insights into their approaches to the network events, underpinned by practices of care and creating new opportunities for dialogue. Throughout the episode, they consider what being otherwise means to them, the potential of Pluriversal thinking in allowing us to think more broadly and how such provocation may in turn, contribute to a wider dance research ecology. Dancing Otherwise: Exploring Pluriversal Practices Network
The network emerged from the investigatorsâ interests in dance and politics and a curiosity about the potential for dance to explore, illustrate and provoke ways of relating and being âotherwiseâ. The Dancing Otherwise network looks beyond mainstream UK dance practices to explore culturally diverse, environmentally-engaged, experimental, edgy and novel modes of making, producing and researching dance that tell us something about the aspirations of artists and researchers for ' being otherwise' (Akomolafe 2022).
Website: www.dancingotherwise.com
Instagram: @dancingotherwise
Victoria Hunter (Principal Investigator)
Vicky Hunter is a Practitioner-Researcher and Professor in Site Dance and formerly head of the MA Choreography and Professional Practices programme at the University ofChichester. She joined Bath Spa in October 2023 and leads the AHRC âDancing Otherwise: Exploring Pluriversal Practicesâ network and is a member of the Ecotones research project led by Professor Amanda Bayley. Her research is transdisciplinary and includes site dance practice and theory, embodied research methods and post human feminism, eco-somatic awareness, environmental choreography, practice-research methods, dance and new materialisms.
Biography: https://www.bathspa.ac.uk/our-people/vicky-hunter/
Contact: â [email protected].uk
Daniela Perazzo (Co-investigator)
Daniela is Senior Lecturer in Dance and PostgraduateResearch Coordinator for the School of Arts at Kingston University London. Her research interrogates the intersections of the aesthetic and the political incontemporary choreography, focusing on the ethical, po(i)etic and critical potentialities of experimental and collaborative practices. Her latest research engages with notions of vulnerability and discomfort and attends to the gaps, difficulties and entanglements of modes of being inrelation.
Biography: https://www.kingston.ac.uk/staff/profile/dr-daniela-perazzo-179/
Contact: [email protected].uk
Michelle Elliott (Co-investigator)
Michelle is the Subject Leader for Dance at Bath Spa University with research interests in a range of sociocultural issues, the ontology of creativity and embodied cognitive theories. She has publications on critical approaches to dance analysis, dance and cultural identity politics and creativity research. Michelle is the co-convenor of the Creative Practice and Embodied Knowledge Research Group, a collective that aims to celebrate and elevate knowledge that exists and emerges from our creative, embodied interactions and experiences.
Biography: https://www.bathspa.ac.uk/our-people/michelle-elliott/
Contact: [email protected].uk
AHRC-funded Dance Research Matters Networks
The five AHRC-funded Dance Research Matters Networks explore current issues and generate change and legacy for the sector. The ecosystems created by the Networks traverse across South Asian dance, digital black dance, future producing dance ecologies, critical dance pedagogies, and pluriversal dance practices and will be mapped for reach and impact in and beyond the sector.
Please visit: danceresearchmatters.coventry.ac.uk
@danceresearchmatters
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ResDance Series 6: Episode 5: People watching, making forests, drifting attention and undesigning yourself with Theo Clinkard
In this thought-provoking episode, Theo shares insight into his experiences as a dancer, choreographer, researcher andstage designer. Through situating his thinking in his practice, we explore his experiences of collaborating withartists across disciplines; the value of encouraging investment from the performer and his thinking around bringing the person into the dancer.
Born in Cornwall and based in Dartmoor, Devon, choreographer and stage designer Theo Clinkard has performed, created and toured contemporary dance internationally for 30 years, collaborating with artists from various disciplines including film, opera, theatre, performance and television. His practice is focused on the communicative potential of the body and the empathetic capacity of dance in performance. He seeks to create opportunities for memorable connection between audiences and dancers through working with attention, the senses and the imagination as a way to generate a landscape of feelings. Theo launched his own dance company in2012 and has steadily built a reputation for creating affecting and visually arresting contemporary work with large-scale commissions for companies such as Tanztheatre Wuppertal Pina Bausch, Danza Contemporanea de Cuba and Candoco Dance Company and creations for his own company, including the celebrated âThis Bright Fieldâ in 2017. His next large-scale company work âVillageâ is planned for touring across the UK in 2025.
Movement Direction work includes âAidaâ at KĂžbenhavn Opera, âGood Luck to you Leo Grandeâ starring Emma Thompson and âThe Faggots and their Friends between Revolutionsâ, which opened last years Manchester International Festival. Theo has designed for opera, theatre, dance and live art, including work with Sydney Dance Company, SkĂ„nes Dansteater, Scottish Dance Theatre, Scottish Opera, Opera La Scala and Malmo Opera. Theo is an Associate Artist at Brighton Dome and Festival and an Honorary Fellow at Plymouth University.
Photographer Hannah Close
Contact details
Email: [email protected]
Social Media:
Website: www.theoclinkard.com
Published sources of interest
Colin, N. Seago, C. Stamp, K. (2023). Ethical Agility in Dance: Rethinking Technique in British Contemporary Dance. Routledge: London.
Chapter 3 - âChoosing a lens of valuesâ: Dancetraining as relational practice Seke B. Chimutengwende, Theo Clinkard.
Chapter 4 - â âAs techniqueââ â Theo Clinkardâ
Other relevant sources
www.under-story.com -'A place for informal honest chat from people who work in dance focusing on the times when they had to navigate the unexpected in their career.'
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