• Barriers to dance training for young people with disabilities

      Aujla, Imogen; Redding, Emma (Wiley, 2013)
      Dance is a viable and enjoyable activity – and potential career – for young people with disabilities, yet they face several barriers to participation and training. The aim of this article, by Imogen J. Aujla of the University of Bedfordshire and Emma Redding of Trinity Laban Conservatoire of Music and Dance, is to review the literature on barriers to dance training for young disabled people and to put forward practical recommendations for overcoming these challenges. The main barriers identified were aesthetic, attitudinal, training-related and logistical in nature, with further barriers related to physical access and a lack of knowledge or available information about opportunities. One of the key recommendations for overcoming these barriers is to build an effective network between special and mainstream schools, dance studios, youth dance groups and professional integrated dance companies in order to encourage dance participation at a range of levels and support young disabled people throughout their dance journeys.
    • Bodytext

      Hawksley, Sue; Biggs, Simon; Paine, Gareth (2010)
    • Characteristics of talented dancers and age group differences: findings from the UK Centres for Advanced Training

      Walker, Imogen J.; Nordin-Bates, Sanna M.; Redding, Emma (Taylor and Francis, 2011)
      This study investigated differences in the characteristics of talented dancers in relation to age. Physical (handgrip muscular strength, leg muscular power, hamstring flexibility and external hip rotation), psychological (passion, self-esteem and anxiety) and social (the motivational climate) characteristics were assessed in 334 students enrolled on a talented scheme. The male late adolescence group (16 to 18 years) had greater jump height than the early (10 to 12 years) and mid-adolescence groups (13 to 15 years). For both sexes, the early adolescence group exhibited the lowest and the late adolescence group the greatest grip strength values. The late adolescence group reported lower self-esteem than the two younger groups, and the two older groups reported greater perceptions of ego-involving motivational climates than the early adolescence group. Results suggest that, as some characteristics of talented dancers differ across the adolescent years, talent identification and development criteria could be adapted according to age.
    • Choreographic and somatic strategies for navigating bodyscapes and tensegrity schemata

      Hawksley, Sue (Intellect, 2011)
      This article reflects upon the psychophysical patterning and layered nature of phenomenal experience, and the interconnectedness of bodymind and environment. These are conceptualized as `bodyscape' and `tensegrity schema' and explored by engaging the principles of tensegrity (tensional integrity) with reference to dance, performance and somatic practices. In some performance environments, performers may be called on to bring in and out of focus, or simultaneously hold in attention, multiple layers and shifting perspectives of bodily experience. Giving examples I suggest that such situations, together with some choreographic and somatic practices, may facilitate an attitude of embodied reflection and skills of perceptual alertness. These can develop awareness of and capacity to `navigate' bodyscape and tensegrity schema, and support the performer to better cope with the often conflicting multisensory and polyattentional demands of complex environments, whether highly specialized performance modes or everyday. The discussion derives theoretical flavour from dance and performance studies, phenomenology, somaesthetics and cognitive science, and is informed by my current practice-led Ph.D. research in dance and choreography enquiring into notions of embodiment.
    • Chorographic Morphologies: digital visualistaion of spatio-temporal structure in dance and the implications for performance and documentation

      Bailey, Helen; Hewison, James; Turner, Martin; University of Bedfordshire; Manchester University (British Computer Society, 2008)
      This paper discusses the role and function of visualisation within practice-led research in dance. In particular it focuses on the Choreographic Morphologies Project (2007). This practice-led research project explored the use of digital visualisation as an integral component within live performance; as a mode of performance documentation and as a visual score for further re-iterative, creative/research engagement.
    • Climate change in the dance studio: findings from the UK centres for advanced training

      Nordin-Bates, Sanna M.; Quested, Eleanor; Walker, Imogen J.; Redding, Emma (American Psychological Association, 2012)
      Little is known regarding the stability of motivational climate perceptions, or how changes in climate perceptions affect performers. As a result, dancers' perceptions of the prevailing climate within both regional centers for talented young people and local dance schools were assessed longitudinally and in relation to dance class anxiety and self-esteem. Dancers (M age = 14.41, SD = 2.10; 75.7% female) completed standardized questionnaires approximately 6 months apart (Time 1 n = 327; Time 2 n = 264). Both climates were perceived as more task- than ego-involving, but talent center climates were perceived as more task-involving and less ego-involving than local climates. However, dancers found that talent centers became more ego-involving from the middle to the end of the school year, and this change predicted increases in anxiety. Changes in climate perceptions did not predict changes in self-esteem. Results point to the benefits of climates low in ego-involving features if dancers are to experience less anxiety around performance time.
    • Correlates of disordered eating attitudes among male and female young talented dancers: findings from the UK centres for advanced training.

      Nordin‐Bates, Sanna M.; Walker, Imogen J.; Redding, Emma; Trinity Laban Conservatoire of Music and Dance, London (2011-05)
    • The creative dancer

      Farrer, Rachel; University of Bedfordshire (Routledge, 2013-05-07)
      This article explores the creative role of contemporary dancers within the choreographic process, and introduces the question of why their creative contribution is often overlooked? It highlights how different modes of creativity can be understood, and what impacts different choreographic processes have on the way dancers understand their creative input. By analysing such processes, the article aims to address issues relating to the role dancers play in creating new dance work; the relationship that might be found between approaches to choreography and ways dancers perceive their creativity. Three professional dance companies based in the UK are used as case studies to explore these ideas, each working on different projects. The dancer’s experiences are explored and examined to offer a new framework for analysing their practice that focuses on the realities of their creative role.
    • Cultural background variables in dance talent development: findings from the UK centres for advanced training

      Sanchez, Erin N.; Aujla, Imogen; Nordin-Bates, Sanna M. (Taylor and Francis, 2012)
      This study is a qualitative enquiry into cultural background variables – social support, values, race/ethnicity and economic means – in the process of dance talent development. Seven urban dance students in pre-vocational training, aged 15–19, participated in semi-structured interviews. Interviews were inductively analysed using QSR International NVivo 7.0. Further deductive analysis revealed that the findings were in line with the Differentiated Model of Giftedness and Talent. Results indicated that social environments positively influenced dance students’ feelings of psychological well-being, self-esteem and motivation, which in turn supported the transformation of aptitude into dance talent. Social benefits, such as building close friendships, facilitated learning and encouraged persistence during more difficult periods of dance training.
    • Dancing on the Grid: using e-Science tools to extend choreographic research.

      Bailey, Helen; Bachler, Michelle; Buckingham-Shum, Simon; Le Blanc, Anja; Popat, Sita; Rowley, Andrew; Turner, Martin; University of Bedfordshire (2009-07-13)
      This paper considers the role and impact of new and emerging e-Science tools on practice-led research in dance. Specifically, it draws on findings from the e-Dance project. This 2-year project brings together an interdisciplinary team combining research aspects of choreography, next generation of videoconferencing and human-computer interaction analysis incorporating hypermedia and nonlinear annotations for recording and documentation.
    • The declaration of super modern dance

      Kountouriotis, Pavlos (INPEX, 2010)
    • Developing talent among young dancers: findings from the UK Centres for Advanced Training

      Aujla, Imogen; Nordin-Bates, Sanna M.; Redding, Emma; Jobbins, Veronica (Taylor & Francis, 2014-04-28)
      The identification and development of talent is a key concern for many dance educators, yet little research has been conducted in the area. In order to understand better how to optimise dance talent development among young people, systematic and rigorous research is needed. This paper summarises and discusses the key findings of a ground-breaking longitudinal interdisciplinary research project into dance talent development. Over two years, almost 800 young dancers enrolled at one of the eight nationwide Centres for Advanced Training (CATs) participated in the project. Physical factors, psychological characteristics, and injury data were collected quantitatively while the students' thoughts and perspectives on commitment, creativity and cultural variables were captured using qualitative methods. The largest study of its kind, the project yielded a wide range of findings with a number of practical implications. The main focus of this paper is on how the project findings apply to important pedagogic topics such as audition criteria, passion and commitment, and teaching behaviour. The area of talent identification and development is complex, yet this research has begun to shed new light on the notion of talent and has provided novel insights to support its development.
    • e-Dance: digital topographies and knowledge cartography in networked performances

      Bailey, Helen; Buckingham-Shum, Simon; Popat, Sita; Turner, Martin (2009)
    • e-Dance: relocating choreographic practice as a new modality for performance and documentation

      Bailey, Helen; Buckingham-Shum, Simon; Popat, Sita; Turner, Martin; University of Bedfordshire; Open University; University of Leeds; University of Manchester (Open University, 2008)
      This paper identifies new practices and possibilities at the intersection of Dance and e-Science. It is particularly concerned with the complexity of the concept of ‘location’ in relation to internet enabled performance practices. Julia Glesner provides a useful analysis of spatio-temporal relationships in internet performance: “telematic and distributed performances dissolve the spatial (but not the temporal) unity between performers and spectators and distribute the scenic space into diverse remote sites. This paper considers the ways in which the e-Dance project is formulating a new mode of choreographic practice that engages with this dislocation in the co-dependent interrelationship of space and time. This new modality is distinct from existing on-line compositional practices such as ‘hyperchoreography’ and ‘hyperdance’ and as a result of recent advances in Access Grid and Hypermedia Discourse technologies, is also distinct in form and process from ‘distributed choreography' and other telematic choreographic practices. The research for this paper has emerged from the first sixmonth’s findings of e-Dance, a two-year interdisciplinary practice-led project bringing together practitioner/academics from the fields of Dance and e-Science, in a unique collaboration across three UK Research Councils.
    • e-Dance: using digital cartography to map the choreographic process

      Bailey, Helen (Society of Dance History Scholars, 2009)
    • Ecological choreographic practices

      Ashley, Tamara (Intellect, 2012)
    • Ecologies of choreography: three portraits of practice

      Ashley, Tamara (Intellect, 2012-12-06)
      How are dance artists dealing with ideas about environmental change in their everyday practice? How are discourses of environmental change contributing to the development of new ways of thinking about choreographic practice and the role of the dance artist in contemporary society? By sharing portraits of practice of three ecologically concerned dance artists, Eeva-Maria Mutka, Tim Rubidge and Nala Walla, this article offers some insight into what might constitute ecological choreographic practices.
    • Elusive narratives: Mats Ek.

      Poesio, Giannandrea (Palgrave MacMillan, 2008)