• Mapping lineage

      Ashley, Tamara (Contact Collaborations, 2018-01-01)
      Journal article that documents the process of creating the book by the same title.
    • Mapping lineage: lineage maps by improvisation artists

      Ashley, Tamara (Guildford Street Press, 2018-08-01)
      The Mapping Lineage book documents the artistic lineages of post-modern dance artists. Maps were collected at the Form in Question symposium at New York University in January 2016.
    • The negotiation of significance in dance performance: a model for human interaction in the context of difference

      Carr, Jane (Boomsbury, 2020-11-29)
      This chapter explores how dance may be appreciated in a contemporary context in which it can no longer be assumed that performers and audience make sense of dancing with reference to a shared culture. Writing from my position as a former dancer and now dance academic, I draw upon my experiences of dancing, researching and teaching dance with the aim of proposing some avenues ripe for philosophical investigation. Emphasizing that dancing is a communicative phenomenon, I argue that the philosophy of Maurice Merleau-Ponty provides welcome recognition of the human capacity for intersubjective, embodied experience which is of key importance to engagement with dancing as meaningful. I propose how the significance of dance performance might be understood through a process of negotiation grounded in intercorporeal experience. However, I recognize the challenge of difference – in relation to gender, sexualities, and/or cultures and abilities - to the self-other relationships which sustain such negotiations. Finally, I situate these reflections within the broader field of philosophical aesthetics to consider the potential of such encounters to contribute to aesthetic values attributed to dance.
    • A new angle on maths: towards an equal partnership of mathematics and dance through interdisciplinary dance teaching

      Hunwick, Kathie; Pugh, Kathryn (2016-07-01)
      Evidence of transfer of learning is clear in neuroscientific research and in the exploration of various learning styles. However, dance has mainly been used as a teaching tool rather than an equal partner in interdisciplinary work in mathematics and dance. This article offers a brief introduction to such an equal partnership, established in an action research project in Canada, in order to teach both choreography and geometry in Primary schools.
    • The new old: archaisms and anachronisms across media

      Baschiera, Stefano; Caoduro, Elena; Queen's University Belfast; University of Bedfordshire (University College Cork, 2017-01-27)
    • Passion, pathways and potential in dance: research report

      Redding, Emma; Nordin-Bates, Sanna; Aujla, Imogen; Trinity Laban (Trinity Laban Conservatoire of Music and Dance, 2011-01-01)
      Through a groundbreaking collaboration between Trinity Laban dance science researchers and the Centres for Advanced Training (CATs) across England, almost 800 young dancers took part in an interdisciplinary, longitudinal research project into dance talent development. Funded for a 3-year period by the Leverhulme Trust and the Department for Education, the research comprised investigations into the psychology, physiology, anthropometry, injury, adherence, and creativity of this talented cohort of young dancers. Our combination of quantitative and qualitative findings demonstrate that CAT dancers exhibited steadily increasing levels of physical fitness, high and stable levels of psychological well-being, low to moderate levels of injury and dropout, and positive creativity experiences. The CATs thus appeared to be nurturing young talent in an effective and healthy way. Findings are summarised under seven main headings.
    • Performing reconciliation: Milan and the memory of Piazza Fontana

      Caoduro, Elena; O'Rawe, Des; Phelan, Mark; University of Bedfordshire; Queen's University Belfast (Palgrave Macmillan, 2016-07-29)
      Elena Caoduro’s essay explores the relations between a history of political violence and the function of art with reference to the 1969 Piazza Fontana massacre in Milan. This terrorist attack inaugurated the most violent decade in the history of the Italian republic: the anni di piombo (‘years of lead’), in which Italy experienced waves of social conflict and unprecedented acts of violence carried out by both right- and left-wing paramilitary groups. Caoduro analyses how the city of Milan monumentalises the victims of this massacre and searches for reconciliation between conflicting truths, since the last trial proved inclusive and provided no closure. Drawing on Paul Ricoeur’s seminal Memory, History, and Forgetting (2004), Caoduro attempts to discern when it is right to remember and when it is better to forget, or indeed how much we should remember. Although arguing that cathartic narration can assist national reconciliation, she cautions against political amnesty being accompanied by amnesia.
    • The possibilities of different geographies

      Carr, Jane; Sharp, Bruce (Intellect, 2018-12-31)
      'The Possibilities of Different Geographies’ is the title of a dance work Jane Carr and Bruce Sharp  first created in 1997 that investigated the significance of human embodiment. Twenty years later they revisited the themes informing their earlier work in order to create a participatory performance-installation focused on the significance of the embodied dimensions of intersubjective experience.   The authors present the philosophical and political ideas underpinning their aims to challenge the boundaries that act as limits upon how humans experience their embodied identities and reflect on how, in developing the project, artistic and activist principles became interwoven. They describe the creation of movement scores for participants to perform and consider how elements of movement, sound, lighting and opportunities for reflection contribute to an environment that affords creative participation focused on the intercorporeal dimension of human geographies.  
    • The possibilities of different geographies

      Carr, Jane; Sharp, Bruce (2019-09-20)
      Revision of work presented as part of Dorothy 139
    • Post-colonialism and performance: political, cultural and pedagogic legacies and constraints

      Ukaegbu, Victor (Repertório, Salvador, 2018-03-30)
      Most postcolonial societies continue to bear the scars of European colonialism in their sociocultural, political and pedagogic domains. Neo-colonialist relationships with their erstwhile colonisers continue to affect the historical and material conditions of every postcolonial nationstate to the extent of shaping the synergy between indigenous and foreign cultural systems and how postcolonial societies model their new universes.This essay looks broadly at the state of post-colonialism in the 21st century, it argues that while there are opportunities, postcolonial performance is still subject to Political, Cultural and Pedagogic constraints. 
    • The practice of solidarity through the arts: inter-relations and shared moments of creation in Share My Table

      Evans, Catrin; (Royal Conservatoire of Scotland, 2019-07-14)
      In 2017 the Scottish Refugee Council and Tramway embarked on a collaborative participatory arts project seeking to explore the upsurge in media coverage around issues of migration. Share My Table took a multi-artform approach, with performance and visual art providing the foundation for the exploration. This article, written from the position of artist researcher, shifts the lens away from the artistic or performance outputs of this participatory project, and instead reflects and theorises the working practices which emerged throughout the Share My Table project. By drawing on bell hooks’s work on practices of freedom (1994), and James Thompson’s call for a re-focusing towards affect, beauty and care (2011, 2015), the author argues for participatory practice’s radical potential. Ultimately, the how of participatory work, the careful and ethical attention on the doing can activate solidarity in relation to the asylum regime.
    • Psychological wellness

      Mainwaring, Lynda; Aujla, Imogen; Wilmerding, M Virginia; Krasnow, Donna H.; University of Bedfordshire; University of New Mexico; York University; University of Toronto (Human Kinetics, 2017-10-18)
      Dancers who want to get the most out of their experience in dance—whether in college, high school, a dance studio, or a dance company—can now take charge of their wellness. Dancer Wellness will help them learn and apply important wellness concepts as presented through the in-depth research conducted by the International Association for Dance Medicine & Science (IADMS) and their experts from around the world.
    • Researching British (underground) jazz dancing c1979-1990

      Carr, Jane (Routledge, 2016-09-20)
      The concept of 're-remembering' (Bindas, 2010) informs my account of researching the  jazz dancing performed in clubs in Britain in the late 1970s and 1980s in which I reflect upon the findings of  my own interviews with jazz dancers and those published by the DJ’s  Mark (Snowboy) Cotgrove (2009) and Seymour Nurse (n.d. b). Further, drawing on Pierre Bourdieu’s concepts of habitus and field (1984), I consider how jazz styles may be understood to have proposed new British dance identities within the changing cultural field of dance in postcolonial Britain. With specific reference to video recordings of Brothers in Jazz, IDJ and the Jazz Defektors, I explore this jazz dancing in the context of the social changes of the period 1979-1990, the era in which, under the government of Margaret Thatcher, economic and political changes took place that were (and still are) a source of much controversy. Here, Bourdieu’s analysis of cultural fields provides a useful framework from which to consider how differences in practices within an arena such as jazz dancing can be understood both in relation to each other and to a wider context. Finally, recognising how the synchronic and diachronic dimensions of experience and understanding intersect (Bourdieu 1993), and drawing on the words of dance artist Sean Graham, I consider how inclusion of British (Underground) jazz dancing (also known as UK jazz)  in the wider historical understanding of dancing in Britain is important to  the current ‘field’ of dance that is still coming to terms with the social, economic and cultural changes of the recent past.  
    • Retro, faux-vintage, and anachronisme: when cinema looks back

      Baschiera, Stefano; Caoduro, Elena; University of Bedfordshire; Queen's University Belfast (Amsterdam University Press, 2015-12-05)
      This article explores the definition of ‘vintage cinema’ and specifically reevaluates the fetishism for the past and its regurgitation in the present by providing a taxonomy of the phenomenon in recent film production. Our contribution identifies three aesthetic categories: faux-vintage, retro and anachronistic; by illustrating their overlapping and discrepancies it argues that the past remains a powerful negotiator of meaning for the present and the future. Drawing on studies of memory and digital nostalgia, this article focuses on the latter category: anachronism. It furthermore unravels the persistence of and the filmic fascination for obsolete analogue objects through an analysis of Only Lovers Left Alive (Jim Jarmusch, 2013).
    • Reverberations across small-scale British theatre: politics, aesthetics and forms

      Duggan, Patrick; Ukaegbu, Victor (Intellect, 2013-12-31)
      Between 1960 and 2010, a new generation of British avant-garde theatre companies, directors, designers, and performers emerged. Some of these companies and individuals have endured to become part of theatre history while others have disappeared from the scene, mutated into new forms, or become part of the establishment. Reverberations across Small-Scale British Theatre at long last puts these small-scale British theatre companies and personalities in the scholarly spotlight. By questioning what 'Britishness' meant in relation to the small-scale work of these practitioners, contributors articulate how it is reflected in the goals, manifestos, and aesthetics of these companies.
    • The role of psychological factors in the career of the independent dancer

      Aujla, Imogen; Farrer, Rachel; University of Bedfordshire (Frontiers, 2015-10-30)
      Previous research indicates that psychological factors such as motivation and mental skills play an important role in relation to performance and to negotiating talent development stages. However, little is known about these factors in dance, particularly with regard to the independent dancer whose career may involve multiple roles, varied work patterns, and periods of instability. The aim of this study was to explore dancers’ motivation to work in an independent capacity, and the extent to which dancers’ psychological characteristics and skills enabled them to navigate a career in this demanding sector. In-depth semi-structured interviews were conducted with 14 dancers at different stages of their careers. Interviews were transcribed verbatim and content analyzed. Analysis revealed that the dancers were intrinsically motivated and highly committed to the profession. Working in the independent sector offered dancers opportunities for growth and fulfillment; they appreciated the autonomy, flexibility and freedom that the independent career afforded, as well as working with new people across roles and disciplines. In order to overcome the various challenges associated with the independent role, optimism, self-belief, social support, and career management skills were crucial. The mental skills reported by the participants had developed gradually in response to the demands that they faced. Therefore, mental skills training could be invaluable for dancers to help them successfully negotiate the independent sector.
    • Setting the scene: introducing reverberations

      Duggan, Patrick; Ukaegbu, Victor (Intellect, 2013-12-31)
      This chapter reflects on the myriad of cultural, sociopolitical, educational and performance traditions in the United Kingdom from the end of WW2 and the rationale for the types and contexts of practitioners and works researched and interrogated in the volume. From this vast topography the authors debate changes in UK's post-WW2 theatre scene, why some concepts and practices have survived and why some have gone out of business. such a landscape calls for a different reading strategy that is designed to both make sense of the selected pieces of works and companies but which more importantly, extends to how researchers and practitioners might read other works.  
    • Somatic perspectives on developing an iPad app for choreography

      Ashley, Tamara (Intellect, 2016-06-01)
      The article offers insight into somatic perspectives that have informed the design of a software application for the iPad. Entitled formXtended, the app is designed to extend the compositional imaginations of users, by engaging them in choreographic tasks that integrate movement, sound and image. The project sought to develop an approach to software design that engaged with principles of inclusion and accessibility for disabled and non-disabled users. The article offers insight into some of the questions and issues addressed by the team in their endeavour to create inclusive app-based activities. The discussion articulates how somatic principles informed both app design stage and in the testing phase with young people, which led to further refinements in the app design. The somatic dimensions of the formXtended project are situated within a larger and more complex collaboration between arts organization, dancedigital, software company, Moviestorm and research partner, University of Bedfordshire.
    • Subjective wellbeing among young dancers with disabilities

      Aujla, Imogen; Needham-Beck, Sarah (Taylor & Francis, 2019-05-11)
      Little is known about the subjective wellbeing (SWB) of young dancers with disabilities and whether it changes over time. The aim of this study was to assess the SWB of young dancers with disabilities enrolled on an extracurricular inclusive talent development programme in the UK at two time points. Twenty-two young dancers completed the Personal Wellbeing Index for people with intellectual disability at the beginning of the academic year. Thirteen dancers completed the questionnaire a second time towards the end of the academic year. Scores were compared with normative values, and a Wilcoxon Signed Rank test was conducted to assess change over time. The participants reported high levels of SWB at both time points in comparison with normative values. There was no significant change in wellbeing scores over time. The study contributes to a growing body of literature suggesting that people with disabilities have high levels of SWB. Although causality cannot be assumed, inclusive dance programmes may contribute to SWB and allow young people with disabilities to overcome the barriers associated with physical activity.
    • Supporting change: The identification and development of talented young dancers with disabilities

      Aujla, Imogen; Redding, Emma; Jobbins, Veronica; Burridge, Stephanie; Svendler Nielsen, Charlotte; University of Bedfordshire; Trinity Laban Conservatoire of Music and Dance; Singapore Management University; University of Copenhagen (Routledge, 2017-07-11)
      The arts have a crucial role in empowering young people with special needs through diverse dance initiatives. Inclusive pedagogy that integrates all students in rich, equitable and just dance programmes within education frameworks is occurring alongside enabling projects by community groups and in the professional dance world where many high-profile choreographers actively seek opportunities to work across diversity to inspire creativity. Access and inclusion is increasingly the essence of projects for disenfranchised and traumatised youth who find creative expression, freedom and hope through dance. This volume foregrounds dance for young people with special needs and presents best practice scenarios in schools, communities and the professional sphere. International perspectives come from Australia, Brazil, Cambodia, Canada, Denmark, Fiji, Finland, India, Indonesia, Jamaica, Japan, Malaysia, New Zealand, Norway, Papua New Guinea, Portugal, Singapore, South Africa, Spain, Taiwan, Timor Leste, the UK and the USA.