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9:00 9:45 9:45 10:00

Registration Welcome Alexandra Kolb

10:00 10:30 Grove Theatre

KEYNOTE Chair: Alexandra Kolb Christopher Bannerman Dance in Academia and the Profession: Challenges and Choices

10:30 11:45 Grove Theatre

SESSION 1 PATH A Chair: Stacey Prickett Yeoh, Francis Interrogating the proposition that copyright citizenship is a necessary prerequisite for choreographers in their professional practice particularly in the context of the burgeoning dissemination of dance works Whiteside, Bethany Concert, Social and Sport: Types of Dance/ Types of Realities Banerjee, Suparna Site in performance: the senses and sensibilities in site-specific dances


PATH B Chair: Jane Carr Akinleye, Adesola Standing on Moving Grounds Pethybridge, Ruth Relative possibilities: A philosophical enquiry into the use of touch and contact improvisation in cross-generational dance performance Marsh, Kate Taking the lead Exploring a New Discourse Around the Shifting Role of Disabled Dance Artists

11:45 12:15

Short break

12:15 1:30


Grove Theatre

PATH A Chair: Geraldine Morris Uytterhoeven, Lise Choreographic negotiations of orality and language in the work of Sidi Larbi Cherkaoui and the continuous dramaturgy of the spectator Baker, Sarah Stillness and Silence: Their Expressive Potential in Dance and Music Composition Irvine, Rosanna Theorizing in practice: choreographic enquiry as method, choreographic work as outcome


PATH B Chair: Alexandra Kolb Paramana, Katerina Its all fun and games until: the dance of Tino Sehgals These Associations (2012) and the (re?)production of systems and philosophies Panagiotara, Betina Collective imprints: a Greek case study Dimitrakopoulou, Stella Contemporary Choreographers on Authorship

1:30 2:30

LUNCH Award of SDR travel grants

2:30 3:30 Grove Theatre

Early career training sessions Chair tba Fiona Bannon Attending to Dance in Higher Education Vida Midgelow Introduction to Academic Publishing

3:30 4:45 Grove Theatre

SESSION 3 PATH A Chair: Efrosini Protopapa Martin, Susanne Dancing Age(ing): An improvisation-based performance of 18800 movements and 1000 words during which we grow 30 minutes older Hug, Joa Performing Alteration: On the Relationship Between Sensing, Perceiving, and Reflecting in Dance Performance


PATH B Chair: Janis Daly Piquero, Luca How are emotions involved in the making of art? With tentative examples from the work of Pina Bausch Vaghi, Katja Disentangling the threads: the use of intertextual and intermedial references in dance

4:45 5:15 5:15 6:45

Short concluding remarks and break Performance workshop with Richard Layzell

Keynote address Training sessions Performance workshop


Christopher Bannerman Dance in Academia and the Profession: Challenges and Choices

This keynote proposes that relationships between dance in the university sector and in the profession are undergoing fundamental change. Wider developments such as the evolution of new research paradigms and the demands of the new research framework, coupled with the implications of changes to the Arts Funding System have altered the landscape. While the new territory presents challenges to both sectors, an emerging, more productive symbiotic exchange could offer benefits to both, and ensure continuing innovation in the art form and in associated understandings and discourses. The relationship is best described as a mutually supportive interweaving of perspectives and practices, enabling new pathways and hybrid careers for individuals and richer exchanges within and between academia and the dance profession.

Training session 1

Fiona Bannon Attending to Dance in Higher Education

Dance within the academy now has an extensive remit embracing dialogic relationships between creativity, sociality, knowledge and identity making. The reputation of the discipline as a leader in innovative approaches to teaching, learning and research has supported the emergence of a set of highly divergent practices. The intention in this presentation is to introduce the role that DanceHE can play as an advocate for dance in Higher Education. In our expanding community we aim to work together to make clear the ways we generate knowledge as a practical philosophy of embodiment.

Training session 2

Vida Midgelow Introduction to Academic Publishing

Following an overview of different ways of disseminating research, this session will introduce the processes through which books and journal articles are published - from initial idea by the author, proposal and to final publication. There will be a particular focus upon the journal Choreographic Practices, of which Midgelow is the founding editor. The session will include a Q&A.

Performance Workshop Richard Layzell Hold Tight Performance and installation artist Richard Layzell is delighted to have the opportunity to facilitate a playful and interactive workshop at the end of the symposium, drawing on his experience in live art, improvisation and group dynamics. He enjoys exploring dualities and polarities, including the inner and the outer voice, absence and presence, humour and stillness, the detail and the macro. No prior knowledge of performance of any kind is necessary and people taking part can wear their everyday clothes, but please be prepared to take off your shoes.

Akinleye, Adesola Standing on Moving Grounds This paper interrogates the methodology framework constructed for the research I am currently undertaking into womens notions of What makes a good job. This is part of a larger inquiry into womens economic development in depressed urban areas. The paper discusses the philosophical reasoning I use (Dewey, Boydston, and Lavine 1989) to support the use of dance as a methodology for seeing participants as embodied; including looking at the relationship between embodied metaphor in spoken language (Lakoff and Johnson 1980) and movement as expression of inner sensations: this is what I construct as a gap between sensation-knowledge and communication of knowledge (Akinleye 2013). I look at how as a choreographer I see dance as a method for communication of ideas that offers a corporeal language with which to collect narratives: creating a soma-centered research model. But similar processes of collecting movement narratives from participants, such as Bill T Jones Still / Here, raise ethical and political questions about representation and role of the choreographer/researcher in translating participants movements into named ideas. (It is clear that the choreographer/researcher is more fluent in the language they introducing to the participants) I suggest that dance offers a clear engagement with the corporeal that highlights problems in text-based research data collection for how we deal with embodied experience. Coming from a pragmatist or phenomenological somatic starting point it seems we must problemitise how we find words for naming the knowing of others and that dance movement can contribute to this process. I question if the kind of soma-centered research model I am constructing can be valued both for its methodological approach of using dance movement but also as a piece of research with credible conclusions and propositions. Can we truly see dance as process and not product or does such research resound in academia as interesting methodology but lacking the ability to give its results and conclusions credibility. As I begin my research career how stable am I when I am standing on moving grounds?

Baker, Sarah Stillness and Silence: Their Expressive Potential in Dance and Music Composition From research undertaken as part of my Masters of Art in Choreography, it became evident that although many works have been published on various choreographic tools and methods, very little has been documented on stillness and its role and relevance to dance. Similarly, music composition books seem to offer little instruction on the use of silence as a compositional tool. In contemporary composition texts, Silound is listed as a tool for the creation of minimalistic pieces of work defined as sounds created from silence, or a manifestation of an attempt to create silence itself. John Cages 433 would be an

example of this. In other composition texts, silence is listed as a fundamental aspect of rhythm. Howard states that Silence is not just there to be filled up; sound and silence support each other. This is very much in line with my beliefs about the use of stillness in dance and its relationship to movement. My primary interest is the use of stillness in the creation and development of choreography to original scores. I am currently exploring and developing new approaches to using stillness in dance alongside its relationship with, and in contrast to, silence in music. I have created two one-minute dance solos to the same piece of drumming music. Each, inclusively, expressing the dynamics of the music or the silence in between beats. This is an experiment in its most basic form but telling nonetheless. At this conference I will be presenting my process and methods to date and the conclusions that I have drawn from the investigation so far.

Banerjee, Suparna Site in performance: the senses and sensibilities in site-specific dances Site-specific performance is an emerging g eneric term which has only gained its currency in the new millennium in the context of South Asian dance in Britain; and is still an open ended discourse, with multiple possibilities, methods and interpretations. Akademi, a cultural organisation in Britain, has created several spectacular site-specific performances in the last couple of decades, which are interrogated by Stacey Prickett (2012) using the discourses of place and spatial politics. What has been remained largely unexamined in dance studies is how various sites are perceived by the dancers/ audiences while watching these site-specific performances. Fiona Wilkie (2002) argues that a triangulated relationship emerges in site-specific performance comprising performers (and the work), site(s) and audience. Victoria Hunter (2007) suggests that a site comprises both tangible (location, architecture) and intangible (atmosphere, phenomenon) components which shape the movement content and structure. Building on such assumptions, I will investigate the following questions: how are the performers/audiences engage with the sites through their senses via site-specific perfomances? How is the triangulated relation formed? How are the embodied and lived experiences shared? The following choreographies are analysed for the purpose of the paper: Maaya (2012) by Gauri Sharma Tripathi, Shivani Sethia, Yamuna Devi and Seeta Patel, performed at Westminster Hall and First Light (2012) by Seeta Patel, performed under the Hungerford Bridge near Southbank Centre. Drawing on my personal observations, field interviews, videos and archival resources, I argue that site-specific choreographies have offered multi-sensory and flexible experiences to the dancers/ audiences. Located at the intersection of performance studies and theoretical explorations of urban space and senses, this paper is expected to broaden the scope of South Asian dance scholarship by illustrating how these choreographies are reshaping and extending the performative aesthetics of the contemporary Bharatanatyam dance practices in Britain.

Dimitrakopoulou, Stella Contemporary Choreographers on Authorship

There is a big discourse related to the notion of authorship. Some of the most influential essays are Walter Benjamins Author as Producer (1934), The Death of the Author (1968) by Roland Barthes and Michel Foucaults What is an Author? (1969). Many scholars and academics have discussed the essays above. In this paper, I move towards an expansion of the notion of authorship through a study of works of contemporary directors in the fields of dance and performance. These fields are particularly interesting in relation to the notion of authorship. This is primarily because the roles of director, choreographer, performer and audience, are not always clearly defined and can be interchangeable or even blurred. Secondly, the lack of a notation system in dance and the ephemeral nature of performance, demand different approaches to repetition (where the idea of a signature of the author lies on), from those used in other art forms such as literature, music and the visual arts. In order to examine the role and the function of the author in the fields of dance and performance I ask: If the choreographer is the author, what are the characteristics of this type of authorship? How does the role of the choreographer feed back into the notion of the author, and how contemporary choreographers deal with their roles as authors of their works? These are the main questions discussed in this paper through the examination of works by contemporary artists Tino Sehgal, Xavier Le Roy and Jerome Bel.

Hug, Joa Performing Alteration: On the Relationship Between Sensing, Perceiving, and Reflecting in Dance Performance The subject of my current doctoral artistic research is the relationship between the processes of sensing, perceiving and reflecting in dance training and performance practice. I am approaching this topic from the perspective of the performer-as-researcher and based on Body Weather, a training and performance practice that evolved from Butoh and that investigates the intersection of bodies and their environments. The artistic part of my investigation builds on experimenting with one of the constitutive elements of Body Weather training practice: the so-called Manipulations. What is the point of the investigation? The point is the issue of change or alteration of perception, and the role of the body in this process. Based on my experience and current investigation of the Manipulations, I am proposing the idea that it is in the performative enactment of the relationship between sensing, perceiving and reflecting that the process of alteration of the body takes place, and I suggest that an epistemically open and receptive body with an expanded frame of perception is both the subject and the object of alteration. But how, actually, does alteration happen? What, specifically, are the physical, material grounds of alteration? What are its effects on the materiality of the body and its modes of sensing, perceiving, and reflecting? In my lecture-performance, I will address these questions by combining a close reading of the practice of the Manipulations with performing a research score that is based on the Manipulations and that explores how the altered body thinks and how it moves.

Irvine, Rosanna

Theorizing in practice: choreographic enquiry as method, choreographic work as outcome The paper questions the capacities in dance and choreographic practices to enquire into philosophical questions, and to present the outcomes of that enquiry through choreographic practice. It positions dance/choreography as capable of theorizing in and through practice. The paper is approached through an elaboration of my own choreographic practice in the context of my recent PhD research. The paper therefore is an adjunct to the practice, and is, I suggest, a practice of theorizing that operates in a different register from the practices that it seeks to elaborate. The philosophical question that my research probes is: how is it to think without the image of a thought? This question runs through Gilles Deleuzes philosophical project; it is a question that is concerned with thinking without recourse to recognition and without the allegiance to representation that recognition entails. My research addresses these philosophical concerns in its aim to develop and articulate conditions for a nonrepresentational poetics of choreography (in which poetics is understood as ways of making and doing). The paper discusses the work Frames: a written piece, which exists as a written textual object and as a choreographic score for a performance. The approaches in the making stage (which included open research workshops) and its capacities in the doing (or performing) stage are elaborated upon. I suggest that the work operates through specific framings of perceptual attention that (for the performer) heighten awareness of perception in action and in which the carrying out of an action is experienced as a decision arising in (and for the unfolding of) the event: a decision that operates through non-representational means.

Marsh, Kate Taking the lead Exploring a New Discourse Around the Shifting Role of Disabled Dance Artists Much existing research into this area of dance offers perspectives on access to training and access to dance in general terms, as students and dancers and as audience. This research asks, what are we creating access for? It will use in-depth examination to highlight the question of what the dance and disability sector look like in the future? Focussing on real life experiences to explore the development of this area of dance and where the practitioners will be placed in this sector and also in the dance community in a broader context. Increased visibility of disabled people in dance has led to greater opportunity being offered in a range of settings, also, there are certainly more disabled dance artists working and training in dance than there has been in previous decades. The hypothesis of the study is focussed on exploring a perceived discrepancy between this hiatus in the dance community 20 years ago and the number of disabled leaders, (choreographer, teacher, lecturer, researcher etc.) currently working in dance Through engaging with this rationale the study will ask: Where are all the disabled leaders? It is expected that findings from this examination will inform and develop current theory relating to the dance and disability sector, through providing forums for sharing practice and theory, also through working with relevant organisations and individuals. It is proposed that the outcomes of this research

have the potential to extend discussion in this area, beyond the inclusive dance community and offer a perspective and practical suggestions for the dance sector in general. The research will take a strongly qualitative stance and use case studies, interviews and observed/experiential practice to gather perspectives relating to the hypothesis.

Martin, Susanne Dancing Age(ing): An improvisation-based performance of 18800 movements and 1000 words during which we grow 30 minutes older My research focuses on improvisation-based dance making and questions of age(ing). My main argument is, that improvisation-based dance forms and their specific working methods may offer ways of practicing and performing dance that have the potential to challenge previously unquestioned understandings of age(ing) in the field of dance and possibly beyond. My research approach, therefore, uses artistic practice as the primary mode of enquiry (Practice as Research) to explore and reveal how such an age-critical potential might be realised. In my research process I have developed Solo Partnering as a long -term improvisational studio practice and Performing Age(ing) as a specific choreographic process. Both practices grapple with the theme of age(ing) creatively whilst further offering propositions for re-thinking working methods/ structures for mid-life dance artists. Informed and contextualised by the field of critical age studies (leading theorists in this field are K. Woodward, M.M. Gullette, V.B. Lipscomb, L. Marshall, and E. Schweiger), these practices become research methods as well as research outcomes. My presentation reflects this research practice. It also reflects the premise that dance plays a part in the cultural negotiations of what ageing might mean through new enactments, conceptions, embodiments, and performatives of aging (Lipscomb and Marshall 2010: 1). Thus, my presentation will be a dance a performance of age(ing). However, as a dance has difficulties to contextualise and theorise itself, it will be framed by a paper which tries to articulate what the performance of dance itself cannot.

Panagiotara, Betina Collective imprints: a Greek case study Researching into notions of collectivity within the Greek dance community, I am focusing on Syndesmos Chorou, a collaboration of five Greek dance companies seeking to explore through practice a collective mode of working. If collaboration can escape the prefixed limits of cooperation or networking as contextualized by neoliberalism, it will be approached here as an agent of change exposing us to a plurality of possible actions and having a political effect (Kunst, 2009). However, it is intriguing to observe Syndesmos Chorou within a context framed as crisis, during which we are witnessing a rapidly transforming social and political environment that has largely erupted social cohesion and dismantled social structures. If the social order, as Mouffe (2007) points out, is temporary, made out of inclusions and exclusions that line up differently and form hegemonic discourses, what is the social order of a crisis, given its provisional character? What are the impending temporal identities suggested by collective modes of working within this

context and how can differences between communities and collaborative complexities resist an assumed homogeneity and provide an insight to possible empowerment (Kunst, 2013)? Drawing from theories by P. Virno, B. Kunst, Ch. Mouffe, G. Agamben and R. Laermans I argue that this performance sprung from the crisis and strives to create new subjectivities deviant from the hegemonic model, exposing us to a plurality of possible actions, having a political effect and creating living communities. Thus, performance can be seen as a mode of operating, of generating possibilities and identities, of re-structuring notions, of encouraging and realizing displacements within the already dominant mentality. Thus, Syndesmos Chorou will be presented as a case study through whic h to research on the notion of collectivity as a coming together creating new potentialities in a socio-political context characterized by a specific temporality, of ambiguity and unstableness.

Paramana, Katerina Its all fun and games until: the dance of Tino Sehgals These Associations (2012) and the (re?)production of systems and philosophies You enter Tate Modern from the river entrance. Because today is a rainy day, it is packed with more people than usual. In an effort to avoid them, you walk straight towards the bridge, where there is more room to breathe. You happen to look down from the bridge and notice a strange dance taking place: a large group of people runs at full speed, then walks very slowly, plays games, forms configurations and sings philosophy. Individuals from the group approach visitors and have conversations with them. You become curious about their content and walk down to the Hall to eavesdrop on one or to have one yourself. Someone does approach you. He tells you a touching story, which leads to a philosophical conversation about arrivals and departures. He suddenly stands up, smiles at you and says, This is These Associations by Tino Sehgal, before disappearing into the group, walking backwards into the dark.

This paper will discuss the performances and danced philosophies of These Associations from my perspective as both a dancer / participant in the work as well as a researcher: the philosophy of the work with regards to dance, immateriality and the relationship of the individual to the collective; the texts the work is drawing on and the philosophy that it performs through the one-to-one as well as collective encounters with the visitors. Drawing on texts by Jrgen Habermas, Miranda Joseph and Richard Sennett on groups, collectives and systems, I will argue that the philosophies that These Associations dances / gestures towards can produce a new direction both for dance, as well as for the larger collective, when the maker and the participants of the work question themselves and the work as vehicles and mechanisms for the production of philosophies and performances of thought and action.

Pethybridge, Ruth Relative possibilities: A philosophical enquiry into the use of touch and contact improvisation in cross-generational dance performance

This presentation addresses the politics and potential of touch and contact improvisation when used in the context of cross-generational dance work. Through focusing on choreographic processes and performances involving parents and children I will examine the changing roles and relationships that are un-worked and re-orientated through the shifting mode of being that is dancing together. This is in part an auto-ethnographic enquiry as I reflect on my own experiences as a new mother dancing with my daughter and as facilitator of Baby Jam. Contact can be defined in its broadest sense as a mode of communicating - what Erin Manning refers to as a reaching towards (2009,14), including the potential for contact as well as touch itself. Similarly, for Edmund Husserl - oft quoted phenomenologist - our making sense of the world includes memories as well as anticipations, possible as well as actual experiences (in Weiss, 1999, 42). Using Mannings notion of relational movement, this presentation refers to the about-to-be moment in contact - how this brings improvisation into the here and now of performance, and in turn the relationships that this engenders. The parent and child duets at the centre of this discussion are one aspect of my practicebased PhD research into cross-generational dance performance. Gripped by that unique passion in which life and thought are one, (Kristeva, 2001, xii) I use auto-ethnography because I am interested in how the personal, immediate here and now of interactions in the dance studio can be politicized and expanded to be meaningful in a wider cultural context; how moving together has the potential to imbricate with our experiences of crossgenerational relationships within the socio-cultural sphere. By cross-referencing my own practice with that of artists Giulio DAnna and his recent piece choreographed with his father ParkinSon and Cecilia Macfarlanes intergenerational Community Dance with parents and children I will discuss the ontological implications of contact across generations as a way of being-together.

Piquero, Luca How are emotions involved in the making of art? With tentative examples from the work of Pina Bausch The relationship between emotion and arts seems to be almost unquestionable, its terms, however, are still the subject of a lot of research. By synthesising ideas from three bodies of literature: philosophy, psychology and philosophy of art, this article reviews the different perspectives on this relationship and illustrates its possibilities by applying practical examples from Pina Bausch's work. The work of Pina Bausch is recognised as one of the most emotionally invested in the world of contemporary dance, more specifically Tanztheater. This interdisciplinary approach allows for a more comprehensive exploration of ideas and serves as a review of past and current approaches to the question of art and emotion. The concept of emotion used for the discussion will be based on Noel Carroll's idea of the four components of emotion: cognitive, conative, somatic and behavioural (Carroll, 2003: 522) but the argument will focus more specifically on the relationship between emotion and cognition, first, and then on the different possible implications of the artist's personal emotions in the making of his/her work. Three such possibilities will be explored in more depth: (a) psychoanalytical ideas of unconscious and sublimation; (b) art as a personal therapeutic/cathartic process; (c) art as a way to reflect on life or societal issues.

Another key argument in the discussion is the importance of the artist's intention. In this sense, this article intends to defend that the intention of the artist is key, not only to understanding the meaning of the work, but also the actual involvement of emotion (defending possibility (c) and giving agency back to the artist). Other ideas will also be discussed in relation to art and emotion; namely, the nature of emotions themselves and the idea of the sociocultural emergence of emotion-terms; and close concepts such as mood and affective responses.

Uytterhoeven, Lise Choreographic negotiations of orality and language in the work of Sidi Larbi Cherkaoui and the continuous dramaturgy of the spectator This paper analyses the work of Flemish-Moroccan choreographer Sidi Larbi Cherkaoui, whose complex, transnational, and interdisciplinary choreographic practice challenges established analytical methodologies within dance studies (Adshead, 1988; Foster, 1986; Pavis 2003). In response to his work, I have developed a continuous spectatorial dramaturgy, combining observation, conversation, spectatorship and writing, firmly aligned with recent conceptions of dramaturgy as shared, interlocutionary, and permanent (Van Kerkhoven, 1999; deLahunta, 2000). The spectators engagement with the works content, imagery, aural landscape, stories, and poignant moments, is on-going beyond the performance moment, so that theatre can begin to fulfil its potential for social change. The paper exemplifies some of the diverging shapes that this continuous dramaturgy of the spectator may take in relation to cultural issues raised in Cherkaouis work. Language, a major part of culture, is central in Cherkaouis work: it incorporates speech, songs and writing in various languages, often without translation. In this analysis, theories of language are mobilised to gain new perspectives on the work of this choreographer. In Cherkaouis early work Rien de Rien (2000), storytelling undergoes choreographic treatment, impacting on perception and spectatorship, so that spectators might consider the travel stories told as transcultural. With the incorporation of stories available from the Internet in Apocrifu (2008) and Babel(words) (2010), the notion of cultural exchange is extended within an Appaduraian modernity at large (1996). Moreover, Cherkaouis heteroglossic dramaturgy of non-translation problematizes signification and notions of dramaturgy as mediation between artist and audience. Postcolonial critiques of translation (Benjamin, 1999; Spivak, 1993; Ven uti, 2008) allow for Cherkaouis rejection of the role of translator to be understood as giving rise to the continuous dramaturgy of the spectator as cross-cultural conversation.

Vaghi, Katja Disentangling the threads: the use of intertextual and intermedial references in dance What makes dances appealing to watch? Are we able to make sense of them and if yes, how do we do this? My paper will examine how language theories can help us in disentangling some threads about meaning production and, at the same time, need to be adapted to have the perfect fit if applied to dance. In particular, I will explore the notions of intertextuality and intermediality and, their influence on the interpretation.

Intertextuality, originally a linguistic term and later used in literature, offers a good model for meaning production, still it presents several shortcomings if applied to dance. Being a mix medium, dance does not behave like a text; it follows different rules but, at the same time, it allows for much more freedom, playing between the different media. In order to overcome this gap, the notion has been complemented with that of intermediality. By analysing a corpus of intertextual and intermedial instances it is thus possible to discuss their different functions in choreography and in meaning making. The several studies of intertextuality and dance (Adshead-Lansdale, 1999, 2007; Lansdale, 2008; Jackson, 2000; Nugent, 2000) have discussed the phenomenon as being a unified practice. I conceived it as plural, and this paper will tease out some of the different types of referencing that can exist in dance together with their influence on interpretation. Of particular interest are the French literary theorist Grard Genette with his understanding of textuality and the scheme he proposes for the different relationships among texts, together with the writings on intermediality by Andreas Bhn. The theoretical reflection will be illustrated by examples taken from Pina Bausch, Martha Graham and Jerme Bel among others.

Whiteside, Bethany Concert, Social and Sport: Types of Dance/ Types of Realities Sociology of dance is an evolving discipline which takes as a key focus the social makeup of dance the individual agency and societal structures that are inherent within dance activity and practice. However, under the umbrella term of Dance Studies, scholars have researched dance in a number of different contexts and share the argument that dance is most usefully characterised based on the aesthetic and historic relations between dance forms, genres and styles (i.e. Cohen and Copeland, 1983; Hanna, 1979; Nahachewsky, 1995; Pugh McCuthcheon, 2006.) Adopting this dominant approach, the three dance forms of concert, social and sport, were drawn from the liter ature and adopted both as the means for selecting case studies illustrative of participatory dance activity in Glasgow, and as a heuristic; these initial typological categories gave the researcher a practical means to consider the data obtained. Erving Goffmans (1959) model of dramaturgy is utilised to explore the concert, social and sport realities that characterise six case studies; the professional company ballet class and inclusive creative dance class (so-called concert dance), line dancing class and nightclubbing (so-called social dance) and Highland dancing class and dance activities in primary school education (so-called sport dance). Based on an ESRC CASE studentship (supported by Capacity Building Cluster), this research demonstrates the value of adopting a traditional classificatory method in a nontraditional, sociological sense to analyse a wide range of participatory dance activities and practices.

Yeoh, Francis Interrogating the proposition that copyright citizenship is a necessary prerequisite for choreographers in their professional practice particularly in the context of the burgeoning dissemination of dance works

The recent Arts and Humanities Research Council sponsored project Beyond Text: Music and Dance (2007-2011) reveals the marginalisation of a majority of creative artists in music and dance. Professor Charlotte Waelde, principal investigator highlighted the fact that the copyright regime has not accommodated many artistic works in music and dance because its protection is not available for works that are not fixed in a tangible form and therefore the law misses out a large number of experiential forms of music and dance. This paper will therefore interrogate the proposition that the dance community need to acquire a more sophisticated awareness of copyright. Choreographers have not fully disseminated their works: their creative outputs have not become commodities in the cultural market such as the case with authors of pop music or screenplays. Another aspect of this issue is that choreographers have survived for the last few centuries without the aid of copyright a phenomenon that may be attributed to the good practices adopted by the dance community. But, can this practice continue? Copyright infringement is minimised by the fact that most dance works are not recorded in tangible form and the logistics surrounding a reproduction of choreographic works deter illegal copying. However, choreographers who venture beyond the proscenium arch into more lucrative media where their works are entrepreneurially disseminated in television, film or in digital infrastructures will need to acquire copyright citizenship in order to exercise their rights as authors. These and other relevant issues will be explored to provide guidelines for consideration by the dance community, in particular, choreographers.

Dr. Adesola Akinleye began her career with Dance Theatre of Harlem, later establishing her dance company Saltare in New York for which she was awarded 1999 national Womens History Month award for Distinguished Achievement in the Field of Dance by Town of Islip, NY. In 2000 she moved to Canada where she was a part of the nation wide artists-in-schools program and taught at the University of Manitoba. In 2005 returning to the UK she was awarded ADADs Trailblazers Fellowship and the Bonnie Bird New Choreography Award. Since then she has created a number of commissioned works. Adesola is a Fellow of the RSA. She holds a PhD from Canterbury Christ Church University (2012) and an MA from Middlesex University (2007). She is a part-time Senior Lecturer at the Dance Department, Middlesex University. Please visit www.dancingstrong.com.

Sarah Baker was born in Canada and graduated from professional training at both the Quinte Ballet School and the National Ballet School of Canada. She was fortunate to perform in various cities across Canada as well as studying, teaching and choreographing in Chicago, New York and Israel. Sarah has choreographed musical theatre and dance productions at the Bloomsbury and Cochrane theatres in London and collaborated with the Italian composer and West End musician, Stefano Curina on Flood, performed at The Place, Londons contemporary dance centre. She has also both performed and presented live and screen-dance work at the Robin Howard Dance Theatre and Stratford Circus Theatre, London. Having graduated with a Masters Degree in Choreography from Middlesex University she is now pursuing a PhD at Manchester Metropolitan University.

Suparna Banerjee is trained in Bharatanatyam dance and a PhD candidate at the University of Roehampton. Her doctoral thesis brings together various disciplines, such as anthropology, performance studies, cultural studies and sociology to explore the transnational Bharatanatyam practices in Britain through the discourses of city, architectural space, hybridity, digital performance and site-specific dance. She is an Associate of the Higher Education Academy and has received several awards for her performances and teaching. Her writings on dance have appeared in Research in Dance Education and The Global Studies Journal.

Fiona Bannon (PhD) began her career working in community dance in the UK later moving to Ausdance (NSW) as the Education and Community Officer. She joined the University of Hull to lecture in Dance in the mid 1990s and in 2004 became Head of the School of Arts. In 2007 she was appointed Senior Lecturer in the School of Performance and Cultural Industries, at the University of Leeds where she is currently Programme Leader for the MA, Performance, Culture and Context. She teaches courses in strategies for research, site specific performance, choreography and collaborative practice. As the Chair of Dance HE she coordinates an organisation that represents the interests of the discipline across the sector and beyond. She is the editor of Dancelines, the postgraduate section of the journal Research in Dance Education. Currently working with PhD

candidates researching autoethnography as a model of practice for educational leadership, the visible choreographer as an exploration of personal practice, and reading the lived experiences of ageing male dancers.

Christopher Bannerman is Professor of Dance and Head of ResCen, the Centre for Research into Creation in the Performing Arts at Middlesex University. He has worked in the dance profession as a dancer, choreographer and arts education worker, and has served as a panel member for two Higher Education Research Assessment Exercises and as a Specialist Assessor for the Quality Assurance Agency.

Stella Dimitrakopoulou is a London based performer and choreographer. Her work is a series of experiments taking the form of live performances, video installations and sitespecific works. She holds a BA in Dance and an MSc in Mining Engineering. In 2009 she graduated with distinction the MA Dance -Theatre: the body in performance from LABAN. Currently undertaking a practice-based PhD, she is looking into an expansion of the notion of authorship, through the examination of different methodologies and modes of production, used by contemporary choreographers. She is interested in collaboration and she is co-founder of the performance collective Trio. Please visit http://stelladimitrakopoulou.blogspot.com.

Joa Hug studied History, Political Science and Sociology at the Universities of Freiburg and Oregon/Eugene (US), and Choreography at the School for New Dance Development in Amsterdam. He worked as independent dancer with Body Weather Amsterdam a. o. and completed his M. A. in Artistic Research at the University of Amsterdam. Based in Berlin, he initiated the Artistic Research Lab_Berlin and currently follows the doctoral artistic research programme at the Theatre Academy Helsinki. His investigation into the processes of sensing, perceiving, and reflecting connects practice-as-research grounded on Body Weather with a theoretical exploration of epistemological and methodological issues of artistic research.

Rosanna Irvine is a choreographer working with movement, digital media and writing practices creating conceptually orientated work in performance and installation (www.rosanna-irvine.co.uk). She is currently in receipt of an AHRC studentship for a Collaborative Doctoral Award with Middlesex University and Dance4 (completing in 2013) investigating conditions for a non-representational poetics of choreography . The practiceled project is approached through an investigation of works performed at Dance4s Nottdance Festival and through my own practice. Recent publications include in Performance Research 17:4 (2012) Artist Pages in collaboration with Katrina Brown what remains and is to come. She was previously part-time lecturer in choreography at Dartington College of Arts.

Richard Layzell is a Research Associate Artist with ResCen at Middlesex University (www.rescen.net/routeplanner). From a background in visual art, Richard has embraced a relationship to performance, physical space and socially engaged practice. This has fed

into recent and current collaborations with Scottish choreographer Janice Parker, notably with the award-winning Private Dancer. They are currently developing Private Party for the Arches in Glasgow next month and Glory for Tramway One as the opening event for the Commonwealth Games arts programme in March 2014. He has designed and led workshops nationally and internationally for many years, for people of all ages and abilities, and is known for creating a safe and supportive environment.

Kate Marsh has worked in a variety of settings throughout her career as a dance artist and teacher. This has included ongoing employment as an associate artist for Candoco Dance Company, a freelance artist practitioner for DancEast, Dance4, Graeae Theatre Company and Scarabeus Aerial Theatre Company. Kate has kept a focus on dance pedagogy, teaching across both FE and HE contexts. In 2009 Kate completed a Masters in Dance by Independent study at DeMontfort University, Leicester. This sparked an interest in dance research and alongside maintaining aspects of her teaching and choreographic projects, she embarked upon a full time PhD studentship at Coventry University in January 2013.

Susanne Martin (Berlin) is a choreographer, performer and teacher in the field of contemporary dance. She creates performances internationally as soloist and in collaboration with Bronja Novak (Gteborg), Gabriele Reuter (Berlin), Theater M21 (Gttingen) and others. Her work focuses on the relation between improvisation and choreography, narrations of the ageing body, and contact improvisation in performance. In 2013 she performed her latest solo The Fountain of Youth in Gothenburg, Sweden, and Susi & Gabis Salon at Nottdance Festival, Nottingham. In her current PhD research at Middlesex University, UK, shes pondering on the role of improvisation -based dance in developing a critical position towards conceptions of ageing and the imperative of youthfulness in dance.

Vida Midgelow is a Dance Artist/Academic and Professor in Dance and Choreographic practices at Middlesex University and lives in Derbyshire. She has over 20 years experience facilitating and lecturing in performance. Her movement and video work has been shown internationally and she publishes her research in professional, online and academic journals. As a movement artist her work focuses upon somatic approaches to dance training, improvised dance practices and articulating choreographic processes. Recent practices include: ScreenBody; Voice (a retracing) and Threshold: Fleshfold. She undertakes mentoring, dramaturgical, curatorial and consultancy roles for artists and organizations.

Betina Panagiotara is interested in dance and politics and is a PhD candidate at Surrey University, researching Greek contemporary dance within its sociopolitical context, focusing on emerging identities, contemporary dance making within a neoliberal context, and in particular notions of collectivity and collaboration. She holds a BA in Communication, Media & Culture (Panteion University, GR) and a MA in Dance Histories, Cultures & Practices (Surrey University, UK). She has worked as research associate for Kalamata International Dance Festival (GR), production manager for Animasyros

International Animation Festival + Forum (GR) and as a journalist for several magazines and newspapers.

Katerina Paramana is a choreographer and a Visiting Lecturer and PhD Candidate at University of Roehampton (Dance & Theatre Depts.). Her choreographic work has been presented in the US, UK, Sweden, Portugal and Greece and her research in conferences and symposia in the UK, US and Greece. Her PhD (funded by the Onassis Foundation) examines through both theory and practice the construction, circulation and reproduction of ideas and values in contemporary performance and choreographic practices through the making and circulation of material and immaterial objects of performance. She has delivered modules, workshops and lectures in graduate and undergraduate programmes (www.katerinaparamana.com).

Ruth Pethybridge has worked in varied settings as a performer, choreographer, project manager and dance writer. Since graduating from Bretton Hall in 2000 projects have included working with Oxford Youth Dance, Anjali Dance Company, Pegasus Theatre and Rosemary Lee among others and in roles such as Education Co-ordinator for Shobana Jeyasingh Dance Company. Ruth is currently based at Falmouth University researching a practice based PhD in cross-generational dance performance. She specializes in Community Practice and has recently published a chapter in Diane Amans Age and Dancing (Palgrave Macmillan 2012). Ruth regularly lectures at institutions across the UK while continuing to practice as an independent performer, facilitator and choreographer.

Luca Piquero trained in Classical Ballet with Elisa Novo (Spain). She received her 7-year Classical Ballet Diploma, and a BSc on Psychology at the Universidad de Oviedo. In 2006, she moved to London to complete a Certificate of Higher Education in Contemporary Dance at LCDS, and a MA Choreography at Middlesex University, where she was also a Research Assistant for ResCen. Luca is an independent dancer and choreographer since 2007. Her choreographies have been presented and commissioned internationally. Currently she is Visiting Assistant Lecturer on Dance Studies at the University of Malta, and pursuing her practice-based PhD at the University of Roehampton, London.

Dr Lise Uytterhoeven is Senior Lecturer at London Studio Centre, specialising in dance and performance history, theory and analysis. She recently completed her AHRC-funded PhD at the University of Surrey, entitled New dramaturgies in the work of Sidi Larbi Cherkaoui: choreographic negotiations of the nation, religion and language. In 2011, she was awarded the prize of Postgraduate Researcher of the Year in the Faculty of A rts and Human Sciences. Lise is co-curator of the Choreographic Forum of the Society for Dance Research, has presented her research at international conferences, and published in peerreviewed journals.

Katja Vaghi has a background in Literature and Linguistic (MA English Studies, Zurich University) and a formation as a modern dancer (Ballet Arts, NYC), and is currently interested in the relation between theories developed for language and dance. In

particular, her current project explores the use of baroque and neo-baroque references (intertextual and intermedial) in Ji Kylins later works. At the same time she is also exploring the comic element in dance: when and why do we laugh watching a dance piece? She is working as a freelance dancer and choreographer and is a PhD candidate at the University of Roehampton.

Bethany Whiteside was part of the first cohort of students on the MSc Dance Science and Education programme at the University of Edinburgh in 2009, and in 2011 she embarked on an ESRC CASE Studentship, supported by Capacity Building Cluster, Capitalising on Creativity, grant #RES 187 -24-0014. The working title of the study is The Hidden Dancers: A Sociological Analysis of Participatory Dance Activity and Practice in Glasgow. Since embarking on her PhD, she has presented and published at national and international conferences and given guest lectures at The Royal Conservatoire of Scotland and the University of Edinburgh.

Dr. Francis Yeoh is Senior Lecturer and General Manager at London Studio Centre. The title of his doctoral thesis is Copyright Law Does Not Adequately Accommodate the Art Form of Dance. A graduate of the University of Singapore, he was called to the bar in both Malaysia and Singapore. He obtained his MA (Ballet Studies) in 2004 after studying at Roehampton University. In dance, his initial training was at the Singapore Ballet Academy and, on a British Council grant-in-aid, he trained at the Royal Ballet School (1965-66) and then studied notation at the Benesh Institute of Choreology (1966-67). As a performer, his initial experience with the Singapore Ballet Company was enhanced by his experience with the Harlequin Ballet on an Arts Council sponsored tour of Scotland in 1968. On his return to Singapore in 1968, Francis Yeoh decided to further his career in law. However, he did not abandon his dance interests and in 1970 the Singpore Culture Ministry appointed him the position of artistic director of the Singapore National Dance and Theatre Company, a role he undertook until 1978 when he returned to London and took the post of company secretary/administrator of the Benesh Institute. Francis has published articles in various journals, including Dance Chronicle, Entertainment Law Review, and most recently Journal of Intellectual Property Law and Practice .

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