ResDance Series 9: Episode 2: Reflections on human connections and dance activism with Richard Chappell
In this episode, Richard Chappell offers insight into his experiences as a choreographer and into the workings of his lead ensemble, Richard Chappell Dance. Our conversation explores his creative processes and the ways his work examines how human connection in dance can restore and heal. Together, we discuss the importance of building a moreemotionally healthy dance sector—one that prioritises the care and well-being of artists—and the ongoing need to highlight the positive enrichment that dance brings to people’s lives. Richard reflects on the vital role of belonging and community in creative work, and how these elements foster a collective hope and joy.
Biography
Richard Chappell is an internationally renowned and award-winning choreographer. Since 2013, Richard has led his ensemble Richard Chappell Dance as a platform for his choreographic research and critically acclaimedperformance work. Richard's creative process is rooted in collaboration and co-authorship. His creations explore human connection as an act of restoration, making space for people to connect deeper with themselves, each other and theland around them. The ensemble’s work shines a light on what people have overcome and where they are going, through the lens of social and climate justice. The ensemble produces work through partnerships with the Royal OperaHouse, BBC Arts, Theatre Royal Plymouth, Dance City, The Place, Studio Wayne McGregor, National Dance Company Wales, British Council, Bristol Museum, Greenwich and Docklands International Festival and British High Commission,amongst many others. Richard has held associateships with Exeter Northcott and Dance in Devon. Richard Chappell Dance is a sector leading organisation, working at the forefront of theatre touring, site responsive performance, artistdevelopment and community co-creation. Richard is currently Co-Chair of Swindon Dance and is a Clore Leadership Fellow.
As a guest choreographer, Richard has created work forrenowned dance companies and institutions, including Rambert School, Stuttgart Ballet, BalletWorks, English National Ballet, Nanyang Academy of Fine Arts (Singapore), Belfast Ensemble, Bcause Dance Company (Poland), Transitions Dance Company and Frontier Danceland (Singapore). Richard has guest lectured for renowned courses, including Rambert School, ArtEz Institute of the Arts(Holland), Lasalle College of Arts (Singapore), Singapore School of the Arts, Northern School of Contemporary Dance, Bath Spa University and Tring Park School and was a Support Worker for five years through Robert Owen CommunityFoundation.
Headshot Credit: Radek Zawadzki
Contact Details
Socials:
Instagram: @richard.chappell.dance
Facebook: @richardchappelldance
Other Socials: @leadandcreate
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AHRC Dance Research Matters Network Series: Episode 7: Reflections on the Critical Dance Pedagogy Network with Angela Pickard and Kathryn Stamp
In this episode, Angela and Kathryn revisit the central aimsand rationales of the Critical Dance Pedagogy Network. They discuss insights that emerged from the network’s symposiums and artist labs, examining how these spaces have facilitated meaningful dialogue around critical dance pedagogy, equity, diversity, inclusion, and student-centred approaches to learning. Through reflecting on their own pedagogical and artistic practices, Angela and Kathrynconsider the significance of embodied experience in shaping both individual learning and the broader dance education environment.
Critical Dance Pedagogy Network
The network sought to connect academics, dance educators, researchers, artists, industry stakeholders in the UK with international peers in Scandinavia/Nordic and US as guest speakers, to support collaboration, and maximise opportunities for new thinking on the topic of Critical Dance Pedagogy. In particular understandings of equity, diversity and inclusion and student-centred pedagogy, through practice (Artist Labs) and discourse (four hybrid symposium events). The network attracted an international following as well as from across the UK. In addition to the original planned events, a focus on dance and PE teachers in training and PhD students was added.
Website: www.criticaldancepedagogy.com/home
Twitter: @SDH
Contributor Biography: Professor Angela Pickard
Professor Angela Pickard is the UK’s first Professor of Dance Education and a globally recognised leader in the fields of dance pedagogy, dance and health, and dance science. She holds dual directorships at Canterbury Christ Church University: the Sidney De Haan Research Centre for Arts and Health, and the Centre for Sport, Physical Education and Activity Research (SPEAR), where she leads interdisciplinary research that bridges creative practices, public health, and education. Angela is a practitioner and academic and leads several mixed methods projects including practice based and participatory, and is Principal Investigator for the Critical Dance Pedagogy Network. Her research explores the intersections of dance education and dance and health, drawing on sociology, psychology and pedagogy. She is Editor-in-Chief of the Research in Dance Education journal, a leading international platform for scholarly dialogue in the field, and serves on the Editorial Board of the Journal of Dance Medicine and Science. She is a sought‑after keynote speaker and consultant, known for her ability to translate complex theory into practical frameworks that support dancers, educators and clinicians.
Contact: angela.pickard@canterbury.ac.uk
Contributor biography: Kathryn Stamp
Kathryn is a researcher and educator, currently an Assistant Professor at Coventry University’s Centre for Dance Research (C-DaRE). Her work explores inclusive dance practices, critical pedagogy and the role of dance in fostering social and physical well-being. A passionate advocate for collaboration and public engagement, Kathryn is Co-Chair of the Society for Dance Research, a board member of Dance HE, an ambassador for AWA DANCE, and serves on the We Are Epic advisory board. Her recent books include Ethical Agility in Dance: Rethinking Technique in British Dance (Routledge, 2023), co-edited with Noyale Colin and Catherine Seago, and Dancing (Emerald Press, 2024), co-authored with Colin as part of the Arts for Health series.
Email: kathryn.stamp@coventry.ac.uk
LinkedIn: www.linkedin.com/in/dr-kathryn-stamp-847642137
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.
For more information, please visit: danceresearchmatters.coventry.ac.uk
Instagram and Twitter: @danceresearchmatters
ResDance Series 9: Episode 1: Embedded in Dance Research: The first graduating cohort of MA Dance: Participation, Communities, Activism
In this episode, the cohort come together to explore movement practices and the way in which they continue to embed themselves and their practices within their own communities. Through situating our conversation around their own practices, we explore ideas around community, participatory and activist movement practice and the role of a co-creating process in negotiating a coming together in the space of cultural thinking. In this rich conversation, contributors offer insight into the ways in which they continue to interrogate and develop practice in the pursuit of making change by placing themselves atthe fore, to question how we come together in imagining how the future may look and the wider value of doing things differently in the light of the shifting discourses and challenges of the moment.
Gladys Agulhas, Marilia Bassetto Coelho, Anno Bolender, Joseph Jeffers, Filip Kijowski, Bianca Kruppa, Jo Parkes, Ruth Pethybridge
Profiles of the staff and students in conversation can befound here: https://theplace.org.uk/lcds-courses/madancepca
MA Dance Participation, Communities, Activism
This MA Programme is for students who want to develop a socially engaged dance practice which addresses theurgencies of our times. You will join a global community of artists and researchers working at the intersection of community dance and arts activism. You may have an emerging community, participatory or activist movement practicewhich you want to develop, or you may be an established maker who wants to interrogate and develop your practice in the light of the shifting discourses and challenges of the moment.
Photo credit: Carim Agulhas Dance: Gladys Agulhas
For more information please visit: https://theplace.org.uk/lcds-courses/madancepca
Instagram: @ma_dance_pca
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ResDance Series 8: Episode 12: NEUROLIVE: An interdisciplinary study of liveness with Guido Orgsand Matthias Sperling
In this episode, Guido and Matthias discuss NEUROLIVE, a 5-year interdisciplinary research collaboration that brings artists, scientists and audiences together to study what makes live experiences special. We explore how the bringing together of performance making and cognitive performance science has shared insight into how such collaborations can questionliveness and the distinctiveness of live performance, more generally. Guido and Matthias highlight the value of artistic and scientific disciplines being fully realised in collaborative contexts and wider considerations around the role of dance practices and knowledge in contributing to developments in other fields.
Guido Orgs
Guido Orgs is a Professor in Cognitive Neuroscience and Group Leader of the Movement & Performance Group at the Institute of Cognitive Neuroscience at UCL, and also has a background as a dancer. He is the Principal Investigator and Scientific Director of NEUROLIVE.
Contact Details
Email: guido.orgs@ucl.ac.uk
Matthias Sperling
Matthias Sperling is an artist, choreographer and performer. His work investigates knowledge-generation in dance and choreographic practice as an embodied process of conjuring. He is Co-investigator and Artistic Director of NEUROLIVE.
Contact Details
Email: matthias@matthias-sperling.com
Social Media
Instagram: @matthias_sperling
Neurolive
NEUROLIVE is a 5-year interdisciplinary research collaborationthat brings artists, scientists and audiences together to study what makes live experiences special. Funded by the European Research Council, the project is a collaboration between University College London, Goldsmiths University, the MaxPlanck Institute for Empirical Aesthetics and Siobhan Davies Studios.
Website: neurolive.info
Instagram: @neuroliveness
Published Sources
Rai, L., Lee, H., Becke, E., Trenado, C., Abad-Hernando, S., Sperling, M., Vidaurre, D., Wald-Fuhrmann, M., Richardson, D., Ward, J., Orgs, G (2025). Delta-band inter-brain synchrony reflects collective audience engagement withlive dance performances. iScience. Available at: https://www.cell.com/iscience/fulltext/S2589-0042(25)01183-6
Lee, H., Ashwell, C., Sperling, M., Rai, L., & Orgs, G. (2025). Engaged and confused: Aesthetic appreciation of live andscreened contemporary dance. Psychology of Aesthetics, Creativity and the Arts. Available at: https://doi.org/10.1037/aca0000727
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ResDance Series 8: Episode 11: Moving Beyond Barriers: Progression and Employment in Dance for DisabledPeople with Imogen Aujla and Louisa Petts.
In this episode, Imogen and Louisa share insight into their thinking and considerations around inclusive danceand dance and disability in the sector. Through exploring the work of their research project, looking at the progression and employment in Dance for disabled people (Beyond Barriers in Dance Project), they reflect upon the accessibilityof the research and key findings from the research project. Throughout the episode, we discuss the importance of evidencing the barriers that disabled people experience when working in dance and the role of documenting experiences as ameans of initiating wider discussions, awareness and understanding of what access means in a dance organisation. Imogen and Louisa highlight the value of disabled representation on the research team, the importance of access underpinning a research process and the need for greater network opportunities and collaboration across the sector.
Imogen 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 going freelance, 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. Imogen’s research interests include talent development, inclusive dance, and psychological wellbeing among dancers. She has published over 30 peer-reviewed journal articles and book chapters, and has presented her research internationally.
Beyond Barriers in Dance: https://www.beyondbarriersindance.info/
Contact details:
Facebook: @danceinmindUK
Instagram: @dance_in_mind_UK
Website: www.danceinmind.org
Louisa Petts
Dr Louisa Petts (she/her) is a deaf researcher, lecturer (AFHEA) and community dance artist. She recently completed her PhD at the Centre for Dance Research (C-DaRE), Coventry University (2024) exploring ableism, healthism and ageism within dance for older adults. She received the Arts and Humanities Research Council Studentship Award from Midlands4CitiesDoctoral Training Partnership. Her research centres around person-centred, accessible and empowering creative practice, with a focus on ethics, positionality and methodological clarity. Her work also draws from her community dance practice with people living with dementia and Parkinson’s. Currently, she is working on funded project Barriers to Progression &Employment in Dance for Disabled People (Arts Council England), appointed by Candoco Dance Company, Corali, People Dancing, Stopgap Dance Company and TINArts, to address the lack of representation and leadership opportunities for D/deaf, disabled, neurodivergent, blind and visually impaired, learning-disabled, and chronically ill individuals within the dance sector. She also works as Editorial Manager for the Journal of Dance and Somatic Practicesand Research, Impact and Innovation Officer at LAMDA.
Contact details:
Email: Louisa.Petts@LAMDA.ac.uk
Social Media:
Instagram: lou_petts
Link to any published resources:
LinkedIn: linkedin.com/in/louisa-petts-1702
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AHRC-funded Dance Research Matters Network Series: Episode 6: Reflections and Considerations on the Dance Research Matters Networks Programme with Vipavinee Artpradid and Helen Weedon
In this episode, Vipavinee and Helen reflect upon the five AHRC-funded Dance Research Matters Networks and the wider incentive for the Dance Research Matters campaign. They share insight into the rich connections and relationships formed throughout the networks and the effectivenessof the networks programme working closely with funders and the wider sector to welcome those both within and outside of the dance field. Alongside considering the ways in which dance research can be more visible in the UK, we discuss the needfor those in the sector to find new approaches to working and remind listeners of the value of dance research and the need to continue to foster new connections, create opportunities and to keep the conversation open.
Contributor Bibliographies: Vipavinee Artpradid
Vip’s research applies embodied and inclusive qualitative research methodologies for social change and draws from her background in media anthropology, social anthropology, and cultural studies. She is currently leading funded projects on mapping and evaluating the AHRC Dance ResearchMatters Networks (AHRC AH/Y002105/1) and collaborating with FRONTLINEdance to develop embodied phenomenography for inclusive dance programme evaluation(British Academy SRG2324 089). Her PhD (2020) applied phenomenography to dance audience engagement to explore variations in ways of understanding disability. She has written on integration and inclusion in dance (2022), embodied hearing technologies (2022), and kinaesthetic empathicwitnessing (2023). Vip is an Assistant Professor at the Centre for Dance Research (C-DaRE), Coventry University.
Contributor Bibliographies: Helen Weedon
Helen is a Senior Investment Manager at the Arts and Humanities Research Council in the Creative Industries Team where she has responsibility for the arts disciplines, including dance, as well as the Creative Industries Clusters Programme. Having studied Performance Arts at Middlesex University andgained a PGCE from De Monfort University Helen spent her early career teaching dance and performing arts in schools and FE colleges. She then moved into local government arts and cultural services where she managed and commissionedtheatres, galleries, museums and festivals, supporting artistic and audience development and engagement. Following a brief stint with the Stonehenge and Avebury World Heritage Site Partnership Unit Helen joined AHRC in 2019. Helen is also Co-Chair of the UKRI Staff Carers Network.
AHRC-funded Dance Research Matters Networks
The five AHRC-funded Dance Research Matters Networks explore current issues and generate change and legacy for thesector. 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 andimpact in and beyond the sector.
For more information, please visit: danceresearchmatters.coventry.ac.uk
Instagram and Twitter: @danceresearchmatters
Please share this episode with students, educators, practitioners, performers, andinterdisciplinary researchers curious to learn more about dance research in action.
ResDance Series 8: Episode 10: Inclusive Dance and Empowerment: Voices from Opening Doors Malta with Angela Bettoni and Sara Accettura
In this episode, Angela and Sara share insight into their experiences as educators, practitioners, researchers and advocates for inclusive practice. Situated around their workwith Opening Doors, an arts organisation in Malta that works for the active involvement of adults with intellectual disabilities in the artistic sector, we explore what ‘inclusivity’ means in their own artistic practice and experiences within the sector. We explore the importance of open dialogue in fostering opportunities for collaboration, the need for societal change in the perception of inclusive arts and the wider role of dance and the moving body as a non-verbal form of communication. Throughout the episode, they celebrate an openness to inclusion and working alongside everyone, advocating that dance is accessible for all.
Angela Bettoni
Born in 2001, Angela is a writer, performer and advocate with Down Syndrome. Angela has been living in Maltasince 2013 and has a Sri Lankan mother and Italian Father. Angela has just finished her BA in Creative Arts at MCAST, where she previously received her Advanced Diploma in Performing Arts. Angela is a passionate advocate forinclusion in the performing arts in Malta. She became Malta’s first TV presenter with Down Syndrome when she co-presented a 10-minute programme (Action!) on TV Malta in 2022. In 2023, she collaborated with the MindAdventures Theatre Company in Sri Lanka, performing “Heart”, a mixed-ability duet to a monologue she had written. This summer (2024), she performed a mixed-ability duet called BALM at Dance Festival Malta and at the Venere inTeatro Festival in Venice. Angela has been an Executive Committee Member of the Commonwealth Children and Youth Disability Network (2021- 22) and is a member of the Young People's Disability Rights Forum in Malta (2021-2024). In December 2022, Angela received a JCI Malta Ten Outstanding Young Persons (TOYP) award for her advocacy work.
Contact details:
Website: www.angelabettoni.net
Social Media:
Instagram - @angelabettoni18
YouTube - Angela Bettoni Down SyndromeAdvocate
X- @Angie_DownSyn -
Facebook: Angela Bettoni
Sara Accettura
Sara Accettura is an educator, practitioner, and researcher with a PhD in Inclusive Dance and Autism (University of Bedfordshire). Her work focuses on creating accessible andempowering environments for neurodiverse individuals. Originally from Italy, Sara holds a Diploma for Dance Teachers and an MA in Choreography, as well as a first-class BA (Hons) and MA in Performance from London Contemporary DanceSchool (University of Kent). She has performed and choreographed for several European dance companies, with her choreographic works receiving international recognition and awards. Sara also teaches internationally. She is the artisticdirector of Junior Dance Company (Bari and Malta), Dance Master Class, and the inclusive project Dance For All. She lectures at the University of Malta in the Dance Studies and Disability Studies departments. Additionally, she is a boardmember and dance leader with Opening Doors Association Malta, promoting access to the arts for adults with intellectual disabilities.
Contact details:
Email: sara.accettura@um.edu.mt
Facebook: https://www.facebook.com/sara.accettura1/
Social media:
https://www.facebook.com/profile.php?id=100079289806203 (Dance For All Project)
Other sources:
Accettura, S. (2023) ‘L'incontro tra danza e autismo: un'indagine qualitativa presentata attraverso l'uso di vignette’ in P. Grassi and R. Zammit Bioethics and the paradox of appearance: fragility, dependence, disability in the various phasesof life. Rome: Armando Editore, pp.703-720.
The JD Dragon Disability Rights Podcast:
(https://open.spotify.com/episode/1S6uurALuEXCbVXHHnO34G?si=mwK7WKONStytfQlJQ2AE2w)
ResDance Series 8: Episode 9: Choreography, Questions and Relationality with Nic Conibere
In this episode, Nic shares insight into her choreographic processes and on the theoretical ideas, frameworks andenvironments that more widely inform her practice-based research. Alongside sharing her processes for creating work, Nic draws upon her own formative experiences and encounters with choreography. Throughout the episode, we explore ideas around the body and spaces of exchange and ways of being curious and seeking out where relationality can be found.
Nicola Conibere is a choreographer and Programme Leader for the MFA Choreography at the University of Roehampton. Her work explores the politics of bodies, performance and the potentials of the choreographic.
Headshot photographer: Christa Holka.
Contact Details
Email: Nicola.conibre@roehampton.ac.uk
Website: www.nicolaconibere.com
Staff Profile Link: https://pure.roehampton.ac.uk/portal/en/persons/nicola-conibere
Published Resources
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Dancing Otherwise: Reflections on Pluriversal Practices with Victoria Hunter, Daniela Perazzo and Michelle Elliott
In this second episode of their Dance Research Matters Network, Vicky, Daniela and Michelle remind listeners of the focus of their network, which aimed to explore how practices created by artists from diverse backgrounds and artistic perspectives, produce new understandings, positionalities and new modes of knowing. In this episode, they share insight into the network activities and how these have created new opportunities for dialogue around how we might thinkdifferently in our field. Through situating thinking in their own practices, they consider what being otherwise means to them and reflect upon the richness of what they have learnt from both the network and their approaches to pluriveral thinking. They discuss future dissemination of the network activities, the wider value of transdisciplinary debate and remind listeners as to the value of dance in demonstrating others modes of being and doing.
Dancing Otherwise: Exploring Pluriversal Practices Network
The network emerged from the investigators’ interests in dance and politics and a curiosity about the potential for dance to explore, illustrate and provoke ways of relating and being ‘otherwise’.
Website: www.dancingotherwise.com
Instagram: @dancingotherwise
Contributor biography: Victoria Hunter
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 ‘Dancing Otherwise: Exploring Pluriversal Practices’ 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, environmentalchoreography, practice-research methods, dance and new materialisms.
Biography: https://www.bathspa.ac.uk/our-people/vicky-hunter/
Contact: v.hunter@bathspa.ac.uk
Contributor biography: Daniela Perazzo
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 in contemporary choreography, focusing on the ethical, po(i)etic and criticalpotentialities of experimental and collaborative practices. Her publications include articles in Performance Philosophy, Performance Research, Dance Research Journal, Choreographic Practices and Contemporary Theatre Review, and the monograph Jonathan Burrows: Towards a Minor Dance (Palgrave, 2019). Her latest researchengages with notions of vulnerability and discomfort and attends to the gaps, difficulties and entanglements of modes of being in relation.
Biography: https://www.kingston.ac.uk/staff/profile/dr-daniela-perazzo-179/
Contact: D.Perazzo@kingston.ac.uk
Contributor biography: Michelle Elliott
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: M.Elliott@bathspa.ac.uk
AHRC-funded Dance Research Matters Networks
The five AHRC-funded Dance Research Matters Networks explore current issues and generate change and legacy for thesector.
For more information, please visit: danceresearchmatters.coventry.ac.uk
Instagram and Twitter: @danceresearchmatters
AHRC-funded Dance Research Matters Network Series: Episode 4: Centring Dance in Research with Sarah Whatley
In this episode, Sarah reflects upon the role of the five AHRC-funded Dance Research Matters Networks and their importance in generating change and legacy for the sector. Wediscuss the incentive for the Dance Research Matters campaign and consider ways in which dance research can be more visible in the UK. Throughout this episode, Sarah considers how dance can claim its space when linking with other disciplines and a need for dance to continue to voice the valuable contributionit makes to the wider research landscape.
Contributor Bibliography
Sarah Whatley is Director, Centre for Dance Research. Her research focuses on the interface between dance and new technologies, dance analysis, somatic dance practice andpedagogy, and inclusive dance. The AHRC, the Leverhulme Trust, Wellcome Trust and the European Union fund her current and previous research, which is broadly focused on the impact of digital technologies on tangible and intangible cultural heritage. She led the AHRC-funded Siobhan Davies digital archive project, RePlay, and has since partnered with a number of other leading artist organisations. She was founding Principal Editor of the Journal of Dance and Somatic Practices (JDSP) and now sits on the Journal's Board as well as severalother Journals. Sarah was a panel member in REF 2014 (Panel D35) and in 2021 (Panel D33) and is a Strategic Reviewer and member of the AHRC Peer Review College. She is also an Evaluator for the European Commission.
Full biography: https://pureportal.coventry.ac.uk/en/persons/sarah-whatley
AHRC-funded Dance Research Matters Networks
The five AHRC-funded Dance Research Matters Networks explore current issues and generate change and legacy for thesector. 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.
For more information, please visit: danceresearchmatters.coventry.ac.uk
Instagram and Twitter: @danceresearchmatters
Please share this episode with students, educators, practitioners, performers, andinterdisciplinary researchers curious to learn more about dance research inaction.
ResDance Series 8: Episode 8: The value of dance in Secondary Education with Jo-Hodson Prior
In the episode, Jo shares insight into her experiencesworking in education and teaching dance to young people from 11-18 in a Secondary school, and in her role as a PGCE Dance Subject Coordinator. Through situating our conversation in ways of maintaining high quality dance provision, we discuss different ways of accessing dance, current dance and teaching practices and the transferable skills dance can offer both young people and the wider school community. Drawing upon her experiences as a practitioner and researcher, Jo shares insight into findings from her PhD research and her holistic teaching practice underpinned by theoretical discourse. Jo further discusses the importance of developing positive wellbeing for young people through dance and giving young people a voice, highlighting the positive role reflective practice and encouraging them to create, explore and play, can provide. Throughout the episode, she advocates the importance of dance in schools and for the awareness of inclusive practices within dance.
Jo is currently the PGCE Dance Subject Coordinator and Professional Studies Tutor at the University of Chichester and has been working in education for the past 21 years, teachingdance to young people from 11-18 in a Secondary school, as well as teaching contemporary dance vocationally. Jo has continually advocated for the importance of the Arts In schools, with a specific focus on high quality dance and inclusive practice. She is currently completing her PhD at Trinity Laban Conservatoire of Music and Dance, focussing on the development of positive mental health and wellbeing in secondary age students, through a creative dance approach.
Contact Details:
Email: j.hodson-prior@chi.ac.uk
Related Publications:
OneDance Uk article for Education Edition
Hodson-Prior, J., (2019). University of Chichester & PGCE Dance. One Dance UK.
Available at:
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ResDance Series 8: Episode 7:ResDance Series 8: Episode 7: Queer:mess: Research enquiry into bringing the hidden, visible with Stuart Waters
In this episode, Stuart reflects upon his career as a dancer, maker, researcher, curator and more recently, mentor and coach. Situating our conversation around his experiences as an artist with hidden disabilities, we explore ideas around whatsafety in dance looks like; ways of languaging and sharing experience and how spaces he creates meet the things people don’t see. We explore experiences that have led to a place of practice-based research and autobiographical led inquiryin a variety of settings and how his recent mentoring and coaching work has informed both his own practice and supporting artists, more widely. In this thought-provoking episode, Stuart offers personal and honest reflections around shame, keeping disabilities hidden and the barriers to asking for support. Offering insight into ways of being openaround disability as a sector, he advocates for the importance of a sense of dance community and the value of being brave and always championing yourself.
As an alumnus of Northern School of Contemporary Dance(BA) and London Contemporary Dance School (MA) Stuart’s 26year career in the dance sector has been eclectic - performing and teaching in a wide range of educational and community settings nationally and internationally as well astouring with a range of companies and choreographers across different touring networks in the UK and overseas. Over the last decade, Stuart’s practice has shifted into maker, researcher, curator, facilitator, mentor and coach (EMCC Senior practitioner accreditation). Stuart’s practice is an evolving enquiryinto care. It is led by his lived experiences, intersectionality and his hidden disabilities as an access-led practice.
Stuart’s work includes ‘Rockbottom’ (2016-2019), a touring solo show approaching mental health and chemsex. This began Stuart’s ongoing enquiry into “safeguarding the dancer in the studio process, live performance and engagement”, beginning conversations with communities and audiences around the UK.
Between 2021-2024, through partnerships, commissionsand collaborations with The Place, Wellcome Collection, FABRIC, Southeast Dance, PDSW, ACE, East Sussex Arts Partnership and The Brighton Festival, Stuart co-created ‘A Queer Collision’, a practice which evolved from an enquiryquestion into a touring show: how to embed access and audio description to lay the foundation for a queer, time-travelling show which told audio-described autobiographies. The show was also a deep look into care and inclusion forparticipants, audiences and teams. In the last 10 years, Stuart has also co-led and collaborated with a host of artists and partners to deliver ‘Head:ON Conversations’, a thread of Stuart’s work which looks at step-change within thedance and cultural sector. Stuart advocates for mental health and disability step-change in dance as an Unlimited and Clore ‘Inclusive Cultures’ alumnus and through his contributions as a trustee with Candoco Dance Company and STEPPS -a mental health charity for dancers.
Image credit: Joe Armitage.
Contact Details:
Email: stuartwaters90@googlemail.com
Social Media:
Instagram: @Stuart_waters
Linktr.ee/stuartwaters90
Websites:
stuartwaterscoaching.co.uk
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ResDance Series 8: Episode 6: Dance: A Life Choice: A conversation with Dennie Wilson
In the episode, Dennie shares insight into her background and experiences as a Dance Artist, Educator and Researcher. Through situating our conversation in how her lived experience continues to inform her dance teaching practice, Dennie shares insight into her research informed approaches to teaching, ways in which critical and embodied knowledge is passed on through teaching practice and pedagogical ideas around coaching, learning and teaching. Reflecting upon her current PhD research, Dennie reflects upon her own coachingapproach to her how she teaches; the role of the coach within vocational dance training and the skills she aims to equip her professional dancers with who look to transition fromperformer to teacher. Throughout the episode, Dennie advocates the wider value and power of dance and the need for a continued belief in what dance can offer.
Dennie is a Dance Artist, Educator and Researcher who was originally a professional dancer and then performance creator. With a driving interest in collaborative interdisciplinary practice, her career has taken her all over the world to workon projects with artists, composers, contemporary designers, jewellery makers, poets, and new media artists; using a range of mediums including film projection, stop motion animation and algorithmic choreography. She has collaborated on unique installation and theatre pieces in venues ranging fromthe Royal Albert Hall and the National Indoor Arena (Utilita) Birmingham to intimate studio spaces and art galleries.
This lived experience forms the cornerstone of her dance practice. Dennie taught contemporary dance for eight years, at Elmhurst Ballet School (6th form and graduate year), andwas a senior lecturer in Dance Practice and Performance at the University of Wolverhampton. She worked as a dance artist with the Birmingham Royal Ballet’s learning education and participation department (LEAP) for over two decades.Currently Dennie is a Programme Manager, and Lecturer in Dance Education or Professional Dancers in the Faculty of Education at the Royal Academy of Dance. She has responsibility for teacher training programmes for professional dancers looking to make the transition form professional performer to professional teacher. She also lectures on all RAD Faculty of Education programmes with a particular focus on dance technique and performance, choreography, leadinglearning and the holistic health and wellbeing of the dancer. Lastly, Dennie is also jugging the final year of a Professional Doctorate at University of Central Lancashire where her research interest is coaching practice and therole of the coach within vocational dance training and professional dance performance, to empower the dancer as independent decision-maker.
Contact Details:
Email: dennie2@mac.com
Website: dna3d dance designdigital. https://www.dna3d.co.uk/
Website: The Blue Space Concept CoachingPractice https://bluespace.myfreesites.net/
Related publications and sources:
Building a case for coaching: informing an innovative, pedagogical approach to dancer development https://www.tandfonline.com/doi/full/10.1080/14647893.2022.2097656
Labours of Sports Coaching: When to coach, teach, or train, with Dennie Wilson
https://open.spotify.com/episode/3intt9nRsd2HqACv2Bvy0N?si=CuhZ-BtoTYW0ldpCurAYjg
On Time : Speed
https://ontimepodcastseries.podbean.com/
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ResDance Series 8: Episode 5: Dwelling in the interstice: Cross-disciplinary research as a mode of discovery with MaryKate Connolly
In the episode, Mary Kate shares insights from her experience as a writer and curator, and her particular interest in performance legacies and the material remains of performance. Situating our conversation around her recent monograph, In Smithereens: The Costume Remains of Lea Anderson’s Stage (Intellect, 2024), we discuss therole of costume in contemporary dance and explore hands-on practices as means of revealing what gets left behind in the wake of performance. In this episode, Mary Kate reflects on her preoccupation with the intersections between disparatefields of research and a willingness to embrace the role of the novice when inhabiting them.
Dr Mary Kate Connolly is a writer and curator based in London, UK. She is currently undertaking research in partnership with Victorian College of Arts, Melbourne. Mary Kate is Co-Editor (with artist David Caines) of COMPOST, a multidisciplinary arts zine.
Her monograph In Smithereens: The Costume Remains of Lea Anderson’s Stage (Intellect, 2024) is the culmination of a longstanding collaboration with choreographer LeaAnderson; many years spent experimenting in the costume archive, writing about the fabric remains of performance and curating exhibitions of costume artefacts. Mary Kate continues to be preoccupied with performance legacies (both material and immaterial). Looking to find alternative ways in which theycan be unfolded.
She has curated exhibitions and live events at studio 1.1, London, Barbican Pit Theatre, TACO! Gallery, and Anthony Wilkinson, Soho. Edited publications include Lea Anderson's The Cholmondeleys and The Featherstonehaughs: 40 Years of Style and Design (2024), People Show: Nobody Knows butEverybody Remembers (2016) and Throwing the Body into the Fight: A Portrait of Raimund Hoghe (2013).
Mary Kate is former Programme Leader of the MA and MFA creative practice at Trinity Laban Conservatoire of Music and Dance. She has performed at Prague Quadrennial, Brut Wien and as part of SPILL festival, UK.
Contact Details:
Email: marykate@compostartzine.com
Social Media:
@connolly.marykate
@compost_art_zine
Recent Publications and Related Links:
In Smithereens: The Costume Remains of Lea Anderson’sStage:
https://www.intellectbooks.com/in-smithereens
COMPOST Art Zine:
Lea Anderson’s The Cholmondeleys and The Featherstonehaughs: 40 Years of Style and Design:
http://www.leaanderson.com/40th-anniversary-book
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ResDance Series 8: Episode 4: Thinking differently about training practices and the value of health care within dance with Steven McRae
In this episode, Steven reflects upon his experiences as a professional dancer and Principal of The Royal Ballet. We position our conversation around the recently aired documentary “Steven McRae: Dancing Back to the Light”, which documents Steven’s journey with rehabilitation and return from injury. He reflects upon the revolutionary work of the Royal Ballet and a new sense of value he places on the role of scientific and embodied knowledge in underpinningand informing his practice. Steven advocates the need for open dialogue and conversation around practices within dance and a greater accessibility of health provision within the sector. Throughout the episode, he reflects upon the hope he holds for a greater sharing of experiences and the opportunity for a cultural shift in the training and workload practices of dancers.
Australian dancer Steven McRae is a Principal of The Royal Ballet. He joined The Royal Ballet School on a Prix de Lausanne scholarship in 2003. He graduated into The Royal Ballet in 2004 and was promoted to First Artist in 2005, Soloist in 2006,First Soloist in 2008 and Principal in 2009. McRae was born in Sydney and trained with Hilary Kaplan and at The Royal Ballet School. He won the 2002 Adeline Genée Gold Medal and the 2003 Prix de Lausanne. His roles with The Royal Ballet include all the classical repertory and leading roles in works by choreographers including Frederick Ashton, George Balanchine, David Bintley, William Forsythe, Kenneth MacMillan, Alastair Marriott, Wayne McGregor, LiamScarlett and Christopher Wheeldon. His role creations include Magician/Mad Hatter (Alice’s Adventures in Wonderland), Jack (Sweet Violets), Sandman (Hansel and Gretel), Florizel (The Winter’s Tale), Emble (The Age of Anxiety), Creature (Frankenstein) and roles in Three Songs – Two Voices, Children of Adam, Chroma, Acis and Galatea (Royal Opera), 24 Preludes, The Human Seasons, Tetractys, Connectome, Woolf Works, Multiverse, The Illustrated Farewell, Yugen and concerto pour deux.
McRae has performed as a guest artist with companies including American Ballet Theatre, National Ballet of Canada, Australian Ballet, Tokyo Ballet and at numerous international galas. His awards include the 2006 Emerging Male Artist (Classical) and the 2011 Best Male Dancer awards at the Critics’ Circle National Dance Awards. In 2014 he was named Young Australian Achiever in the UK by the Australia Day Foundation.
https://www.rbo.org.uk/people/steven-mcrae
Photo Credit: ‘Ballet Nights’
Contact details:
Instagram @stevenmcrae
Other social media platforms:
@royalballetandopera@verdensballetten
@a_resilient_man.film
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ResDance Series 8: Episode 3: Exploring Dance as a Tool for Awareness and Wellbeing with Alice Marshall
In the episode, Alice shares insight into her experiences both as a professional dancer and choreographer and the work of her company - Adaire to Dance. Through exploring her choreographic identity, she offers insight into performative work and her drive for encouraging accessibility of the arts, presenting opportunities for all in dance. Alice reflects upon the role dance has as a tool for raising awareness ofexperiences and conversations that feel difficult to have, sharing her personal journey with baby loss and the role dance has played in her recovery. Throughout the episode, Alice highlights the need for open dialogue and conversation within dance and reminds listeners as to the wider value of dance.
Please note this episode contains dialogue around baby loss
Alice Marshall is a leading Dance professional in the Midlands area. After an extensive performance career with choreographers such as Paul Bloom, Katie Green and Cathy Seago, Alice went on to form Adaire to Dance – a professional performance company that demonstrates the diversity of Contemporary Dance. Her work with her own company concentrates on accessible dance and combining other art forms with the movement created. Often a collaboration with Illuminos is at the centre of her work. As Choreographer and performer within this company Alice also taught Dance toall ages in the community.
As a lecturer she has a keen interest in the development and upholding of the work of Dance Artists, and therefore strives to present them all with opportunities that her connectionsin the industry can provide. Alice's dance academic research has been recognised, and she has presented papers across the sector including ELIA and Advance HE. Her work has been published in the form of a book Entertainment in the Performing Arts by Routledge and is the start of her exploration into a new way of accessible writing for academia. Alice was awarded Derbyshire's Inspirational Woman of the Year Award in the Arts (IWA) in 2015,and was one of three shortlisted for One Dance UK’s Lecturer of the Year 2018.
https://alicevale.weebly.com/about.html
Contact details:
Email: a.e.a.marshall@derby.ac.uk
Instagram @aeamarshall
Linkedin: Alice Marshall (Vale) - SeniorLecturer - University of Derby | LinkedIn
Other social media platforms:
@adairetodance
@creativeparent
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ResDance Series 8: Episode 2: Giving Care: A conversation on dance, motherhood, and sustainability with Satu Hummasti and Shaun Boyle D’Arcy
Satu Hummasti and Shaun Boyle D’Arcy share insight into their individual careers and how their collaboration exploring ethics of care giving and care giving began. In the episode, they explore their ways of working and reflect upon their processes of making and collaborating. Through discussion of their sharedthinking and practices, we explore having accountability and responsibility for beings other than ourselves; gender parity; the role or policy in creating change and the value of collective dance making. Throughout the episode, Satu and Shaun highlight the importance of using dance to share livedexperiences and the hope that through open dialogue and conversation, family life can more readily be integrated into arts and dance spaces.
Satu Hummasti, originally from Helsinki, Finland, is a choreographer, dancer, educator, and writer who hasperformed, choreographed and taught throughout the United States, Europe, South and Central America, and Russia. Her work has been seen in Medellin, Colombia; Bordeaux, France; Edinburgh, Scotland (as a part of the 2007 Edinburgh FringeFestival); St. Petersburg, Russia (as a part of the Open Look Festival 2011), Helsinki, Finland, Oulu, Finland (as a part of the Arctic Steps Festival 2015), Kökar, Åland, and San Jose, Costa Rica; and nationally in New York, Boston, Phoenix, Salt Lake City, Edinburgh, Texas, and Seattle. Her work has beencommissioned by Compañía de Cámara Danza UNA in San Jose, Costa Rica; Repertory Dance Theater in Salt Lake City; Kannon Dance Company in St. Petersburg, Russia; for graduate students at the University of the Arts in Helsinki, Finland; and for the graduating class of professional artists at the Keskuspuisto AmmattiOpisto TanssiPuoli, also in Helsinki, and SBDANCE Curbside Theater in Salt Lake City. In NYC she has shown dances at Dance New Amsterdam, Chashama, The Construction Company, Sal Anthony’s Movement Salon, and at The John Ryan Theater at White Wave, as a part of the d.u.m.b.o. and Cool New York Dance Festivals. She currently collaborates on community-based projects and dance theater projects with Daniel Clifton- her most recent project “Shore” was awarded an ÅlandIsland Guest Artist Residency in Åland, Sweden. She is an Associate Professor in the School of Dance at the University Utah.
Contact details:
Email: satu.hummasti@utah.edu
Instagram: @satuhummasti
Shaun Boyle D’Arcy is a dance artist and educator who hadan extensive performing career, dancing in classical ballet and contemporary companies including BalletMet (USA) and Cedar Lake Contemporary Ballet (USA). She danced in a broad spectrum of works by leading choreographers such asGeorge Balanchine, Edwaard Liang, Jodie Gates, Larry Keigwin, James Kudelka, David Dorfman, Alonzo King, David Nixon, Marius Petipa, Emily Molnar, and Benoit-Swan Pouffer. Shaun’s own choreography stems from this lineage, intertwining her roots in ballet and contemporary styles. Her work has beenpresented internationally at venues including the Joyce Soho Theater (USA), Ailey Citigroup Theater (USA), Bonnie Bird Theatre (UK), Robin Howard Theatre at The Place (UK), and the Kennedy Center (USA) amongst others. Shaun holdsdegrees from New York University (BFA), Trinity Laban Conservatoire of Music and Dance (MA), and George Mason University (MFA). She currently serves as a full-time faculty member in the School of Dance at George Mason University,located just outside of Washington D.C., and previously held academic appointments at the University of California, Irvine and the University of Utah. Additionally, Shaun continues to teach and choreograph as a guest artist at dance organizations in the United States and abroad.
Contact details:
Email: sboyleda@gmu.edu
Instagram: @tiny.dancer.shaun
Instagram: @gmu_schoolofdance
Website: Website
ResDance Series 8: Episode 1: The Unknown In Dance with Rhiannon Faith
In the episode, Rhiannon shares insight into her experiences and interests in dance, choreography and theatre and the role theatrical devising continues to play in her work. Throughout the episode, we explore the inspirations for her ways of making, the thinking that underpins her processes and how her creations serve a connection and relationship with an audience. We discuss consideration of the audience in her work and the curating around which audiences the work is trying to reach, where the work is most useful and ways to create a community of work through this. Rhiannon shares the value she places on the role of legacy in making a change and the potential both her work and more generally, artistic practice, has to make a difference. Throughout the episode, Rhiannon reflects upon her continued appreciation for her own personal background, who she is and how she responds to her support network around her. The importance of following your instinct and trusting in the work you make is highlighted throughout, alongside the value of surrounding yourself with a team who share the same vision and are willing to embark on the journey with you.
Rhiannon Faith is a boundary-breaking Artist whose work and experiences cross artforms. Brought up in a big Irish Catholic, working-class family, she is an exciting British female voice making waves in choreography, directing, social activism and as a published author. Artistic Director of Rhiannon FaithCompany, nominated for five National Dance Awards; ‘Best Digital Choreography’ (2021), ‘Best Dance Film’ (2022), and ‘Best Independent Company’ (2021, 2022 & 2023). Critically acclaimed work DROWNTOWN received 4STARS across the board, and recently toured to Wuzhen Festival, China. New work Lay Down Your Burdens, Co-Commissioned by Barbican,London and Harlow Playhouse, premiered at the Barbican in November 2023 and was shortlisted for a 2023 One Dance UK Award for ‘Innovation in Dance’ and nominated for a 2024 Olivier Award for ‘Outstanding Achievement in Dance’.
Photographer's credit: Foteini Christofilopoulou
Contact details:
info@rhiannonfaith.comhttps://www.rhiannonfaith.com/Social media platforms:
X: @RhiannonFaithFacebook: @RhiannonFaithCoInstagram: @rhiannonfaithcompany
Related links:
Rhiannon Faith Youtube Channel: https://www.youtube.com/channel/UCrBJ9bj8Gg4tq9x-vArHfGQ
Harlow Care Film: https://www.youtube.com/watch?v=ybfu4fpKEzU
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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 a focus on education and training, we discuss her online presence in generating ways to create healthier training practices and in finding accessible and original ways 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 her Bachelor 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 Instructor with 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: hello@bodykinect.org
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 studies and 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 importance of 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 movements’ interrelations 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: susanne.foellmer@coventry.ac.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 Performance’s Museum. In S. Whatley, I. Racz, K. Paramana, & M.-L. Crawley (Eds.), Art and Dance in 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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