Dance

Your community, your University

2

Contents

The department 3What makes us different 4Summer Dance: Intensive 6Dance BA (Hons) 83Fall Dance Company 19Erasmus and International Exchanges 20Our successes 22Our employability pledge 24mapdance 26Dance Research at Chichester 28Staff profiles 32

3

The department

The Dance Department is aleading provider of excellence indance education, which drawson the expertise of the teachingteam aiming to foster the nextgeneration of danceperformers, choreographers,writers, dance film makers,teachers, somatic practitioners.and community artists.

Studying Dance is a challenging and rewardingexperience. It offers the opportunity toextend and develop your dance techniqueand choreographic skills, whilst studying andengaging in academic and vocational studies.

The understanding of dance within a widerartistic perspective will enable you to developyour skills to the full potential with a variety ofcareer outcomes.

Choreography is the central focus of studyhere at Chichester, developing the creative,imaginative and interpersonal skills that willhelp you to realise your dance potential.

Studio classes in Dance Technique representa quarter of the programme and providedaily technical practice. You will work with awealth of professional specialist tutors whosebackgrounds stem from highly-respectedperformance companies.

Vocational modules in specialist areas such asDance Movement Psychotherapy, DanceJournalism, Dance Film, Popular Dance, andTeaching Dance & Creative Practice are just asample of the breadth of the optionsavailable.

Links to Employment and future careers areessential and students have the opportunityto undertake a Dance Placement, or ateaching work experience, or performanceexperience and teaching as part of our 3FallDance Company. Students are guided withthe help of both the module tutors and ouractive Careers service to identify and channeltheir knowledge, skills and talent.

4

What makes us different?• Our staff includes international

professional dancers, choreographers,researchers, writers and directors,renowned for their theoretical andpractical expertise.

• Dance facilities include: four superbdance studios, a fully-equipped 250-seattheatre, a 110-seater studio theatre.

• The opportunity for you to see a rangeof professional dance work on thecampus through regularly programmedperformances in The Showroom.

• Cultural trips (last year to Paris) as wellas theatre trips to London as well asmore local venues.

5

• The International and Erasmus Exchange- to study in Stockholm, Helsinki orLisbon for either a semester or full yearor further afield to York UniversityToronto or Buffalo, State University ofNew York.

• Performances are programmedthroughout the year in The Showroomand have included:o Ben Wrighto Theo Clinkardo James Wiltono Lila Dance

6

Summer Dance:IntensiveWe run an exciting annual Dance SummerSchool, to advance your dance trainingwith daily technique classes incontemporary and ballet.

This year it will be taking place from the 26 – 30 August 2013.

Find out morePlease contact Cathy Childs:• Tel: 01243 816177• Email: c.childs@chi.ac.uk

7

Dance(BA Hons)

8

The Dance curriculum enablesyou to become an independentlearner through the experienceof active participationthroughout degree-level study.

As a student, you will build your subjectknowledge and practical experience, throughcore and optional teaching modesappropriate to the breadth of the curriculum.Your learning encompasses development ofdance knowledge and skills intrinsic to dancepractice. Learning is supported by theoreticalinquiry and debate, to provide you with theability to contextualise your learning withinacademic frameworks.

Modules are delivered in a variety of waysincluding:

Standard moduleA single module scheduled over onesemester (15 credits normally) examples:Popular Dance and Introduction toImprovisation and Composition.

Double moduleA double module is spread over twosemesters (30 credits normally) examples:Dance Portfolio and Dance Placement.

Long thin moduleA standard module can be spread over twosemesters (15 credits normally) example:Dance Technique.

9

Summer moduleSummer study, condensed into a two weekperiod (15 credits normally) example:Interdisciplinary Arts Project andPerformance and Place.

Module strand (Level 6)This is a double module, either 2 x15 creditsor 30 credits, designed to allow for in depthsubject study. For example: DanceMovement Psychotherapy 1 and DanceMovement Psychotherapy 2 and TeachingDance Technique and Teaching Dance andCreative Practice.

10

11

Year 1 ModuleInformation

Theory modules allow you to begin todevelop research skills necessary for degreestudy. Teaching is delivered through illustratedlectures and small group seminars, linkingdance theory to practice. Focusing on keyaspects of dance history, Reading and Writingabout Dance provides you with opportunitiesto develop communication skills, throughgroup discussion, written reports and a grouplibrary-based research task. ContextualisingDance examines key ideas and issues arisingfrom fine art, applied to a variety of art forms.You will be guided in this module to furtherdevelop research and study skills, directed toessay writing.

Daily practical classes enable you to engage inhealthy, safe dance practice, through floor,ballet barre, centre work, traveling exercisesand improvisational exercises, designed todevelop technique skills needed for universitydance study. In Dance Technique 1a and 1b,key elements essential to dance training areintroduced and incorporated into ongoingpractice: strength (core stability), stamina, co-ordination, body placement, and kinaestheticawareness. Learning and teaching in dancetechnique allows you to develop movementmemory through repetition of set sequences,timing and musicality, use of space, andexperiential learning through improvisationaltechniques. To extend practice, you will beinvolved in the ongoing rehearsal andchoreography of peers.

Choreography modules encourageexperimentation and creative problem solvingin a safe environment, providing a foundationfor independent learning through reflectivepractice. Introduction to Improvisation andComposition and CompositionalApproaches and Devices provide you withpractical workshops and dance tasks toencourage you to engage with, discuss andquestion principles underlying dancecomposition. A written choreographynotebook enables you to reflect onexperiential learning, comment on the workof professional artists and summarise readingand viewing examining dance composition atintroductory level.

Contextual modules within the curriculumfocus on experiential learning, enhanced by aspecific focus on dance practice, supported bytheoretical and practice-led research. DancePortfolio introduces a variety of short mini-modules such as dance health science, film andvideo editing skills, and repertory projects tochallenge performance skills.

12

Year 2 ModuleInformation

Year two offers you choice in directing yourstudy as you progress in the acquisition ofsubject and transferable skills. Theory modulesallow you to develop research andpresentational skills progressively from levelone.

Critical Lenses and Identities examines keyaspects of the genre, allowing you to makelinks between contemporary arts practice andpostmodern issues raised by key postmodernphilosophers. Research will encourage you todebate the cultural, social and philosophicalimplications and validity of postmodernism forarts practice today, essential preparation fordissertation study.

Research Methodologies prepares you fordissertation study, identifying areas of potentialresearch interest through in-depth informationretrieval requiring synthesis, analysis andevaluation. This module provides you with thenecessary skills and confidence to makechoices in planning your dissertation orpersonal study, an independent researchproject undertaken in level three.

Choosing Performance and Identity insemester two will provide you with additionalopportunities to study the work of keymodern and postmodern choreographerswith a focus on theoretical frameworks andcultural identity.

Practically in Technique 2a and 2b, dailytechnique classes focus on motionalcomplexity and quality in movementexecution. Tutors have specialism in stylessuch as Cunningham, Release technique,Limon as well as influences of Capoeira andyoga. You will further experiential learning indance performance, developing movementmemory, use of timing and musicality, use ofspace and partnership/improvisationaltechniques.

Choreography modules focus on thechoreographer as director, incorporatingpractice and research to develop usefulframeworks for choreography. Structures andConcepts allow you to consider thereciprocity of form and content inchoreography led by the investigation ofrelationships between dance and music.

Practice, Performance and Researchinvestigates how current choreographers usethe arts as stimuli for their work, providing youwith methods and strategies to realise yourown choreography using other media and/orlocation in process through to performance(e.g. text and dance).

13

Contextual modules are designed to extendcognitive and creative skills throughexperiential learning. The curriculum offers arange of modules that offer you choice,targeting specific areas of subject knowledge:

The Dancer's Body allows you to engage withexperiential study of anatomy for the dancer,from a somatic approach. Workshops provideopportunities to use practice to furtherinform anatomical knowledge, consideringmovement connectivity, expressivity, bodyalignment and injury prevention. You willpresent your knowledge in a paired labpresentation, supported by an individuallearning journal.

Performance and Technology will inform youabout digital media and film in dance andperformance today. You will engage with thework of digital artists and critical texts, anddesign and execute a group technologyproject. Learning on this module is supportedby a journal.

Dance Journalism will examine the scope ofdance journalism, considering journalistpublishing from both sides of the fence – thewriter’s and the publisher’s. You will function asan editor, investigating different skills involvedin writing, subbing, copy-editing and proofcorrecting, and in designing pages forpublication. Learning culminates in a groupproject, planning and delivering a specialistdance publication and an individual articleidentifying and analysing a contemporarydance issue.

Improvisation and Performance will allow youto engage with spontaneous performance.Workshops introduce a variety of approachesand methods relevant to solo, duet and groupimprovisations. You will work with others todevise structures for a group performanceinvolving complex decision-making and raisethe level of your kinaesthetic, spatial and auralawareness as a performer. Practical work issupported by a journal task.

Repertory is when you work with achoreographer in the creation and direction ofmaking a group piece. In this module you areencouraged to work as a dance companygroup, responding to discussion and criticalfeedback. A supporting paper allows you toreflect on the choreographic process as wellas your role within the project from start tofinish.

14

Year 3 ModuleInformation

The dance curriculum at this level offers yousubstantial choice, through a variety ofmodules that build on acquired danceknowledge and proficiency. At this level, youwill develop research–led enquiries toestablish contexts to advance your ideas andinterests and extend your learning in relationto values and attitudes relevant to prospectivecareer outcomes in dance. Consulting withyour academic advisor will allow you to choosea route through the curriculum, to build anindependent personal profile enabling you tofulfill your potential as a thinking, imaginativeand culturally aware dance practitioner.

Dance Dissertation provides you with anopportunity to focus in depth on independentresearch, leading to completion of a substantialpersonal investigation showing evidence ofcritical scholastic engagement with thediscipline. The curriculum allows for diversityin this double module, through prescribedweighting of written and practicalcomponents. The dissertation process beginsat level two through Research Methodologies.In the summer before year three, you areexpected to consider and develop how tobuild on research methodologies to furtherengage with appropriate modes of enquiry inrelation to your dissertation topic. At thestart of the year, initial group meetings helpyou in the planning and direction of yourdissertation study.

You will be assigned a dissertation supervisor,who will work with you individually and insmall groups to promote thorough discussionand debate in written work, and to supportappropriate reflection of research concerns inpractical work, which may lead to a work ofchoreography, video project, series ofillustrative studies, installation project, lecturedemonstration or an individually negotiatedproject combining the above approaches topractice. Dissertation projects are supportedby a set schedule to ensure that ongoing workis submitted and returned with criticalfeedback so that your work evolves over time,becoming articulate and distinct, academicallyand artistically. It is essential that you timemanage your work independently in order tomeet these deadlines adequately. All practicalsubmissions are supervised by a designatedDance tutor and a Dance Technician inrelation to assessment presentations andperformances.

In Dance Technique 3a and 3b, dailytechnique classes allow you develop and refinetechnical skills through reflective practicedirected toward corporeal expressivity.Classes challenge you to engage in reflectivepractice and to identify and set goals for self-improvement. As a dancer, you continue tolearn through demonstration, repetition andimprovisation, but learning is directed towardperformance artistry. Complex movementphrases and improvisational situationschallenge you to work in greater depth,physically and imaginatively, allowing you toprogress in developing individual style.Learning is supported by discussion andfeedback arising from self, peer and tutorappraisal. You are required to participate inthe choreographic and other work by peers,linking ongoing practice to a variety of danceperformance outcomes (two works eachsemester, normally).

15

Interdisciplinary Arts Project (summermodule) is taught at either the beginning ofyour third year in the summer between levelstwo and three or at the end of level three.This module focuses on interdisciplinaryapproaches to the arts in addition to extendingexperiential and theoretical knowledge ofdance. You will collaborate with a team ofpeers to design and produce a new work,supported by workshops, feedback andtutorial guidance. Past projects have includedworking with Elliot Caplan (MerceCunningham film maker), Lila Dance, sitespecific next year it will have a set design/artfocus.

Choreographic Projects allows you to directand develop a substantial work ofchoreography taking any aspect as a stimulusfor the work.

Postmodern Practice allows you to build yourknowledge of postmodernism through thestudy of selected current contemporarychoreographers in relation to key postmodern ideas and issues. Learning throughpractical application is a key feature of thismodule, leading to choreographic production,supported by a reflective paper.

Dance Production (performers by audition,administrators/technicians by interview) ourdouble module presents a chance for you tobecome part of 3Fall Dance Company, touringtheatres, schools and colleges. Teaching andlearning activities allow you to develop avariety of skills (choreographic, performance,teaching, administration, IT andcommunication skills) in a work situationmirroring the professional world. Yourlearning experience is furthered byperformance touring, supported by a writtenreport evaluating and appraising yourcontribution to the Company and overallexperience within it.

Teaching Dance Technique offers theopportunity to develop teaching skills withinthe context of contemporary dance training,through practical workshops, tutor andstudent-led seminars, and courseworkobservation and practice. Your learning in thismodule is supported by practice teaching anda seminar presentation detailing a particularteaching approaches and methodologies. Thismodule is followed by Teaching Dance andCreative Practice and aims to take the learningout into different teaching settings and to gainvaluable experience of working with differentteaching groups in a placement.

Dance Placement allows you to undertake awork-placement position within a danceorganisation or company. Past students havebeen placed with South East Dance, ThePoint, Hofesh Schechter, Akram Khan,Motionhouse, Loop Dance, Stop Gap, JasminVardimon, Balletboyz and many more. Inaddition to this, guest lecturers are invited tointroduce you to issues affecting danceemployment, such as current fundingpractices, dance company management andworking with special needs groups. Learning issupported by group meetings to discussprogress and problem solving placements andprojects, and through individual tutorials.

16

Dance Criticism challenges you to engagewith artistic, social and political aspects ofcurrent dance culture, allowing you to define,discuss and debate values and attitudes shapingcontemporary dance today. Lectures,workshops and seminars focus on the Banesmodel, encouraging you to challenge artisticassumptions and perceptions from aninformed point of view. You will apply andconsolidate your learning on this module,through a dance review and critical essay.Students progress onto the module BodyPolitics where they will debate issues such asthe role of the body in mass culture, the roleof the body in colonisation and decolonisation,the role of the body in negotiating local,national and global identities and the role ofthe body in constructing sexual and genderidentities.

Dance Movement Psychotherapy (DMP) 1examines the background and context ofDMP and its development as a discipline,considering the practice of key practitioners inthe field. You will explore, practically andtheoretically, Authentic Movement andmovement-based expressive arts therapy,allowing you to experience the impact ofgroup interaction and discussion within atherapeutic context. Learning culminates in apractical performance, supported by areflective paper. Students progress ontoDance Movement Psychotherapy 2 whichbuilds in providing an opportunity for you toengage with specialist practice through weeklyinvolvement with an experiential dancemovement therapy group. Experientiallearning is supported by examining currentresearch and practice. A reflective learningjournal allows you to integrate yourexperience with relevant theory arising fromthe discipline.

17

18

Touring companyOur third-year dance Company, 3Fall,is a touring company which givesdance students a taste of what itwould be like to be in a professionalcompany. It offers performances andworkshops in theatres, colleges andschools around the UK. Studentsaudition to be part of the Companyand, following an intensive rehearsalperiod, the Company tours in thespring of each year.

The repertoire changes each year andpast choreographers have includedVictoria Fox ( Jasmin Vardimon),Thomas Kampe, Lila DanceCompany, Detta Howe (GingerDance Company), Dale Thompson(Nikolais Dance Theatre), ColinPoole, Gary Lambert (both ex-Rambert Dance C), Stuart Waters(Motion House and Bare Bones),Martin Lawrence (Richard Alston),Filip Van Huffel (Retina DanceCompany), and Lea Anderson of theCholmondeleys, Yael Flexer, AyaKobayashi (Yael Flexer/ NicSandiland).

Alongside touring, 3Fall companymembers learn to deliver educationalworkshops, and have been asked todevise curtain raisers as well asconstruct Set Study Syllabus forexaminations.

Previous performance venues haveincluded The Point, Eastleigh andschools in the West Sussex,Hampshire area. Giving studentstouring experience also meanstravelling further afield and pastcompanies have performed andtoured to Colchester, Huddersfield,Kent and Oxford. Ex-members of3Fall Dance Company have gone onto become founder members of LilaDance, work with choreographerssuch as Charles Linehan and ScottClark, set up their own companiessuch a Replica Dance, and gone on tobecome part of the mapdancecompany at the University andTransitions (TrinityLaban).

3Fall Dance Company

19

20

Erasmus andInternational Exchanges

Current Exchange opportunitiesinclude: • York University in Toronto, Canada • University College of Dance

Stockholm, Sweden • Theatre Academy of Finland, Helsinki • State University of New York, Buffalo• Escola Superior de Dança, Lisbon

Portugal

The European Union’s Erasmusprogramme offers students the chance tospend part of their degree abroad inanother European country, either tostudy at a university or on a workplacement. International exchanges workin the same way, except there is not anadditional support grant.

How it worksAn Erasmus/International exchange canlast for a minimum of three months to amaximum of 12 months, which meansstudents are abroad for either onesemester, or one academic year. Ifspending one semester abroad, studentsnormally travel during their second yearof study and swap a semester atChichester with a semester at the partnerinstitution. If spending the whole yearabroad, students go abroad in theirsecond year of study and then return toChichester to complete their final year.

Whilst abroad, students can either studyat a partner university, or complete awork placement. If studying at a partneruniversity, the courses taken will have tobe agreed with your tutor before youleave. The course credits that you earnwhilst abroad will be translated intoUniversity of Chichester marks when youreturn, and will count towards yourdegree.

Grants and feesAll Erasmus students are entitled to anErasmus grant, which is calculated on apro rata basis, dependant on the numberof months you will be spending abroad.Students do not pay fees to the universitythey are visiting. If you are abroad for onesemester, you will still have to pay fees tothe University of Chichester. However, ifyou are spending the whole academicyear abroad, you may not have to pay anyfees to the University of Chichester oryour host. Participation in an exchangeabroad will not affect your entitlement toa student loan.

21

22

Our successes

We are very proud of all ofour dance students butwould like to give a sense ofthe breadth of the successof recent graduates who have moved into areas ofperformance, teaching,administration, postgraduate study andresearch.

Performance Everyone here were either dancers inmapdance, 3Fall or both

Abi Mortimer and Carrie Whitaker – LilaDance (Choreographers and Arts Councilfunded touring company)

Christopher Reynolds – Udifydance(Choreographers)

Tom Pickard and Hannily Bendell – ReplicaDance Company

Liz Richards – Independent Choreographerand dance artist and teacher, formerassociate at The Point

Gemma Bass-Williams – Danced withShobana Jeyasingh

Aya Kobayashi – Dancer with Yael Flexer,Anjali and Lila Dance

Joe Darby – Transitions Dance Company,Lila Dance

K-J Lawson – Transitions Dance Company,Akram Kham

Yu Yu Rau – Douglas Thorpe Company

Kai Downham – Danced with Balletboyz,Wayne McGregor, Lila Dance

23

Arts ManagementCharelle GriffithsMarketing Manger – English National Ballet

India Pearson – Arts Management – HofeshShechter, Dance Umbrella, now at EnglishNational Ballet

Kirsty Sulston – Producer, Public Programme,South East Dance

Hannah Waters – Rambert Dance Company

Community DanceEmma Breeze – Embody Dance – classes fordisabled, mature or inexperienced

Dance Movement Psychotherapists Carly Marchant – Lecturer and ClinicalSupervisor, Queen Margaret University

Jeni Wilson – St Antony’s School

Teaching in Further EducationCollegesLloyd Miles – South Downs College

Estelle Palmer & Emmi Pascal-Willis –Chichester College

Sarah Warke – Portsmouth College

Kate Hewitt – Highbury College

Our employability pledge

We understand the importanceof ensuring that you have theknowledge, skills and experienceto compete successfully intoday’s challenging jobs market.

In addition to the work placements andsector-specific employability and enterprisemodules that many of you will haveembedded in your course, we havedeveloped a student and graduate internshipscheme.

Our commitment is to make sure thatstudents and graduates from all disciplineswho register on the programme, andsuccessfully complete the necessarypreparation, have the opportunity to applyfor carefully matched internships. *

This programme aims to ensure that you willgraduate with:• a focused high-quality CV• interview and selection centre

preparation• the ability to identify and articulate

transferable skills• experience of a recruitment process• substantive relevant work experience • workplace skills

24

As part of the programme we aim to:• provide a free ‘matching service’ to

identify the needs and aspirations of bothgraduates and employers

• identify and promote short term studentemployment opportunities with a focuson specific sectors

• ensure that there is a range ofopportunities to be provided includinginternships of both short and longduration.

• sign-posting Chichester graduates toother universities’ internship schemes intheir home area, where available.

* Gaining an internship is the result of acompetitive interview process with theprospective employer so an internshipcannot be guaranteed. The programme isintended to provide a progressive workexperience package tailored both to yourcourse and your career aspirations ongraduation.

25

26

mapdance

“A terrific evening of contemporary dance –there were lots of really positive commentsfrom the sell out audience afterwards”Jane Scorer, Devizes Festival Committee

Now in its seventh year, mapdance the MAPerformance programme has firmlyestablished itself as an exciting touringcompany. It offers dance artists at differentstages of their artistic lives the chance toundertake a Masters degree or Diploma levelin the UK’s leading Practice as Researchdepartment. Dancers are recruited fromnational and international trainingprogrammes and come together to develop adynamic repertoire of works. There are alsoopportunities to engage in cutting-edgeresearch with interactive technologies.

The company has worked with cutting edgechoreographers including Shobana Jeyasingh,Charles Linehan, Nigel Charnock, Liz Aggis,Gregory Maqoma (Vuyani Dance Theatre,South Africa), Ben Wright, Matthias Sperling,Ben Duke (Lost Dog), Darren Ellis, MatteoFargion, Saju Hari, Ben Wright, Lucinda Childsto name a few.www.chi.ac.uk/mapdance

“mapdance is very much one of the leadingplayers in terms of graduate performance ofcontemporary dance” Adrian Berry,Director - Jackson’s Lane, London

Our MA programme prepares students forthe profession and for a career as researchersand teachers by giving them the opportunityto investigate their practice in depth asperformers, makers or independentresearchers. The principle that creativepractice can be as rigorous a mode ofresearching certain research concerns asmore conventional research methodologiesunderpins our approach to Practice asResearch, for we believe that creative practicecan generate comprehensive critical reflectionand/or theoretical investigation whichilluminates the more subtle details of theresearch concerns revealed through thepractice.

27

28

Dance Research at Chichester

Research has always been at theheart of the dance departmentand informs teaching throughdance practice, publications,lectures and conferences.

The Departments of Dance and Theatrework together to develop a researchenvironment of international standing. Ourresearchers have international reputationsand regularly present their research in theUK, the USA, Europe, East Asia andAustralia. International scholars andpractitioners are also regular visitors to thedepartment. Individual researchers haveworked variously with neuroscientists, filmand theatre directors, interactive artists,geographers, computer programmers, fineartists and composers.

We have received funding from bodies asdiverse as:• The AHRC• The Wellcome Trust• The Arts Council• The BBC• The British Council• The Canada Arts Council

Our researchers publish widely, and arecredited as sole, or contributing, authors ofbooks published by major companies suchMacmillan, Palgrave and Routledge.

The expertise amongst our researchers isimpressively wide ranging, and includesresearch into artists such as WilliamForsythe, popular dance forms from the CanCan to Capoiera, somatically informedchoreographers, screen dance, film, thedialogue between choreography andtechnology and public participation in theperformance of dance works.

29

30

We also have a history and reputation forresearch in dance/movement andpsychotherapy, Authentic Movement andother somatic practices. Practice as Research(PaR) is a key area for dance research andwe also have specialist research indance/performance and site/place,dance/performance and screen. Many staffcontribute to British dance culture asprofessional choreographers, dancers,installation artists, film makers and curators.Our researchers produce high qualityperformance events, exhibitions as well asgenerating publications from books to bookchapters and articles. Many have a strongonline presence through personal websites.

We have researchers qualified to superviseMPhils and PhDs in:• choreography• performance• improvisation • dance history and analysis • dance and new technologies • dance on screen• popular dance practices • dance movement therapy • philosophical and post colonial issues as

they impact on dance

We have a growing community of PaR PhDstudents, many of whom are practicingprofessional artists investigating a number ofartistic issues through their work.

Current PhD students are researching:

Yael FlexerIntimacy in live dance performance usinginteractive installation.

Amy Voris Choreographic process, somatics and play.

Ashleigh Griffith Developing a phenomenologicalperformance documentation practice.

Leah WainwrightHidden Mnemonics: Investigating the role ofBritish Ballet as a form of cultural memory

Marisa Zanotti“Passing Strange and Wonderful”: Apractical-theoretical investigation of a livedance work reconceived as a multi-modal,open work in the context of screen basedpractice.

Pete Philips Home and Away: an examination ofterritory and sport as a methodology forcollaborative practice amongst duos in liveart

Louie JenkinsArticulating the scripted body:autobiography, performance and death

Jo Blake-CaveContemporary Storytelling

Alessandro Secci Creative Process and the Transcendent

We have an ongoing programme ofresearch events, which include symposia, andconferences on specialist themes, readinggroups, practice as research events.

Academic events have included: • Pop Moves Conference • Performing Place Symposium • Somatics conference• Articulations – Practice as Research Event

days

31

Staff profiles

Professor Jane Bacon Professor of Dance, Performance andSomatics Jane is a practitioner/scholar, co-Director ofThe Choreographic Lab and co-Editor of theIntellect journal Choreographic Practices andhas been at the heart of the practice-as-research debate and development in the UKparticularly in the area of documentation,peer-review and criteria for assessment. Herkey interest is in finding ways in whichpractitioner/scholars can ‘articulate something’of and from the creative process. This has ledto innovative projects such as ‘ArticulatingDance’, a two-year Arts Council fundedproject and numerous articles andperformance projects. Her practice-ledresearch in performance combines aspects ofauto-ethnography with psychological andspiritual approaches such as ‘focusing’, ‘activeimagination’ and ‘mindfulness to the making ofinterdisciplinary installation work that blendsmovement, sound/text and video image. She isan Authentic Movement practitioner, FocusingTrainer and is just completing her training tobecome a Jungian Analyst. Throughout hercareer she has found herself repeatedlyquestioning contemporary myths of dancing,spirituality, womanhood and feminism as wellas the complex way in which we all createbinaries, boundaries, labels and the like.

Cathy ChildsHead of DanceCathy Childs is Head of the DanceDepartment and Subject Leader andcoordinator of the UndergraduateProgramme, Pathway Leader for MAPerformance (mapdance) and Post-GraduateDiploma in Contemporary Dance andPerformance. Her background experience ispredominantly in performance work havingtrained at Laban, continuing on to thepostgraduate dance company TransitionsDance Company before joining English DanceTheatre. This touring experience, workingwith a wide variety of professionalchoreographers informs her teaching. Cathy'sresearch interests have included a studyperiod at the Cunningham Studios in NewYork, which directly informs her dancetechnique and choreography teaching. She isinterested in dance pedagogy and this hasenabled her to connect to a variety ofteaching settings including schools, colleges andin the community. Cathy leads the DanceProduction Module (3Fall Dance Company),Teaching Dance Technique, ContemporaryTechnique and Dissertations on theUndergraduate Programme and PedagogicalApproaches on the MA.

32

33

Dr Andrea DavidsonSenior Lecturer Dr Andrea Davidson is a Senior Lecturer inDance and a practicing video and multimediaartist. Following a career as soloist andprincipal dancer of the National Ballet ofCanada, Les Grands Ballets Canadiens, BalletManhattan, Desrosiers Dance Theatre andEntre-Six, she went on to author, produce andinterpret her own choreography in Canadabefore moving to Paris where she completeda PhD in interactive studies from theUniversité Paris 8 in 2003. Since 2000, she hasbeen teaching courses on videodance andnew media for dance at the Universités Paris 8and Nancy 1 as well as in other culturalinstitutions in Europe. Her creative work invideo and multimedia, including La morsure, apioneer digital interactive choreography forCD-ROM and installation, has been presentedin numerous international art centres, festivals,conferences and exhibitions as well as havingreceived the Prix de l'Écriture Multimédia dela Fondation Beaumarchais (1997); and aspecial mention from the jury of the FestivalNapolidanza 'Il Coreografo Elettronico'(2000); and the Grand Prix InternationalVideodanse section New Media fromUNESCO (2002). A researcher, theoreticianand writer in the domain of dance and newmedia, Dr Davidson has contributed articlesfor books, reviews, conferences and websitesdedicated to the subject of dance and newtechnology and, in 2006, she wrote the book

Bains Numériques #1 : Danse et nouvellestechnologies, a commission of the Centre desArts d'Enghien-les-Bains.

Virginia FarmanSenior Lecturer in DanceVirgina is a professional choreographer anddirector, Virginia’s work is influenced by earlycontact with Expressionist theatre. She isartistic director of Disco Sister productions,dedicated to making work for site-specificsettings. In 1999 she was awarded a travellingscholarship to visit and research Butoh in Japanand, more recently, her writing Dances forStreet Corners, has been published as part ofthe Users’ Guide to Street Theatre (2003).Virgina leads the MA Choreography andCollaborations module.

34

Yael FlexerDirector of Mapdance and Co-Artistic As choreographer in residence at The PlaceTheatre, and creator of dance companyBedlam, Israeli-born Yael has created sevenfull-length dance productions, touringextensively in major festivals throughout theUK and internationally. In 1997 she receivedThe Jerwood Award for Choreographers. Shehas been commissioned to make work for,among others, London Contemporary DanceTheatre, Scottish Dance Theatre, LudusDance Company, E-Werk Dance Festival and4D (edge). Site-specific commissions andinteractive installations include work for: TheNational Theatre, The Circus Space, SouthBank Centre and Dias de Dansa. Herresearch is concerned with generating a senseof intimacy in live performance and interactiveinstallation through the reconfiguration oftheatrical space. It brings to the fore a fluiddefinition of audience as viewer, witness,participant or user and aims to both reaffirmand critically examine embodied perceptualexperience as route to intimacy. Thechoreographic and theoretical researchbridges phenomenological and physiologicalperspectives together with somatic practicesfocusing in particular on Gestalt field theoryand the Authentic Movement model ofmover/witness and collective body.

Dr Jill HayesSenior Lecturer and MA Programme LeaderJill is an active researcher and writer in thefield of Arts Therapies. Her PhD researchinvestigates the contribution of dancemovement therapy to choreographic andperformance education focusing on threecohorts of Chichester students following aDance Movement Therapy module. Jill is aqualified, experienced dance movementtherapist and has published journal articles andconference papers focusing on her research.Gill leads the MA Experiencing the ArtsTherapies Plus: Embodying Personal Mythmodule.

Detta HoweSenior Lecturer and Co-Artistic Directorfor mapdanceAfter graduating from Laban, Detta continuedstudying for a further year for the AdvancedPerformance Diploma, receiving a SpecialMention for Excellence in Performance. Shetoured nationally and to Japan and USA withTransitions Dance Company. Detta returnedhome in 1994 and formed Ginger DanceTheatre, Hampshire’s first professionalcontemporary dance company. She has madeover twenty five works for the company andhas toured extensively to venues and schools.Detta has taught and created numerouspieces for people of all ages from schools,colleges, youth theatre and community groups.Most recently she has focused on primaryschools, developing innovative dance worksand teaching practice for children andproducing INSET courses for teachers. Dettabecame a Senior Lecturer and joint Directorof mapdance in 2007.

35

Dr Victoria HunterVicky Hunter is a Practitioner-Researcher andSenior Lecturer in Dance. She completed herPhD in site-specific dance performanceexploring the relationship between the siteand the creative process in December 2009.Her research is practice-based, productionsinclude Beneath (2004) situated in thebasement of the Bretton Hall mansionbuilding, The Library Dances (2006) situatedin the Leeds Central Library building, Project 3(2007), a durational dance installation workand x3 (2010) a site-specific dance film. Sheconducted a site-dance exploration ofFlamborough’s South Landing in July 2011 aspart of the Wingbeats Cultural Olympiadproject and is currently preparing a practice-based project entitled Bodies and Beaches forWest Wittering beach on the south coast ofEngland in June 2013. Vicky has publishedarticles on site-specific dance in PerformanceResearch, New Theatre Quarterly and theContemporary Theatre Review and ispreparing a site-dance book for Routledgepublishers for 2015.

Dr Ann NugentSenior LecturerDr Nugent is a critic, writer and researcher ofinternational standing. Her research centresupon William Forsythe and deconstructiontheory, about which she has published variousresearch papers and articles. She is currentlyworking on research entitled Expressionism inthe Work of Kenneth MacMillan and WilliamForsythe for which she received an AHRBaward. Ann is a former dancer, foundingeditor of Dance Now and, subsequently,editor of Dance Theatre Journal and writes forboth. She leads the MA Independent DanceResearch Project module and teaches on theMA Dance Writing module.

Dr Clare Parfitt-BrownSenior LecturerClare’s research focuses on the culturalhistories of popular dance practices. Trained insocial anthropology at the University ofCambridge, her work is now interdisciplinary,mediating between dance studies, film studies,cultural history and memory studies. Her PhD,completed in 2008, was entitled ‘Capturingthe Cancan: Body Politics from theEnlightenment to Postmodernity’. She has co-authored the books Planning Your PhD andCompleting Your PhD, and published articles inResearch in Dance Education and theInternational Journal of Performance Arts andDigital Media. Clare teaches historical, culturaland political approaches to popular andtheatre dance on both the BA and MAprogrammes, and supervises researchstudents.

Natalie RowlandLecturer and Senior TechnicianNatalie is a Technician and Lighting Designer,trained with the Association of British TheatreTechnicians and the Emergency PlanningCollege. Natalie has worked extensively inDance, Musical Theatre and has specialised inoutdoor productions. She is currentlyTechnical Manager for the Malden Theatre(Washington, Sussex), and also the trainingprovider for Martin Professional, deliveringcourses and workshops in intelligent lighting.

36

Professor Sarah RubidgeProfessor in Choreography and New MediaProfessor Rubidge is a digital choreographerwho specialises in the dialogue betweenperformance and New Media, particularlywith interactive technologies. Hercollaborative works have been exhibitednationally and internationally. Between 2000and 2009 Sarah developed several installationsand performances with collaborators,including Sensuous Geographies (2003) withcomposer Alistair MacDonald of RoyalScottish Academy of Music and Drama,Fugitive Moments (2006) with scientist BeauLotto of University of London, global drifts(2006) for the Brisbane International Festivalwith Australian interactive choreographerHellen Sky, and Eris Eros (2007) at the LinburyStudios, Royal Opera House, London, withchoreographer Liz Lea. Sarah writesextensively about dance related issues, and haspublished several chapters in books onPerformance and Technology. Many of heracademic writings are available on her websitewww.sensedigital.co.uk. Sarah is currentlyDance Research Co-ordinator where shesupervises a number PhD students who areundertaking practice-led research, many with aNew Media bias.

Dale ThompsonSenior Lecturer and Deputy HeadDale Thompson is a Principal Lecturer inDance, Deputy Subject Leader and co-ordinator of Technique and Choreography.Dale has worked in contemporary dance forthe past 30 years. She began her career inNew York, studying with contemporary dancelegends Hanya Holm, Alwin Nikolais, MurrayLouis, Phyllis Lamhut, Dan Wagoner and LouisFalco. Since1983, she has worked in HigherEducation in the UK, teaching contemporarydance, improvisation, repertory andchoreography at Laban and at Roehampton.

Dale's interest in choreography has led toregular production of new work since 1984,made through collaboration with dancers andother artists. She is a graduate of DouglassCollege, Rutgers University and a member ofthe Higher Education Academy. Dale teacheson the choreography modules, coordinatestechnique classes and lectures on Modernism.

Fiona WallisSenior Lecturer in Dance and AdmissionsTutor for DanceFiona trained at Elmhurst Ballet School andthen at the Rambert School where she wasone of the founder members of a studentdance group which toured the U.K. in her finalyear. She was awarded her BA (Hons) inDance in Society from the University ofSurrey in 1994 and became a registeredteacher of the Royal Academy of Dance in1993. Since graduating from Surrey she hastaught ballet and contemporary dance as afreelance teacher and more recently wasHead of Performing Arts at Peter SymondsCollege in Hampshire. She has also worked forthe Labanotation Institute as editor of theirmagazine Action Recording! and as teacher ofthe A-level Dance set studies. Fiona currentlypractices Capoeira with Group Nago inBasingstoke. Fiona lectures on the DanceTheatre Heritage module, ResearchMethodologies, is a dissertation supervisor andteaches Ballet.

37

Marisa ZanottiSenior Lecturer Marisa trained at the Laban Centre. As achoreographer she has created several full-length interdisciplinary works fromcommissions by Arnolfini, Tramway, Cca andDance Web, touring these internationally. As adancer she worked with The Cholmondeleys,Wendy Houston, Laurie Booth and AndersChristiansen. She has worked extensively innew writing as a movement director onoriginal productions, including work by MarkRavenhill, David Harrower and David Greig. Indance-film her interest is in experimental andlo fi work. Marisa's work as a filmmaker hasinternational standing. In 2005 she directedthe drama 'At the end of the sentence', thisreceived a BAFTA nomination and is currentlytouring film festivals. Marisa teacheschoreography, Improvisation & Performance,Performance & Technology on theundergraduate programme.

Paula ConduitAssociate LecturerPaula started her first set of dance lessons inher aunt's local dance school. In 1980, shereceived a scholarship to study dance atMarida Petto Academy of Dance, Rose BalletSchool and Studium Carla Petroni. Sheperformed extensively in Brazilian NationalFestivals and competitions. Paula has a BAfrom UNICAMP, State University deCampinas. While at university she was grantedan apprenticeship in the Academy of DanceLiliane Brumiller. As a dance teacher, Paula hasled extensive dance and Capoeira workshopsacross the South East. She has worked forEastleigh Borough Council, (The Point),Basingstoke and Deane and was the rehearsaldirector for Hampshire Youth DanceCompany. She is artistic director of VortexDance Company and has presented herchoreography throughout the South East.

Nanette KincaidAssociate LecturerNanette Kincaid trained at LCDS, Laban(Transitions) and SUNY Purchase, (NewYork). She has performed for numerousdance companies including Adventures inMotion Pictures, Arc, Bock & Vincenzi, RoyalOpera House, Coisceim, Retina, HannaGilgren and Emily Burns as well aschoreographing for her own companyNanamations Dance Theatre and otherfreelance commissions. She has taught formany professional companies, colleges anddance organisations worldwide. Her class isbased on Cunningham with a very heavyinfluence from Limon, developing shape andstructure to movements, whilst stillencouraging the natural weight and rhythm.Nanette places a heavy emphasis on musicality,co-ordination and exploring the dynamicrange within the phrasing. She also activelyencourages individual performance style to bedeveloped within the class, as an integral partof one’s technique. Nanette teachescontemporary technique on theundergraduate programme.

Jayne McKeeAssociate LecturerJayne graduated from Laban with a BA (Hons)in Dance Theatre in 1990. She went on toperform with Transitions Dance Company in1991. She has performed and taughtextensively in the UK, Europe, America andJapan, working with David Massingham, JamieWatton, CanDoCo, Gary Lambert, FinWalker, Sonia Rafferty & Amanda Gough,Adventures in Motion Pictures and TheCholmondeleys. In 1996 she was DanceCaptain at La Scala, Milan working with AmirHousseinpour, and also on the musical NotreDame De Paris in the West End from 2000 to2001. Jayne has taught extensively for Laban,London, and is a fully qualified Sports &Remedial Massage Therapist.

38

Abi MortimerAssociate LecturerAbi has attained a first class degree at both BAand MA level in dance from the University ofChichester. In 2004 she was awarded theHayes Award for her contribution to the arts.Abi has worked under the direction of RetinaDance, Jamie Watton, Dale Thompson andDetta Howe and her own choreographicpractices have established collaborations withvarious musicians, including international soundartist Robert Jarvis. Abi co-founded Lila Dancein 2005 and the company became an associateof The Point, Eastleigh in 2006. In January2007 Abi’s first directed piece for Lila Dancewas platformed at Resolutions and her secondwas granted a research period at The Place’sChoredrome. Abi is involved in a range ofeducational and community practices includingthe development of gifted and talented youngdancers and is the choreographer for the2009-2010 AQA GCSE set study. Abi teachescontemporary technique on theundergraduate programme.

Robyn-Jane ParsonsAssociate LecturerRobyn trained at Central School of Ballet inclassical ballet, contemporary, pas de deux,Jazz, character & repertoire. She received aBA Hons in Dance & Related Arts at theUniversity of Chichester, and a PGCE inDance from University of Brighton. Robyn isan experienced dancer, teacher(contemporary, classical ballet and jazz) andchoreographer. She has taught both ‘A’-LevelDance and Performing Arts at Totton sixthform college and has worked for EastleighBorough Council at The Point as a danceadministrator overseeing the dance classprogramme, assisting professional dancecompanies and facilitating out-reachcommunity work. She has directed the youthdance company from The Point since 2002.

Richard SlaughterAssociate Lecturer – BalletBorn in Sussex, Richard trained at the Lowerand Upper Royal Ballet Schools and graduatedto the Royal Ballet at Covent Garden in 1974after dancing the leading role in Balanchine'sSerenade. During a career spanning thirty-fouryears he was an International principal dancer,choreographer and teacher with manycompanies. In 1989 he started BalletCreations of London, company and schoolswith Ursula Hageli which lasted for eighteenyears. Richard is an associate of the ISTD,Cecchetti and has an MA in Dance Studiesfrom the Laban Centre. In 2008 he graduatedwith an MA in Christian Spirituality from theUniversity of Wales, Lampeter (SarumCollege). He is currently artistic director ofThe Ballet Pod in North Wales and has justlaunched a boy's ballet initiative in Portsmouth.

Sharna Travers-SmithAssociate LecturerSharna has an MA in Dance from New YorkUniversity where she trained in contemporaryand new dance forms. She teaches anintegrated approach to dance and somaticsand is a Certified Laban Movement Analystand teacher of Body-Mind Centering. She haslectured in the BA Dance and MA DanceScience/Somatics programmes at Laban andhas guest lectured at RADA, RoehamptonUniversity and the Central School for Speechand Drama. Sharna teaches The Dancer’sBody in the undergraduate programme andon the MA Transpersonal Arts and PracticeProgramme (Creative Arts TherapiesPathway). She also supervises dissertationstudents.

39

Cai TomosAssociate LecturerCai studied dance at Coventry University. Onleaving the university he went on to become aperformer with Earthfall Physical Theatre. Hetoured the UK and Europe with the companyfor four years, performing in ‘AD’, ‘I can’t standup for falling down’ and ‘at swim two boys’. Caihas worked as a choreographer/director withEarthfall physical theatre and DiversionsDance Company. Cai is co-founder of theUru-Wales Project, a regular collaborativeproject with Director Martin Inthamassou thattakes place in Montevideo, South America. Caihas presented two major works ‘breakdown’(2005), ‘Gwyrth’ (2007) as part of theHorizons Dance Festival in South Wales andas part of the Dance in non conventionalspaces, Uruguay, South America. He is in theprocess of devising his new work ‘Calon’(Heart), which he will be performing during2008-2009. Cai also worked as the Dance Co-ordinator for the one year full-time trainingcourse at Rubicon Dance, Cardiff. Cai wasawarded a creative Wales award (ArtsCouncil) to develop his work. Cai works as anindependent artist, in the UK and abroad. Hecurrently teaches technique and performanceprojects at the place evening school and onthe place’s (CAT) programme. Cai participatesin regular workshops and training as part of hison-going professional development. He hasworked with Martin Keogh (USA), KJ Holmes(USA), Fin Walker (UK), Mary Fulkerson (UK),David Zambrano (NL) and Joe Moran (UK).

Carrie WhitakerAssociate LecturerCarrie completed her BA and MA degree indance from the University of Chichester. Shewas a member of Hampshire Youth DanceCompany between 1998 and 2001 and is nowthe rehearsal director for the company. She iscurrently teaching contact improvisation aswell as teaching within the Performing Artsand Music departments. As a freelancepractitioner, Carrie’s teaching experienceincorporates many community strands from‘dance for all’ schemes (including the NRGproject), to commissioned choreographicprojects for established youth companies andeducational institutes. She is a foundingmember of Lîla Dance and has been involvedwith all pieces in the repertory and has alsochoreographed a duet for the company titledEve.

Find out moreContact: 01243 816002Email: admissions@chi.ac.ukWeb: www.chi.ac.uk/dance

www.chi.ac.uk/dancePlease recycle after use