Glenna Batson, PT, ScD, MA is an independent lecturer, researcher, mentor and performer. At 71, Glenna continues to find ways to expand the expressive envelope beyond the physical expectations of youth. Her life-long contributions to dance have been trans-disciplinary as teacher, author, performer, and pioneering researcher in dance and Parkinson’s disease. Author of Body and Mind in Motion: Dance and Neuroscience in Conversation and co-editor/contributor to Dance, Somatics and Spiritualities: Contemporary Sacred Narratives. Glenna’s mantra: Embodied, empathic, emergent, and inclusive, dance effects change from both the inside out, and the outside in.
My main research area is choreomusical relationships particularly with regards to the choreography of George Balanchine and Anne Teresa de Keersmaeker touching also at questions of the archive, notation and meaning gain processes. My training is interdisciplinary in both musicology and dance. I have taught a numerous German and British Universities, lately at the University of Northampton and I have published widely both in my native language and in English.
Jean Butler, dancer, choreographer and academic, is a leading figure in the world of Irish dance performance. Best known for originating the female principle roles and co- choreographing Riverdance and Dancing on Dangerous Ground, since 2005 she has been working in a contemporary context. Her work has been commissioned and presented by The Abbey Theatre, Baryshnikov Arts Center, Danspace Project, Dance Limerick, Dublin Dance Festival, Jacob’s Pillow, Irish Arts Center, The Kennedy Center, Movement Research, Project Arts Center, The Joyce, and Seamus Heaney Homeplace. In NY Butler has worked with Tere O’Connor, Jon Kinzel, Jodi Melnick, Silas Riener, Cori Olinghouse, Elena Demyanenko, Jen Rosenblit and Yoshiko Chuma.
Butler recently taught at the prestigious Princeton Atelier and completed a Fellowship in Creative Practice from University College Dublin. Butler holds position of Assistant Professor of Irish Studies at Glucksman Ireland House, NYU. In 2018 Butler founded Our Steps Foundation and partnered with the New York Public Library of Performing Arts Jerome Robbins Dance Division to create Our Steps, Our Story: An Irish Dance Legacy, the first Irish dance archive dedicated to the solo steps of An Coimisiun le Rinci Gaelacha. Her current project, The Stepping Fields, an intergenerational performance installation, will premier in Dublin in 2021. Butler’s work bridges the gap between a culturally specific practice and a contemporary approach to dance making and thinking. She is committed to idiosyncratic exploration within traditional form and is dedicated to expanding the canon and perception of Irish dance performance. Ourstepsfoundation.org
Erica Charalambous is a dancer, choreographer and a PhD Candidate in a cotutelle research programme in Dance Digitisation at the Centre for Dance Research in Coventry University, UK and Deakin University Melbourne, Australia. Her research interests range from articulating and documenting choreographic practice, investigating digital archives of dance, multi-media art production, dance practice and teaching, and the politics of art, culture and aesthetics.
Throughout her post-graduate research dance studies MA CoDE (Master in Contemporary Dance Education) Erica’s inquiry was focused on and around dance transmission which resulted in her MA thesis ‘Communicating Choreography: Fine-tuning creative process’ (2011) at the Frankfurt University of Music and Performing Arts. Currently, her research focus is on the ‘moments’of transference of dance into data within the organization, function and digital curation of dance archives in Europe, UK and Australia.
Additionally, Erica continues her artistic practice and currently enjoys exploring various methods of writing and undoing content such as: an un-published journal I am an Archive (ongoing project) funded by Hosking Houses Trust and Coventry University fund – Writer’s Residency for Women Writers (2018), an experimental installation Dance Data Distillery (2018) presented at Digital Echoes 2018 at the Centre for Dance Research Coventry University and a video art digital performance Room under my skin (May- November 2018) presented recently at the Venice Biennale 2018.
Dr Lucinda Coleman is an Adjunct Lecturer at the Western Australian Academy of Performing Arts, Edith Cowan University, and Dance Maker with the Australian performing arts collective, Remnant Dance. An experienced choreographer, performer and teacher, Coleman has performed and presented at a variety of international conferences. As an early career researcher, she has most recently published in Research in Dance Education, the Refereed proceedings of the 2014 World Dance Alliance Global Summit and the Journal of Emerging Dance Scholarship. As Remnant Dance Maker, Coleman has directed and produced over 20 arts productions in Vietnam, China, Myanmar, and throughout Australia. www.remnantdance.com.au
Sally Doughty has choreographed, taught and performed in USA, Latvia, Mexico, Berlin, Brussels, Paris, Estonia and the UK. She is published variously (Choreographic Practices, Performance Research and
Research in Dance Education,) and has forthcoming book chapters in the Oxford Handbook of Improvisation and Body, Space, Object: Dialogues between Art and Dance. She has an international reputation as a facilitator and performer of improvisational practices. Sally is produced by Dance4 (UK) and funded by Arts Council England to making improvised dance performance for larger venues. Sally is Associate Professor in Dance, and Reader in Dance and Improvisation at De Montfort University, Leicester where she leads BA Dance.
Jools Gilson is an artist, scholar and broadcaster. She works across multiple disciplines including choreography, performance, public and installation art, creative writing and radio broadcasting. She directed the dance theatre company half/angel from 1995 to 2006, and since 2010 has made creative radio for RTÉ and the BBC. Her texts, choreography, installation and radio work have been performed, exhibited and broadcast internationally. She taught performance practices at the University of Hull and Dartington College of Arts before moving to Ireland in 1996. She is Professor of Creative Practice and Head of the School of Film, Music & Theatre at UCC.
Paula Guzzanti (Argentina) is a dance artist and scholar based in Northern Ireland. She currently completed a PhD practice-as research project at Queen’s University Belfast, exploring the relationship between affect and conscious awareness in collaborative performance-making. Paula’s performance work develops in collaboration with artists from other disciplines. Her most recent music and dance collaborations include The Middle Place (2017), I-Reflexes (2016), and poetry and dance Knowing the Dance (2017). Her film and voice credits include the award-wining short film Me and My thoughts (Dir. Devek, 2016) and the performance piece Set Inside the Speaker (Choreographer Hall, 2017), Determinazione Per Piacere (ma non troppo) (Dir Newland, 2014) andSOMA (Dir. Newland, 2012).
Paula’s recent publications include a chapter on the language of affect (The Language of Affect in Choreographic Practice: Conversations on the Making of Embodied at the GPO, Palgrave, 2017), and a paper on dance improvisation (On the Emergence of Choreographic Material in ‘Silent Pact’ (Corpografias, Vol6, 2019). She is a SenseLabber, and a choreographer/performer member of Dance Ireland. Paula is a supported by the Arts Council of Northern Ireland and dance artist in residence of the Down Arts Centre (Downpatrick). Most recently, Paula received the Higginson Leadership award of the year to facilitate a Dance and Meditation project for Nicaraguan refugees living in Costa Rica. Her PhD portfolio is available on https://paulaguzzantiphdportfolio.com
Sabrina Huth and Ilana Reynolds
Sabrina Huth and Ilana Reynolds are both free-lance dance artists who have never physically met. They have been collaborating, however, since July 2018 when they were invited to work together through an artistic research residency hosted by the 6th IDOCDE (International Documentation of Contemporary Dance Education) Symposium at the ImPulsTanz Vienna International Dance Festival. The residency’s theme was on artistic and reflective documentation methods within dance practices. Inspired by the “Go to How to Book of Anarchiving”, they were interested in ways of deconstructing the linearity of documentation in order to reveal its creative potential for the individual and collective experience – something they called Disorientating Documentation. Keeping the constraint of never meeting physically led them into a new creative phase of their collaboration: the exploration of topics on absence and inter- personal fiction. As part of this process, documentation and archiving are used as ‘acts’ of performance, feeding their creative work forward into its next phase. Sabrina will finish her Master’s Degree in artistic research at the University of Amsterdam (in collaboration with the Amsterdam School of the Arts) in June 2019. Ilana received her Master’s Degree in 2017 in Contemporary Dance Education from the University of Performing Arts in Frankfurt a. Main, Germany.
Dr Evelyn Jamieson is senior lecturer in dance and performing arts at the University of Chester. She has been a head of department at the Liverpool Institute for Performing Arts (LIPA) and subject leader at University College Bretton Hall. Her professional dance experience has included working with a range of choreographers and companies including Wayne McGregor’s Random Dance. Her research has been focused on aspects of collaborative practice with several publications in the areas of: Devising Dance and Music, Collaborative arts practices in HE, Devising as a way of performing: Enacted or embodied, Collaboration, ensemble, devising, Collective creative collaboration, education and the secular-spiritual in performing arts and her PhD thesis From dance cultures to dance ecology: A study of developing connections across dance organisations in Edinburgh and North West England, 2000 to 2016.
Lisa Kendall has worked for over 25 years as an Independent Dance Artist, performing and teaching nationally and internationally in a diverse range of creative processes and environments. Since 2013 Lisa has been collaborating and touring extensively throughout Europe with performance company Reckless Sleepers, performing and researching the works A String Section and With All We Know. Lisa is published in the journal Choreographic Practices and has an upcoming book chapter in Body, Space, Object: Dialogues between Art and Dance. Lisa is currently Senior Lecturer and Course Director for Dance at Leeds Beckett University.
Lucia is a Dublin-based dance artist performing and collaborating internationally since 2011. Trained in The Netherlands, she has worked with companies and artists which include TRASH, Company Philip Connaughton, junk ensemble, Liz Roche Company, Maria Nilsson Waller and Oonagh Kearney.
Lucia frequently performs at festivals in Dublin, Cork and Belfast and has toured throughout the UK, Sweden and The Netherlands. She has trained intensively with David Zambrano in Flying Low & Passing Through techniques, developing her interest in group dynamics within composition and teaching environments. In recent years Lucia has received awards from the Arts Council of Ireland, Dance Ireland, Firkin Crane Cork and the Tyrone Guthrie Centre. Lucia was Hatch Artist 2018 at Dance Ireland and is Associate Artist with Liz Roche Company 2018/19.
Kim vom Kothen
Kim vom Kothen (GER/GB) is lighting designer, filmmaker and photographer, who specialises in dance and movement production in live and digital environments. She has worked as head of production, manager and producer in the maintained, independent and commercial dance sector, nationally and internationally. Kim studied digital performance technologies and is a recipient of a Digital Fellowship awarded by Teesside University’s Institute for Digital Innovation. She holds a Master of Photography from Sunderland University. Currently she is in her third year as a PhD student at the Centre for Dance Research (C-DaRE) at Coventry University.
Susan Kozel is a Professor in the School of Art and Culture. With an international profile as a contemporary phenomenologist, she applies philosophical thought to a range of embodied practices in the context of digital media technologies. Her research takes the form of both scholarly writing and performance practices. She is currently director of Living Archives, a major research project into archiving practices funded by the Swedish Research Council under the Digitized Society Initiative. She is subject head of the Interaction Design program at K3 and teaches courses in Embodied Interaction. Current research foci are affect, re-enactments and somatic archiving. She was on the quality advisory board of the Swedish National Artistic Research school (2010-2015) and continues to be a strong voice in the artistic research community both in Sweden and internationally. Her PhD on the Phenomenology of Dance was awarded in 1994 from the Philosophy Department of the University of Essex, and since then she has taught at a range of design, dance and media departments in the UK and Canada. Her first sole- authored book, Closer: Performance, Technologies, Phenomenology (MIT Press 2007) is soon to be followed by Affective Choreographies.
With a career spanning 26 years as an Independent Dance Artist, Dr Rachel Krische has performed, made work and taught extensively and internationally including in: Europe, Scandinavia, Russia, Azerbaijan, India, Bangladesh, China, Taiwan, Hong Kong, Australia, New Zealand, USA and the UK. She has collaborated with over 30 artists such as Akram Khan, La Ribot, Wendy Houstoun, Colin Poole, Deborah Hay, Matthias Sperling, Siobhan Davies and Anton Lukoszevieze, as well as presenting her own solo improvisation work.
She also won the Jerwood Choreography Award with Ben Wright in 2002. Rachel is published in Choreographic Practices and has a forthcoming book chapter in Body, Space, Object: Dialogues between Art and Dance. She is currently Senior Lecturer and HEA Senior Fellow in BA Dance and MA Choreography at Leeds Beckett University following writing and launching the initial undergraduate dance programme there in 2010.
Dr Alys Longley’s research foci include practice-led research, performance writing, interdisciplinary projects, art and ecology, ethnography, narrative research, somatic education methods and inclusive dance education. Her key area of expertise is in the relationship between performance writing and practice-led research. Her key teaching/ supervision areas are in dance writing, research methodologies, practice-led research and applied research practice. Alys has recently published in Text and Performance Quarterly (US); Choreographic Practices (UK); Journal of Dance and Somatic Practices (U.K), Symbolic Interactionism (U.S), Qualitative Inquiry (US), Emotion, Space, Society (UK), Writings on Dance (Australia), Text and Performance Quarterly (US) and HyperRhiz (US). Alys’s books The Foreign Language of Motion (2014) and Radio Strainer (2016) are published by Winchester University Press (UK). Alys has recently co-edited Undisciplining Dance (2018) with Associate Professor Carol Brown.
Trained in The Scottish School of Contemporary Dance, Ailish graduated in 2014 with a First-Class BA (Hons) Degree in Contemporary Dance Performance. She has extensive creation and performance experience with Liz Roche Company (I/Thou, 12 Minute Dances, Totems R&D, Wrongheaded R&D), Raimund Hoghe, Nathan Johnston, Plan B Creative and Humanah Productions. Ailish participated in the Step Up Dance Project in 2015 with choreographer Michael Keegan Dolan and the Step Up Dance Repertory Programme with Liz Roche Company and Lea Anderson in 2016. Ailish has a strong interest in explorative and collaborative work that combines dance and voice.
Lisa McLoughlin has been a professional dancer for twenty years, toured extensively nationally and internationally and has worked many of the major Irish contemporary dance companies. Graduated from the Rambert School of Ballet and Contemporary dance in London, holds a first-class honours MA in Dance and in the third year of the arts practice PhD from the University of Limerick. Recipient of awards for choreography, performer and researcher of dance and the body and co-created the BA in Contemporary dance at UL. Recipient of multiple arts council awards, most recently, the designer of “The Autonomy Project, 2018” in collaboration with the Limerick Arts office, under the Invitation to collaboration award. Her work focuses on the body in society and the relationship between society and the individual. For further details go to www.lisamcloughlin.ie
Susan Sentler, BA, MACP is a dance artist working as choreographer/maker, teacher, researcher, director, and performer. She served as senior lecturer with Trinity Laban Conservatoire of Music and Dance for 18 years and has taught globally in the field of dance for over 30 years. As performer she danced with the Martha Graham Ensemble, and in recent years has returned to performing in works of artists such as Tino Sehgal, Xavier le Roy and Jerome Bel. She collaborates in ongoing research on somatic folding with colleague Dr. Glenna Batson (www.humanorigami.com). Susan’s personal creative practice is interdisciplinary, anchored by a honed somatic relationship to image. She works in gallery/museum contexts creating ‘responses’ or ‘activations’ within exhibitions as well as durational installations orchestrating objects, sound, moving/still image and absence/presence of the performing body. Her work has been exhibited and performed in the UK, USA, Europe and Singapore. She is a lecturer in the School of Dance & Theatre at LASALLE College of the Arts, Singapore.
Rachel is an interdisciplinary dance artist and teacher with a research interest in somatic movement and cognitive development. She iscurrently a Senior Lecturer in Dance at Liverpool Hope University where her teaching specialisms include intercultural performance, site-based performance and somatics, and has published on dance ethnography, dance ecology and cross cultural performance training. Sweeney’s research has always situated critical choreographic discourse within wider sustainable development initiatives, and she regularly facilitates cross disciplinary research forums between Performing Arts, Environmental Science and Creative Pedagogy, In 2012 she was awarded a Research Fellowship at the Humanities Research Centre at the Australian National University and was a Centre Fellow The Centre for Sustainable Futures at the University of Plymouth from 2007-2009. Sweeney is a regular visiting lecturer at the University of Visual and Performing Arts in Colombo, Sri Lanka where she steers anongoing research program in cross cultural performance training and her independent performance work has been funded by theCommonwealth Scientific and Industrial Research Organisation (CSIRO) Australia, the British Arts Council, the Arts Council of Ireland,the Arts and Humanities Research Council, Dance in Devon and London Ar ts Board.
Argyro Tsampazi is a dance practitioner and dance researcher from Greece based in Belfast, N. Ireland. She is currently completing a PhD in Dance at Queen’s University in Belfast investigating a choreographic method involving the application of Orthodox Ascetic practices in the choreographic processes and dance performance. Argyro’s recent choreographic work includes ‘Deep Sea Creatures’ (2018), ‘Time of Loss (2017), ‘Material of Medea’ (2017), ‘V for Violence’ (2015), ‘Askitiki’ (2014) and video dance ‘A Country in Crisis’ (2016) amongst others. Her work has been presented in the UK, Ireland, Greece, Germany, The Netherlands and Russia. Argyro holds a Masters in Choreography from Fonty’s University in The Netherlands, a Bachelor Degree in Theology from Aristotle’s University in Greece and a Bachelor degree in Dance Teaching from the Municipality of Arts in Greece. She has taken part in numerous seminars and festivals in Greece and abroad dancing repertoire pieces and her own choreographic work and won several awards in international dance competitions from where she also gained two scholarships: one for the Ballet Dance Open in St. Petersburg, Russia and one for John Moore’s University in Liverpool, UK.