On Filipina labour and amateur performance in Hong Kong.
Performance Research On Amateurs pg 81-87, Volume 25. No 1 January/ February 2020.
Fauxthentication – Art, Academia, Authorship (or the site-specifics of the Academic Artist) investigates the means of production of the art that can be created within the boundaries of artistic research.
This book is packed with thoughtful exercises distilled from twenty-five years of interdisciplinary artist workshops and teaching devising and performance making at universities in the United States and the United Kingdom. Created and curated by Leslie Hill and Helen Paris, artists who work internationally at the interface of academia and professional practice, this collection provides exercises for devising, composing, and editing original works.
This is a book about falling as a means of reconfiguring our relationship with living and dying. Dancer, choreographer, educator and therapist Emilyn Claid draws inspiration from her personal and professional experiences to explore alternative approaches to being present in the world.
On dance and performance since 1989 follows the congress of Tanzquartier Wien to which we had invited participants from all over Europe to talk about new geographies and artistic workforms and workspaces in the fields of dance and performance, about the widely interweaved and cross-referencing, often indistinguishable and multiply coded cultural figures of production, reception and reflection.
Bringing together thirty authors variously invested in dance, performance and/or choreography; This Container is a zine for texts produced through and alongside dance, performance and choreography.
An edited volume that explores the work of the innovative, experimental and internationally acclaimed performance artist Marilyn Arsem, with 200 images.
One of the first books to examine Somatics in detail and to analyse how and what it teaches in the dance studio, The Natural Body in Somatics Dance Training considers how dancers discover and assimilate new ways of moving and also larger cultural values associated with those movements.
An anthology of critical essays that draw on a decade of the authors thinking, writing about and working within contemporary performance as critics, producers, dramaturgs, makers, archivists and more.
In 2014 Project O (Alexandrina Hemsley and Jamila Johnson-Small) began working with Charlotte Cooper and Kay Hyatt on a show called SWAGGA. The work is rooted in dance and draws on other performance traditions, including a live soundtrack by Trash Kit and original compositions by Verity Susman. This collaboration was remarkable because it featured untrained dancers with the kinds of political bodies – fat, queer, older – that are rarely treated as creative, expressive or worthy choreographic subjects. Over two years SWAGGA was refined and performed for audiences around the country. Katarzyna Perlak documented the process and in 2016 created SWAGGA: A Study On Camera, a creative response to the live performance. The result is an extravaganza of mess, antisocial emotions and intersectional feminist sensibility.
SWAGGA: A Study On Camera was first screened by the Live Art Development Agency in 2018 as part of the LADA Screens programme, a series of online screenings of seminal performance documentation, works to camera, short videos, films and archival footage.
Audio of the artist in discussion with Jospeh Morgan Scholfield. Event held on 13 February 2020.
Manning extends her previous inquiries into the politics of movement to the concept of the minor gesture.