The concept of this book is ‘dance and ageing’ and is driven by the possibility that everybody in the Western dance community, in particular young dance students, but also readers beyond the parameters of dance, will profit if the voices of senior professional practitioners are heard.



It features dancers from USA, Canada, UK, Europe and Australia, all interviewees are practitioners of stature and prominence who continue to contribute, despite ageism, to the dance industry. They are inspiring role models for younger dancers but also for an ageing demographic in society; it is a celebration of the body and the indomitable urge to create and express.

Conversations with twenty senior professional dancers explore how they sustain performing despite the inground ageism that exists through society and is mirrored within the dance world. This cohort of older dancers, aged between 41 and 107, illuminate inspiring life stories that convey their passion to continue performing, while overcoming the prejudices in an artform that champions youth.



Dance practitioners remaining active and relevant throughout the life stages is an area of growing interest, particularly in community dance, health and wellbeing. This would inspire all dancers to follow in their footsteps, to believe that diversity and inclusion would widen the boundaries within Western dance culture and eradicate bias. Further interest from an older demographic who enjoy watching dance or dance themselves, who would appreciate their representation in a book that reveals the positive attributes ageing can bring. It also has the potential to reach an anti-ageing reader as well as a dance reader. The book has a broad appeal not just within Western dance culture but also where ageing/ageism is a prominent concern within Western society.

This book expands on theories of "theatricality" in French and critical studies, adopting a transdisciplinary approach that reaches beyond performance studies into poetry, media technology, translation, and psychoanalytic theory.



Building on Artaud’s concept of theatre as a "plague"—an unpredictable, cataclysmic, and contagious force that disrupts power structures and knowledge—the book challenges Aristotelian norms of theatre as a medium of "healing" and "teaching." Instead, theatricality emerges as a force of radical disruption, what Artaud called "the return of the repressed," demanding openness to otherness.



The chapters present theatricality as primarily aural rather than visual, inciting "paranoiac listening," invoking unretrievable "primal scenes," and allowing unconscious "psychic" contamination. "Theatricality" is explored through works by Artaud, Genet, Novarina, and Koltès, but also Freud, Barthes, Kristeva, Girard, and Derrida. Each writer challenges the premises of their own artistic genres and fields of study, questioning binary systems like artistic production versus theoretical articulation, the technological versus the natural, and art versus life.



As shown, these binaries underpin mechanisms of repression, sacrificial violence, and the exclusion of the voiceless other. The book assigns a generative function to traditionally maligned notions like unintelligibility, madness, marginality, contagion, and criminality.

A review of dance education research methodologies with examples and exemplars from the field and an important resource for dance students, professionals, and advocates.



The editors recognized the need for a book of this type – one that would not only provide examples of a variety of dance education research projects, but also present a broad look at methodologies. In addition, the book would not only focus on Dance Education research in the U.S, but more broadly with examples of dance research from several different countries. The curated book includes the voices of both seasoned professionals and newer scholars in the field, with examples of dance research from a number of different countries. The contributions represent several countries including Korea, South Africa, United States of America, Jamaica, India, United Kingdom, Brazil, and Slovenia, underscore the global relevance and significance of research in dance education.

This book is divided into 5 parts. The first part focuses on dance education research and methodologies and is divided into three sections. With an introduction by Jill Green, the chapters that follow provide an overview of research types including the more traditional, qualitative, quantitative and mixed, and other methods such as portraiture and a/r/tography.



Part II, introduced by Lynnette Young Overby, includes examples of dance education research that incorporate qualitative, quantitative, and/or mixed methods. Three sections covering dance education research applications in the areas of history and culture, dance teaching and choreography, and community based research follow.



Part III of the Handbook of Dance Education Research provides insight into dance education that takes place in several countries. This part is introduced by Peter Cook, Associate Deputy Chancellor, Southern Cross University, Australia. The collection of chapters within this part of the Handbook of Dance Education Research provides snapshots of research practices from contrasting international areas, and with a variety of approaches and paradigms.



The final Part IV includes chapters focused on Social Justice dance education practice and research. This part is introduced by Alfdaniel Mivule Basibye Mabingo, Makerere University, Uganda. These chapters push the boundaries of dance education research to promote meaning and social change. They provide substantive examples of the impact dance education research can have in response to social and cultural issues.



This book will be a key resource for university students, professors, practitioners and policy makers in organizations and in school systems. It will inspire future dance education researchers to conduct research that is collaborative, impactful, inclusive and diverse– research that will solidify the place of dance as an integral part of each person’s education.

A collection of performance texts ranging from orthodox plays to group-devised texts. The book traces from most recent to earliest Schechner's work as a "writer" and a "wrighter" -- the author of plays and the conceptualizer and leader of teams of artists. The book includes several never before published early texts as well as updated versions of well-known productions such as "Dionysus in 69," "YokastaS," "Makbeth," and "Imagining O." The earliest texts are from the 1950s the most recent from 2014.

This book brings together for the first time Richard’s original plays and adaptations: YokastaS Redux, Dionysus 69, Commune, Oresteia, Prometheus Project, Makbeth, Richard’s Leer, Imagining O, Faust/gastronome, Blessing of the Fleet, Briseis and the Sergeant, Lot's Daughters, and The Last Day of FK. The scripts engage with perennial canonic themes, such as Oedipus and Faust, and topical issues of our times. They embody Richard’s world-famous performance approach. The introduction sets the scripts in intellectual and production context. The book complements Schechner’s other works, Performance Studies (now in its 3rd ed.), Performance Theory, The Grotowski Sourcebook, The Future of Ritual, and his new A New Third World of Performance.

Review of: 50th Anniversary Art Therapy Conference at the University of Hertfordshire: Reflections on response art, 19–20 July 2024

BODIES IN FLIGHT make performance where flesh utters and words move, challenging and re-energizing the relationship between audiences and performers, and audiences and place.



Emerging from rigorous interdisciplinary and collaborative methods, often with new technologies in cutting-edge venues, we insist on the buzz of ideas, on philosophy and poetry, using words and images, movement and stillness, voices and bodies, through which they aim to move audiences emotionally and spiritually. Organized in a highly visual design, this volume is both a history and a workbook with selections of scripts and archival material from 30 years of making devised theatre and performance in the UK and internationally, plus texts by collaborators, arts professionals and scholars exploring the company’s collaborative working method, contextualizing it in the wider performance ecology and culture.



Intended as an inspiration to emerging artists, the volume covers key questions for any maker of contemporary performance: the relationship of choreography and spoken word, the use of new technologies and multi-media, the role of original music and soundscapes, the differences between work presented in a theatre or gallery or sited in non-theatrical places, the persistence of theatre as an art-form in an increasingly digital culture.

At the intersection of aesthetics in philosophy and philosophy in aesthetics, my article takes specific situations and their concrete settings into consideration. It no longer asks what appears and is experienced but how and in what way something appears and is experienced as something. Its phenomenological focus highlights the lived body’s resourcefulness as a point of passage for ethical observations of its movements towards the world, in experiencing between intention and execution, in understanding the correspondence between what is aimed at and what is given and in dealing with others and things. Examples of this are a desk and a chair in a feminist’s life, a pair of scissors in a bodily experience and a caravan and a calliope in Kara Walker’s installation The Katastwóf Karavan in collaboration with Jason Moran on the slave trade in historic New Orleans, all leading to performative (re-)orientations in ethics and aesthetics through their use by following the concept of a ‘queer furnishing’ as suggested by Sara Ahmed to disrupt and reorder what has already been arranged and thereby linking it directly to social and political questions about race, gender and sexuality.

Little is known about the effects of visual art in hospitals on the health and well-being of patients and their families. This study investigates how patients and their families experience visual art in a hospital and what it means to them. The authors employ a phenomenological-interpretive design, incorporating participant observations, micro-interviews, in-depth interviews and a co-creative session with patients and their families. The experience of art in the hospital takes place within a triangular field of visual art (which is experienced passively, actively and neutrally) by the person (in the role of patient or family) and the hospital (building environment and its care function). The presence of visual art in hospitals can touch patients and their families emotionally, fostering a sense of home and humanity, stimulating imagination and fantasy and providing a welcome distraction. Visual art contributes to a more pleasant and relaxed environment.

India’s independent music scene is growing, yet formal popular music education struggles to prepare students for its unique challenges. This study explores the experiences of over forty Indian independent musicians, industry personnel and educators through interviews conducted between 2015 and 2023. Findings reveal systemic barriers in the industry, including inadequate organizational structures and compensation issues. However, opportunities are emerging in screen media and live events. The study identifies gaps in skills development, particularly in entrepreneurship and business acumen, and tensions exist between global and local perspectives in curriculum design. Recommendations include fostering stronger partnerships between formal institutions and local music scenes, implementing student-run enterprises and community-based projects to bridge theory and practice and developing more flexible, customized training programmes. These strategies aim to better equip students for the realities of portfolio careers in India’s evolving independent music landscape while nurturing a sustainable ecosystem for the sector.

Using the Smart phone as a digital device, the authors outline a process through which they instruct participants in capturing the shared sensibilities of of somatic/artistic archiving. With the f/old as muse, the authors draw from cultural theorist Erin Manning's concept (and coining) of the term ‘anarchiving’ a process-based methodology that calls for iterative cobbling of mixed media through artistic creation. With the authors' interest in visual capture, they detail two workshops taught at the first and second Modes of Capture Symposia, held at the University of Limerick (Ireland), 2019 (live) and 2020 (virtual). All roles are described with participants exchanging that of mover/captor and Batson as wordsmith, word prompt facilitator and Sentler laying out and scribing an improvisational process of documentation.