‘Being a Video-Choreographer’- article published in International Screendance Journal


An article by Heike Salzer (Artistic Co-Director Tees Dance Film Fest) and Ana Baer (of Sans Souci Festival of Dance Cinema), has been published in the current issue of The International Journal of Screendance.
In the article, entitled ‘Being a Video-Choreographer: Describing the Multifaceted Role of a Choreographer Creating Screendance’, Heike interviews Ana about making and curating dance videos. The article is published in tandem with the Tees Dance Film Fest where many of the films cited in the article will be screened.


Dance students present at 3 Rivers-Learning and Teaching Conference

Third year dance students Charlotte Brinksman and Gabriella Garroway presented a poster at the Annual Regional Learning and Teaching Conference 2014 North East 3 riversUniversities (3 Rivers Consortium), Durham University (Collingwood College) on 27th March 2014.

The poster discussed their experience of a 3 month Erasmus exchange at the Inter-University Centre in Berlin and was well received by delegates.

New publication out soon…

O’Brien, Sarah (2013) ‘Thinking Through Moving Image and Performance’ in Of Other Thoughts: Non-traditional Approaches to the Doctorate. Sense Publishers. (In Press)

In this chapter, O’Brien discusses the need to generate methodologies for non-traditional projects that are adequate to the research subject matter and consistent with its guiding frameworks. She addresses ways of articulating differences within the context of the continuing debates around the dissemination of the thesis in the field of performance. O’Brien suggests that methodology in a practice-led PhD methodology is always ideologically loaded. Consequently, divergent positions between supervisor and candidate ask for mediating procedures and comparisons with other practitioners’ and researchers’ practices and reflections. O’Brien puts forward her own experience of a practice-led PhD as one possible example of a methodology. She claims that her practice was not designed as an investigation to uncover an imminent ‘truth’ but as the realisation of theoretical schemas (performance ideas) trusting that new knowledge would emerge through both the failure to realise these ideas fully and the alternative brought about by the realisation. This methodology interrogates the relationship between written and performance work: demonstrating how the writing process can be integral to the creative methodology.