This paper describes the "Virtual Borders" project developed in response to the dramatic changes in dance teaching and learning globally, arising from the COVID-19 pandemic. Drawing from action research, "Virtual Borders" presents an innovative adoption of Peirce's sign theory to tertiary dance choreographic pedagogy, that…

This article explores the dynamics of Gaga, a contemporary movement practice developed by Israeli choreographer Ohad Naharin, as an emergent methodology for embodied research. Deploying Gaga as a case study, this article argues for the relevance of knowledge generated through lived, felt experience as well as ways of knowing grounded on bodily…

This paper reports on a focused collaborative learning and teaching research project between the Dance Department at Middlesex University and partner institution London Studio Centre. Informed by Belinda Allen's research on creative curriculum design, dance students and lecturers shared innovative learning opportunities to enhance the development…

This paper critically discusses an investigation into approaches to teaching and learning strategies with first-year undergraduate students studying dance in a Higher Education context. The authors investigate a pedagogical practice of using a flipchart to embed reflection as a shared activity as an integral part of studio practice. This study…

Contemporary dance in East Africa, specifically Kenya, is a newly emerging art form informed by the political drive of a small number of choreographers. In this article, I discuss Kenyan choreographer Opiyo Okach's contribution to dance training as exemplified through the "Shift … centre Series 10" which was performed at The Place,…

This paper introduces the concept of creative dexterity within the choreographic process and explores how contemporary dance conservatories are seeking to foster performers' skills in choreographic collaboration. Through investigating the institutional strategies of the London Contemporary Dance School, the Rambert School of Ballet and…

Beginning with the theory of cultural embodiment, this paper suggests that the work of some contemporary choreographers, because of the use they make of their cultural backgrounds, inhabits "in-between" spaces. Cultural embodiment, it is suggested, leads to the choreographer's absorption of movement as a source of historical information…