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Biography

Fiona began her professional career working as a freelance community dance worker after completing postgraduate studies in Community Dance at the Laban Centre (London). After moving to Sydney, Australia she worked as the Education and Community Officer for Ausdance (NSW). On returning to the UK, Fiona joined the Scarborough School of Arts (University of Hull) as a Lecturer in Dance and Performance. She was later appointed Head of Performance, Theatre and Dance moving on to be Head of the School of Arts in 2004 and in 2006 the Head of the School of Arts and New Media. Fiona is a Senior Lecturer in the School of Performance and Cultural Industries, Leeds, continuing her research into ethics and aesthetics in performance and collaborative practice.

Fiona is the Chair of DanceHE and founding member of Architects of the Invisible, a performance collective that explores experimental choreography and social interaction. Fiona is a Senior Fellow of the Higher Education Academy and recently joined the Executive of the World Dance Alliance and is Chair of the Working Group for World Dance Alliance-Europe. Current work includes the supervision of a number of Ph.D. candidates researching in the areas of collaborative arts practice, choreography, auto-biographic me-search through queer theory, dance and photography and experiences of salsa in Europe. She writes for dance journals including Research in Dance Education and Choreographic Practices, regularly presents research work nationally and internationally.

Fiona is currently writing a manuscript investigating ethics, aesthetics and creative co-creation in performance.
Considering Ethics in Dance, Theatre and Performance (in development)
Research Interests

Ethics and Collaborative Performance

Arts and Aesthetic Education

Improvisation, dialogue, and co-creative practice

Multisensory performance, land-based arts, and well-being

Somaesthetics, society, and senses making

Social arts practice, participation, and sustainability.

Teaching

Postgraduate Taught Courses
Performance and Collaborative Enterprise (PACE), Individual Projects, Research Project

Undergraduate
Making Dance Theatre, Exploring Cultures of Performance, Researching Theatre and Performance, Industry Study.

Responsibilities

Publications

Books

Journal articles

Edward M, Bannon F (2017) "Being in pieces: Integrating dance, identity, and mental health", Repository URL: In: The Oxford Handbook of Dance and Wellbeing. 329-348
http://eprints.whiterose.ac.uk/85743/

Bannon FC (2016) "Ethico-aesthetic practice of improvising: relations through motion", In: Midgelow V; Hopf C (eds.) Handbook on Improvisation in Dance. 1. Handbook Series. Oxford: Oxford University Press. (Submitted)
Author URL [www.pci.leeds.ac.uk]

Bannon F (2015) "Baring All on Stage: Active Encounters with Voyeurism, Performance Aesthetics and 'Absorbed Acts of Seeing'", DOI: In: Theatre as Voyeurism: The Pleasures of Watching. 128-144
10.1057/9781137478818_7

Bannon FC, Holt D (2015) "Attending to ethics and aesthetics in dance", Repository URL: In: Whatley S; Garrett Brown N; Alexander K (eds.) Attending to Movement: Somatic Perspectives on Living in this World. Axminster, Devon: 219-228
Triarchy Press. http://eprints.whiterose.ac.uk/85742/
Author URL [www.pci.leeds.ac.uk]

Bannon F (2015) "Baring all on stage: Active encounters with voyeurism, performance aesthetics and 'absorbed acts of seeing'", DOI: In: Theatre as Voyeurism: The Pleasures of Watching. 128-146
10.1057/9781137478818.0014

Bannon F (2013) "Synchronising Self and City: An Everyday Aesthetic for Walking", In: Coles R; Milligan Z (eds.) Well-Being and Environment. Abingdon, Oxford: (Submitted)

Bannon F, Sanderson, P (2012) "Capturing a Moment: Researching Aesthetic Experience within Dance Education", In: Kipling Brown, A; Manley, M-E; Svendler Nielsen, C (eds.) Rich Returns, daCi's First 30 Years. Volume 1. In Search of Our Own Dance Knowledge. 1. Taipei: Dance and the Child International (daCi), Taiwan Chapter. 71-78

Bannon F, Andrews S (2008) "Walking Between: Through Place and Practice", In: Cecchetto D; Cuthbert N; Lassonde J; Robinson D (eds.) Collision: Interarts Practice and Research. Newcastle upon Tyne,: 163-178 Cambridge Scholars Press.
Author URL [leeds.ac.uk]

Chapters

Bannon F, Holt D (2013) Engaging with Touch:Transformative Learning in Dance. Dance, young people and change Dance and the Child International(daCi) and the World Dance Alliance (WDA)

Bannon F (2011) Starting from here: higher education from the insideout. Dance Dialogues Proceedings: Dance Dialogues: conversations across cultures, artforms and practices Austrailia: Ausdance, World Dance Alliance: Asia Pacific, QUT.

Bannon F (2006) Curious Education: Art Making and Improvisation'. Dance and the Child International, 10th Biannual Conference Proceedings: Colouring the Senses The Hague:

Bannon F (2003) Trans-cultural Aesthetics: Dance Improvisation Exploring Body-Minded Knowledge. Pulses and Impulses for Dance in the Community Proceedings: Proceedings of the International Conference: Pulses and Impulses for Dance in the Community Lisbon: Universidade Technica de Lisboa.: 61-66.

Bannon F, Sanderson P (2000) Capturing a Moment: Researching Aesthetic Experience within Dance. Extensions and Extremities: Points of Departure, Proceedings: 8th Dance and the Child International Proceedings, Regina:: 29-34.

Bannon F (1997) An Aesthetic Approach to Dance Education. The Call of the Lakes and Forests Proceedings: 7th Dance and the Child International Conference Proceedings, Finland:: 28-36.

Conference papers

Reports

Internet publications

Performances

Thesis / Dissertations

Research Projects & Grants

Building Banter (EPSRC) Sept 2010- Sept 2012. Research and development based on improving energy efficiency in building.

The project includes talking with employees about their experience of the buildings and equipment that they work with each day in order to find ways to improve energy efficiency in the systems. It has lead to the design of various digital and visual energy-efficient products as well as behaviour change by the building users.

The R&D has been coordinated by Moixa Energy- http://www.moixaenergy.com/tsb.asp

Research Centres & Groups

Practitioner Processes Research Group

External Appointments
Amanda Williamson (2017)
External Ph.D. Examinations

Practice-led and interdisciplinary examinations of post-patriarchal telluric spirituality in the field of somatic/movement dance education and therapy.
Jaimie Henthorn (2016) Movement intervention within architecture: Artistic research methodologies.
University of Sunderland.
Paula Kramer (2015) Dancing Materiality A study of Agency and Confederations in Contemporary Outdoor Dance Practices.
Trinity Laban Conservatoire of Music and Dance. City University: London.
Chris Jannides (2013) The SocioKinetic-bodymAPP: An Improvisation Tool for a Dance and Movement Practice.
Faculty of Art and Design - Coventry University.
External Appointments
School of Dance, University of Chichester.

Chair, DanceHE - Standing Conference on Dance in Higher Education. http://www.dancehe.org.uk/
Chair, Working Group World Dance Alliance-Europe, (WDA-E) https://www.facebook.com/groups/447624555434013/
Executive Board Member - World Dance Alliance http://www.worlddancealliance.org/

Editorial Board - Journal of Research in Dance Education

Undergraduate External Examination
Previous appointments
University of Lincoln 2016 -

The University of Surrey - Dance and Culture, 2012- 2016

Liverpool Hope University - Dance, 2012-2016

Liverpool John Moores

DeMontfort University

PhD & Postdoctoral Supervision
Duncan Marwick Revealing Presence.
Current PhD Supervision in PCI

Kathinka Walter Social dimensions of choreography. Exploring choreography as a multi directional process.

Dr Mark Edward Temporality of the Performing Body: Movement, Memo ry, Mesearch (2016)
Dr. Stefanie Boulila (AHRC Doctoral Studentship) 2016. Dancing salsa in post-thinking Europe: Gender and sexuality discourses among salsa dancers in Switzerland and England. Dance Improvisation as a 'Conversational Dynamic.
The incentive for this research comes from my journey as a performing subject with a personal interest in gender performance (drag queen guerrilla interventions), ageing performers and que(e)rying¹ the site through queer visibility in heteronormative spaces.

Internal Examinations

Dr. Victoria Hunter - Site-Specific Dance Performance: the investigation of a creative process creative process (2009)

Examples of Post Graduate Masters Supervision
Improvised Music and Dance: non-consensus in collaboration and its manifestation in practice. Tales of a Choreographic Touris t: Retaining Choreographic Signature whilst Adopting New Practices
Ideas, Tension, and Impulse: Mathilde

An interrogation of dance documentation and transfer methods, and their effects on the ontology of a contemporary choreographic work,
Experience Every Moment: Aesthetically Significant Experience of Education in Dance

Searching for Me: A trilogy of solo work identifying personal art making practice

PhD Thesis

University of Manchester, Faculty of Education, 2001.

This study began with my desire to evaluate aesthetic responses in the field of dance education and to design a methodology, which would demonstrate changes in aesthetic sensitivity and development over time. In this way the thesis was written to advance the academic standing of education in dance.

The work examined a variety of methodological approaches to research, and engaged in qualitative interpretations of 'streaming' conversations with students recorded over a period of four years. The research drew on phenomenological, interpretivist, feminist, and naturalistic methodologies. The research attempted to locate the role of aesthetic experience in education in dance with a view to arriving at a methodology, which will promote learning through demonstrable changes in aesthetic development, over time.
Momentary Distractions , October 2011, stage@leeds
The results of the research made it possible to infer conclusions, which demonstrate the evolutionary nature of the research process itself, coupled with the need for flexibility and the recognition and understanding of change through time. In addition, the results went some way to demonstrating that aesthetic experience is rooted in our intellect, feelings and emotions in a complex network of information patterning, orderings and understandings. Furthermore the results indicate that the development of such perspectives in education in dance is not only possible but with appropriate consideration, realizable.

Professional Practice

Artist commission with Kathinka Walter, Vanessa Grasse, Daliah Toure

http://www.pci.leeds.ac.uk/files/2011/08/FOCUS_Autumn__20112.pdf

http://www.stage.leeds.ac.uk/Events/2011_kathinka_momentary.html

http://www.yorkshiredance.com/momentary-distractions

Links

http://architectsoftheinvisible.tumblr.com/

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School of Performance and Cultural Industries

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Fiona began her professional career working as a freelance community dance worker after completing postgraduate studies in Community Dance at the Laban Centre (London). After moving to Sydney, Australia she worked as the Education and Community Officer for Ausdance (NSW).

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Research | School of Performance and Cultural Industries

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Research in the School engages with the fields of Performance and Cultural Industries and is undertaken within individual projects, collaborations within and beyond the School and in research groups that focus on specific areas of school specialism. These groups are hubs for early career researchers, mid-career academics and senior research leaders and all postgraduate research students are identified with at least one group.

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Before I had the chance to listen to Anna's work, I met her in a café in Folkestone. In retrospect, this is a very likely place to encounter her, or one of her compositions.

Site specificity plays a huge role in Anna's work, everyday locations such as the Cabin Café in Folkestone or the Corn Exchange in Doncaster, have not only inspired two of her most recent works, Cabin Café Cantata and Look Up Doncaster but have also played host to a public performance of these pieces. During our meeting, Anna talked about her compositional methods, part of which involve gathering voices through interviews, sound recordings and spending time really listening to a site and the voices of those who traverse and live within it. Her artistic process resonated strongly with my own practice that seeks to combine sound, performance and site specificity leading me to listen at length to these two pieces.

In Look up Doncaster, Anna gives a distinctive voice to the site and foregrounds the potential of the Quirky Choir, a local Doncaster-based group led by Janet Wood who meet regularly to sing and perform musical scores. Their voices, not necessarily those of trained singers, bring an interesting dimension to the work foregrounding individuality and identity, themes common to Anna's work. The town crier's wail, split amongst several voices, opens the piece. This is combined with sounds of the market and details of the current price of bananas that are sung out. In a later section, choir members step forwards to introduce themselves. These singular introductions are layered over each other, gradually building an atmospheric texture that evokes the hustle and bustle of Doncaster's Corn Exchange. Though there may be a crowd, it is a crowd of individuals, each with their own unique voice.

As a contemporary performance practitioner and scholar, I was also very interested in the theatricality of Anna's work manifested by the incorporation of quite subtle actions, costume and everyday speech. For example, in Look up Doncaster, the Quirky Choir, are required to walk, indicated in the score by the image of pair of pink stiletto's. In Cabin Café Cantata a navy blue pinstriped apron is put on, subtly alluding to the habitual garb of the café worker. In both works, Anna makes use of the cadences found in natural speech weaving interjections such as 'um' and 'er' into the composition, giving the sense that you, as listener, are in dialogue with the voices that are heard, the site and the piece as a whole. Such techniques effectively provide a sense of the aural and vocal textures operating in these site-specific locations. The phrases, sounds, attitudes and fragments of personal narratives all contribute to a sense of place.

For me, one of the many strengths of Anna's work are the methods she uses to generate original compositions. In listening to each piece, her presence at each site and the time spent with members of the local community become clear. When the works are then performed in and/or by the local community, an interesting relationship between the composer and the community is created one that not only allows insight into her working process but one that also builds and strengthens relationships within the community itself.

To fully experience the careful layering of site, voice and sound within Anna's compositions, there is a necessity to attend the live performances. Though where, in some cases this might not be possible, the video documentation of the works provides a sense of what being a listener at the event might be like; whether crammed into the Cabin Café or a face amongst the crowd at Doncaster's Corn Exchange.

Rebecca Collins is a creative arts researcher and currently lectures in contemporary performance at the University of Leeds.
www.rebeccalouisecollins.com

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Rebecca Collins on the work of composer Anna Braithwaite

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Before I had the chance to listen to Anna's work, I met her in a café in Folkestone. In retrospect, this is a very likely place to encounter her, or one of her compositions.

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Ethnographic research - my own personal experiences and observations

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Ethnographic research - my own personal experiences and observations

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The list of the guilty is as long as it is familiar: the banks, a self-perpetuating and narrow political class, a "repressive" media (including the BBC), the City of London, think tanks, multinational corporations, the CBI, the Anglo-American alliance, the police and, frankly, everyone and anything of which and of whom Jones disapproves. This leads to odd conclusions: Ukip, for instance, represents the "mentalities of the Establishment in their purest form".

Equally and for all that Jones lands some heavy punches on the police, it is hard to see how Hayek and Milton Friedman can really be held responsible for South Yorkshire Police's Hillsborough cover-up. For that matter, the miners' strike was certainly a challenge to the established order but Jones never pauses to wonder if the government of the day should be chosen by voters or the National Union of Mineworkers.

Jones is right to draw attention to the moral iniquity of crony capitalism or, as he calls it, "socialism for the rich". Yet bank bail-outs were opposed by many of the libertarians Jones believes have captured the state. Hayek's disciples are the establishment even when the establishment betrays Hayek's disciples. Moreover, though the doctrine of "There Is No Alternative" is an easy target, sometimes the alternatives are even worse.

Corporate welfare, of course, takes many forms and Jones is right to be appalled by the cosy manner in which powerful interests can subvert the wider national interest. On this the libertarian Right and the old Left can agree. The interests of the City are important - and legitimate - but they are not the only important interests.

If Jones's critique is useful, though hardly novel, his solutions are pedestrian: nationalise utilities, increase tax, develop a "new generation of modern industries" (Good idea! Should be easy!), capital controls and all the rest of it. As he notes, today's neo-liberal consensus is unlikely to last forever. It is telling, however, that Jones's parochialism - even as he calls for an international alliance against capitalism - allows no room for the inconvenient truth that globalised capitalism has lifted a billion people out of poverty.

"Private interests are completely dependent upon state largesse if they are to prosper," he concludes, "and thus they should pay up accordingly." If nothing else, it is unusual to see the case for government-as-protection-racket stated quite so explicitly.

The Establishment: and How They Get Away with It by Owen Jones

368pp, Allen Lane, Telegraph offer price: £14.99 (PLUS £1.95 p&p) (RRP £16.99, ebook £5.69) . Call 0844 871 1515 or see books.telegraph.co.uk

READ: Best books of 2014

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The Establishment: and How They Get Away with It by Owen Jones, review: 'pedestrian'

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The list of the guilty is as long as it is familiar: the banks, a self-perpetuating and narrow political class, a "repressive" media (including the BBC), the City of London, think tanks, multinational corporations, the CBI, the Anglo-American alliance, the police and, frankly, everyone and anything of which and of whom Jones disapproves.

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Owen Jones - Chavs - Demonisation of the working class

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Owen Jones - Chavs - Demonisation of the working class

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Owen Jones's indignant, well-argued debut begins with a joke: "It's sad that Woolworth's is closing. Where will all the chavs buy their Christmas presents?" This was uttered by the host of a dinner party attended by the author in "a gentrified part of east London", at which liberal views are taken as a given and, though everyone present has a professional job, not everyone is white, male or straight.

Jones, who is in his late 20s and has worked both as a trade-union lobbyist and as a parliamentary researcher for a Labour MP, doesn't say how he reacted to this mindless put-down at the time. Did he refuse to eat the blackcurrant cheesecake that was being "carefully sliced" as his host sought to fill an awkward silence? Did he storm out and call time on their friendship? Whatever he did on the night, its casual malice led him, indirectly, to write this book, which argues that class hatred is the last acceptable prejudice.

Chavs is packed full of good reporting and useful information. Jones singles out for opprobrium middle-class contempt towards working-class people, those regarded by rightwing commentators such as Simon Heffer as the "feral underclass". In this caricature, peddled by spittle-flecked websites such as chavscum.co.uk and tacitly endorsed by the mass media, "chav" means "underclass", which means working-class people who don't keep their noses clean or behave impeccably. The word's etymology is contested: some accounts associate its origin with chavi, a Romany word for "child" or "youth", which developed into "charva" - meaning scallywag - used for a long time in the northeast. Others treat it as an acronym for "Council Housed and Violent". Its wider use took off about 10 years ago. In early 2004 I worked briefly for a tabloid newspaper whose offices rang with its daily use (along with its bedmate, "pikey"), directed not towards the paper's readers, but towards those it was assumed would be too "thick" to read any newspaper at all. Chavs, Jones writes, are unremittingly portrayed as "Thick. Violent. Criminal." Travel brochures still apparently promise "Chav-Free Activity Holidays", while the London fitness chain Gymbox has felt free to advertise classes in "Chav Fighting".

Jones digs beneath this foul new orthodoxy to reiterate the facts of increasing inequality, which has led British society to become ever more segregated by class, income and neighbourhood. In such circumstances, miscommunication has deepened between the classes; the Conservatives' demeaning of trade unions has helped to strip the working classes of what public voice they had, so that the middle class has effectively become the new decision-making class.

But while it's always right to argue, and to keep arguing, that the balance of power in our social and economic structure is hopelessly, immorally off-whack, there is a cost to denying the personal volition of working-class individuals. Jones - understandably given the book's subtitle - treats class hatred as a one-way street, rather than a collusive, often subtle, process which demeans everyone. In fact, a great deal of chav-bashing goes on within working-class neighbourhoods, partly because of the age-old divide between those who aim for "respectability" and those who disdain it. Inverse snobbery can also be expressed towards those perceived to be "stuck-up". New Labour pummelled liberal critics with populist arguments that ran along this pre-existing faultline. Both Jack Straw and David Blunkett, with seats in Labour's post-industrial "heartlands", tried to out-Asbo each other during their respective terms as home secretary. Middle-class hatred of working-class people - or, rather, a particular image of working-class people which some hold in their minds - is a different beast, saying more about the way in which the education system, especially, is structured to prevent most privileged students from ever having to confront their own averageness.

The one occasion on which the agency of an individual is properly invoked by Jones is in his discussion of the case of Shannon Matthews, the Dewsbury schoolgirl whose mother, Karen, conspired to have her kidnapped in the hope of netting a £50,000 police reward. In that case, Karen Matthews is rightly considered to represent only herself, rather than her wider, poor working-class community, on which the newspaper stories fixated. Yet a similarly detailed chapter on spurious links made in the mass media between support for the BNP and "white working-class culture" makes no such distinction. Jones claims that "hundreds of thousands of working-class people" were "driven into the waiting arms of the BNP" before the party's electoral collapse in 2010, but he fails properly to establish the link between being working class and holding far-right views. He adds fuel to the fire by adding: "Karl Marx once described religion as 'the sigh of the oppressed creature': something similar could be said about the rise of the far right today." Quite apart from the questionable nature of equating religious faith with fascist sympathies, the quote points to a difficult truth about left-of-Labour politics: it requires working-class people to be "oppressed creatures", always victims, not rational actors in a play they help to write.

Divide-and-rule political gambits don't work unless there are enough people who don't already tend, in some way, to one side or the other: classes are complicated entities. One example of this is how different people living in council housing reacted in 1980 to the introduction of the "right to buy" policy, which, Jones argues, was calculated to undermine working-class solidarity. Their decisions were partly a reflection of the circumstances they were in, and partly a reflection of their broader outlook as individuals. Some people thought the idea of owning their own home was wonderful, or held it as a long-term aspiration. Others found the idea repellent and saw it as a deliberate attempt to break up communities. Still others were concerned only with the practical elements - could we afford to replace our own boiler?

Jones doesn't acknowledge this, preferring to treat "the working class" as a single political bloc. Because of this tendency, it can feel as though he romanticises an ideal of working-class life which doesn't always hold true. There is a tinge of the noble savage here and there, particularly in the over-careful way he presents and interprets quotes by his working-class interviewees. Despite this fault, Chavs makes an important contribution to a revivified debate about class.

Lynsey Hanley's Estates: An Intimate History is published by Granta.
Topics

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Chavs: The Demonization of the Working Class by Owen Jones - review

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Owen Jones's indignant, well-argued debut begins with a joke: "It's sad that Woolworth's is closing. Where will all the chavs buy their Christmas presents?" This was uttered by the host of a dinner party attended by the author in "a gentrified part of east London", at which liberal views are taken as a given and, though everyone present has a professional job, not everyone is white, male or straight.

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So I’m tired and we’ve walked a long way through the campus and they said we’d need our coat and now I’m sweating. There was lots of performances spaces that exist that we wouldn’t usually choose to perform in e.g. the giant rock outside of the union. Or the netting outside of Charles Morris although that could possibly be very dangerous. Also we became one body as we walked and were mostly silent. We followed one another. It was like a performance in itself. There was green spaces, grey spaces, and beautiful flowers popping up. Also we travelled at varying paces but all of them seemed to be steady. I understood the point to what we were doing and discovered new spaces I never knew existed. Terri was sitting and stepping on spaces that seem to pop up from the surroundings as she used them. Also I was intrigued by our momentum and rhythm especially when we walked down the stairs, around them and back up them! I thought the spiral staircase coming from outside the Edward Boyle Library was intriguing – could provide an interesting dynamic for a performance. Also as we walked the fresh air was cold and crisp, almost therapeutic. I feel like this could inspire a performance.

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‘Site-specific work in its earliest formation: focused on establishing an in extricable, invisible relationship between the work and its site and demanded the physical presence of the viewer for the work’s completion’  (Suderburg (ed) 2000 p 39).

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•Presence/absence of performer

•Audience as active – engaged in walking, gestures, actions, heightened perception

•Debates on participation

•Role of place

•Layers of narrative – fiction/fact interwoven

•Ecstasis – standing outside of oneself

•Chiasmic – ongoing reaction process

•Political potential – not only horizontal in terms of where but also vertical in terms of what is uncovers.

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•Can be downloaded from the internet – independent– given specific times of day and places for it to be listened to

•Listened to alone, at home

•Immerse into another environment

•Not necessarily with others around or watching

•Example – Fuel Podcasts

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Site/Space/Location

- Orientation - performer/audience

- Proxemics - intimate & One to One performance

- Site & Self

- Everyday rituals

- Discovery/Journey/Adventure

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‘to challenge the notion that the auditorium is a neutral vessel of representation, and see it rather as the spatial machine of a dominant discourse’

Pearson, Mike, p.142 cited in Fiona Wilkie ‘Mapping the Terrain: A survey of site-specific performance in Britain’ New Theatre Quarterly

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In collaboration with theatre producers Fuel, a series of podcasts that bring fragments of theatre into everyday life. They're free to download, and designed to be listened to in a specific place, at a specific time of day - site-specific performance with a twist

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Ben Cruachan is one of the highest peaks on the west coast of Scotland. In the early 1960s the 'tunnel tigers' blasted their way through the 450 million-year-old granite to hollow out a vast chamber for a new power station. Opened by Queen Elizabeth II in October 1965, Cruachan Power Station was a triumph of brute force and state-of-the-art technology.

Fusco's repertoire for a mountain fuses sound from Cruachan power station with three spoken voices: an Irish tunnel tiger, a forgotten artist, and the voice of the 450 million year-old granite itself.

Recorded inside Ben Cruachan, Scotland 15 October 2015 and originally broadcast on BBC Radio 4 at 22:15, 17 October, this work is preceded by a 2-minute introduction from Maria Fusco.

More about the project: www.artangel.org.uk/projects/2015/master_rock

Image: Men work on a tailrace tunnel for Cruachan Power Station, 1963. Photographer unknown, courtesy of The Herald & Times Group

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Excerpt from Temporary Occupations, 6 min, silent, video, 2001

Temporary Occupations depicts a person running on the sidewalk in New York while ignoring the city's spatial codes and therefore resisting their effects upon the organization of everyday experience. The clips in the video register situations of temporary invasion and occupation of private spaces located in a public setting. The action simply articulates the continuity of these spaces with the remaining areas from which they were extricated, drawing attention to, and possibly subverting, the boundaries that demarcate them.

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SMIBE = Pieces from George Perec's Speices of space

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SMIBE = Pieces from George Perec's Speices of space

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SMIBE - Pieces from Georges Perec's Species of Spaces

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A piece exploring media illustrated literature. Taken from Georges Perec's 1974 book Species of Spaces. Featuring music by Radicalfashion. Winner of the 2011 SMIBE Short Film Competition.

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In week one we were given the task to draw a map of a journey we knew well.

This acted as an inspiration to me as I chose to base my final piece on a journey I know well and make most days.

I chose to draw a map of my five minute walk to University. I chose this short journey because I mostly make it on my own. It provoked me to think about all of the performance possibilities along the way. It also encouraged me to think about all of the thoughts I have when making this journey, I might be preparing for the day ahead or looking forward to an event. It also caused me to analyse any stops, starts, pauses, the pace that I walk at, when I wait to cross the road.

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First of all we created a gingerbread figure of ourselves and wrote down all of the experience I have had with Site Specific Theatre up until now.

My experience includes -
. Bringing a museum gallery to life in the history department of school
. I was a steward at the Compass Live Art Festival, I experienced a lot of different site specific performance
. created and performed a flash mob at university.
. I was a steward at the Transform Festival 2015
. Site specific performance as part of research for Be My Baby
. Busking
. currently planning live installations and performances as part of my project 'Rewrite the System' based on class divide
. I performed giving birth on the royal mile in Edinburgh in 2012