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Queer women in dance- Changing the narrative (LGBT Dance film)

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The LGBTQ Dance Company Challenging Gender Norms With Ballet | NBC Left Field

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HALLELUJAH - A Circus Film [Love, Hate & Religion]

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Interview with Hollie from ‘The Manc’. Talking about why I started the collective and how other people can join.

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Rehearsal Process for, ‘I’m More Than That’

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Rehearsal Process for, ‘I’m More Than That’

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Rehearsal 1.

This rehearsal included the girls getting to know each other and me more in person. We workshopped choreography and had fun getting used to being in front of a camera.

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Rehearsal 1.

Workshopping choreography during the first rehearsal. Moving as a group and feeling the song with movement.

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The Queer Code: Secret Languages of LGBTQ+ Art

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Gender and Sexual Identity Inclusion Training for Dance Studios

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Interview with Samm Wesler: Dance Magazine writer & Dance educator/Gender and sexual identity inclusion advocator.

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Interview with Samm Wesler: Dance Magazine writer & Dance educator/Gender and sexual identity inclusion advocator.

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Interview with Chantay regarding how the song and collective makes her feel and why she would recommend it to other queer woman in the arts.

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Interview with Emma regarding the importance of marginalised groups having a safe space within the arts.

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Rehearsal 2.

This rehearsal included a costume fitting and getting used to studio space whilst gaining confidence being on camera. I wanted the girls to feel empowered within their costume and this meant adapting and altering the suits to each persons preferred fit for gender empowerment.

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Rehearsal 3.

Rehearsal 3 was a deep dive into intention (work seen below). What was the intention of the piece? And how were we going to convey this on camera?

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H.E.R.'s Simple Method For Writing GREAT Lyrics | Studio Deep Dive

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Interview with Melle regarding the costume and how verbatim work has helped us break the gender binary.

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Queer Art Is Not Just For Queer People! | Jason Kattenhorn | TEDxBanbury

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Rehearsal 2.

Melle and Chantay workshopping to the song. Exploring verbatim movement, after talking about their experience as a queer couple.

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Chantay leading the workshop for the piece.

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Rehearsal 3.

Working together as a group. Using the mirror to see how the lines are and how to get a cleaner routine prior to shoot day.

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FINAL SONG

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FINAL SONG

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I’m more than that final shoot and edit.

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Empty Graves, original song and choreography Final Cut.

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This song was written with the intention of having a movement video to go with it. Due to timeframe I’ve not been able to get a shoot done for this song yet. However, this will be something I will be doing in the future.

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Gibbs’ reflective method was a core method I used (I expand on this within my presentation)

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FINAL SONG

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The process of writing the first song.

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Empty Graves process

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Interview with Molly Lauren, queer journalist and independent columnist.

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Emma Mitchell being interviewed about the shoot, the rehearsal process and the topic of religion coinciding with queerness.

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Hollie Wells’ testimony for working with QWD Collective.

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BTS of camera work. Trying to master using my stabiliser to create a smooth transition between dance sequences.

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Molly kindly gave us a piece of journalism with a write up of our shoot and everything that happened throughout the day.

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This was my original mood board for the shoot, ‘I’m more than that’. I wanted an all white background and androgynous costumes that challenge gender norms. This included a full 3 piece suit whilst wearing a full face of makeup. This original mood board matches the final product almost perfectly which means I did follow this theme throughout the process.

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An Introduction to Verbatim Theatre | National Theatre

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A Guide to Creating Verbatim Theatre | National Theatre

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The Ethics of Verbatim Theatre | National Theatre

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Spoken word, verbatim lyrics/spoken word

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A screenshot of my rehearsal plan.

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Rehearsal reflection and what to focus on.

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Screenshot of plan for first rehearsal

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Literature Review

Barrett, J.R. and Baker, D.J. (2012) ‘Music education and the arts-based research turn: A contemporary justification’, Bulletin of the Council for Research in Music Education, 193, pp.25–39.

Barrett, M.S., Flynn, L.M., Brown, J.E. and Welch, G.F. (2012) ‘Music value and participation: An Australian case study of music provision in community youth settings’, International Journal of Music Education, 30(3), pp.239–255.

Bartleet, B.-L., Dunbar-Hall, P., Letts, R. and Schippers, H. (2012) Sound Links: Indigenous-Musician Partnerships in Remote Australia. Brisbane: Queensland Conservatorium Research Centre.

Bottoms, S., Salverson, J. and Chargoy, S. (2010) Verbatim, Verbatim: Contemporary Documentary Theatre. London: Oberon Books.

Conrad, D. (2009) ‘Exploring risky youth experiences: Popular theatre as a participatory, performative research method’, International Journal of Qualitative Methods, 8(2), pp.68–92.

de Bruin, L.R. (2020) ‘Artistry and agency in co-constructed song: Examining musical identity and collaborative creativity in youth songwriting’, Music Education Research, 22(1), pp.36–52.

Hammond, W. and Steward, D. (2008) Verbatim Verbatim: Contemporary Documentary Theatre. London: Oberon Books.

Leavy, P. (2015) Method Meets Art: Arts-Based Research Practice. 2nd edn. New York: Guilford Press.

McFerran, K.S. (2011) Music, Music Therapy and Trauma: International Perspectives. London: Jessica Kingsley Publishers.

Paget, D. (1987) ‘Verbatim Theatre: Oral History and Documentary Techniques’, New Theatre Quarterly, 3(12), pp.317–336.

Books and Academic Texts:

Butler, J. (1990) Gender Trouble: Feminism and the Subversion of Identity. New York:

Butler, J. (2004) Undoing Gender. New York: Routledge.

Dolan, J. (2005) Utopia in Performance: Finding Hope at the Theater. Ann Arbor: University of Michigan Press.

Engel, A. (2009) Queer Temporalities and the Chronopolitics of Transtemporal Drag. In: A. Kuntsman and A. L. Plummer, eds. Out of Place: Interrogating Silences Queerness/Race/Nation. York: Raw Nerve Books, pp.161–187.

Martin, C. (2006) Bodies of Evidence. TDR: The Drama Review, 50(3), pp.8–15.

Muñoz, J.E. (1999) Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota Press.

Nelson, R. (2013) Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances. Basingstoke: Palgrave Macmillan.

Paget, D. (1987) ‘Verbatim Theatre: Oral History and Documentary Techniques’, New Theatre Quarterly, 3(12), pp.317–336.

Websites

Queer women in dance – Changing the narrative (LGBT Dance film)
YouTube. 2025. Queer women in dance – Changing the narrative (LGBT Dance film). Available at: https://youtu.be/qr1rLADeKfc [Accessed 20 March 2025].

HALLELUJAH – A Circus Film [Love, Hate & Religion]
YouTube. 2025. HALLELUJAH – A Circus Film [Love, Hate & Religion]. Available at: https://youtu.be/KDgA2sxQIn8 [Accessed 12 April 2025].

Gender and Sexual Identity Inclusion Training for Dance Studios
YouTube. 2025. Gender and Sexual Identity Inclusion Training for Dance Studios. Available at: https://youtu.be/79k_T1FfMYU [Accessed 19 May 2025].

The ENTIRE History Of Lesbians
YouTube. 2025. The ENTIRE History Of Lesbians. Available at: https://youtu.be/1AF4bysYljU [Accessed 19 May June 2025].

H.E.R.'s Simple Method For Writing GREAT Lyrics | Studio Deep Dive
YouTube. 2025. H.E.R.'s Simple Method For Writing GREAT Lyrics | Studio Deep Dive. Available at: https://youtu.be/t0B-sjFbes8 [Accessed 4 March 2025].

Can You Be Religious And Queer? | them.
YouTube. 2025. Can You Be Religious And Queer? | them. Available at: https://youtu.be/gnG3BSDfvhk [Accessed 6 February 2025].

The Ethics of Verbatim Theatre | National Theatre
YouTube. 2025. The Ethics of Verbatim Theatre | National Theatre. Available at: https://youtu.be/39JSv-n_W5U[Accessed 14 March 2025].

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Screenshot of notes whilst writing ‘Saturday Night’

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MA D(ST) Proposal Portfolio Template (1) 2 copy copy

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This section focuses on the beginning of my journey in the masters. What made me want to pursue a post-grad course, what inspired me to start my passion project. This video also focuses on the forming of the collective, my verbatim songwriting and the first shoot we did. The costumes we wore, the makeup, the videography etc.

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This section focuses on reflection. What I did and what I could have done better. This section also focuses on the second shoot and how I was able to recruit people to join our collective and maintain a trusted relationship to share our safe space.

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This section includes interviews and conversations that I had with members of QWD about their experience with a focus on the reflection of what I did/could do better in the future.