Ms Sally Doughty

Job: Associate Professor Dance; Reader in Dance and Improvisation; Head of Dance

Faculty: Arts, Design and Humanities

School/department: School of Visual and Performing Arts

Research group(s): Centre for Interdisciplinary Research in Dance (CIRID); Institute of Drama, Dance and Performance Studies

Address: De Montfort University, The Gateway, Leicester, UK, LE1 9BH

T: +44 (0)116 257 7834

E: sdoughty@dmu.ac.uk

W: www.dmu.ac.uk/arts

 

Personal profile

Sally Doughty has an international reputation as a facilitator and performer of improvisational practices, and has established her profile over two decades as an artist and academic in the field. She has choreographed, taught and performed in USA, Latvia, Mexico, Berlin, Brussels, Paris, Estonia and variously throughout the UK. She is published widely (Choreographic Practices; Performance Research;  Research in Dance Education and Theatre Insight,) and has forthcoming book chapters in the Oxford Handbook of Improvisation (due 2018); Body, Space, Object: Dialogues between Art and Dance; body^space^object, and Dance Fields: Where is Dance Studies now? Sally is produced by Dance4 (UK) and supported by Arts Council England for several projects: Renaissance (2015) in which she interrogated making improvised dance performance for mid-scale venues; Body of Knowledge (2016) and Please Do Touch (2018), which focuses on investigating and promoting the dancer’s body as a corporeal archive. Each project has culminated practical and published outputs. Sally is co-Principal Investigator in a research project that addresses The identity of hybrid dance artist-academics working across academia and the professional arts sector. She supervises Doctoral students and is Associate Professor in Dance; Reader in Dance and Improvisation; Head of Dance and Programme Leader MFA Performance Practices.

Research group affiliations

  • Centre for Interdisciplinary Research in Dance (CIRID)
  • Institute of Drama, Dance and Performance Studies

Publications and outputs 

Click here to view a full listing of Sally Doughty's publications and outputs.

Key research outputs

PRACTICAL OUTPUTS:

DOUGHTY S. and SHENTON, P. (2018) ‘This is…', at Performatica International Dance Festival. Cholula, Mexico. 15 March 2018.

DOUGHTY S. and SHENTON, P. (2017) ‘This Is… Where We Are Now’, at Dance Fields: Staking a Claim for Dance in the 21st Century. Roehampton University, London, Friday 21 April 2017.

DOUGHTY, S. et al (2017) Body of Knowledge at Nottingham Castle Museum and Arts Gallery, NottDance International Festival, Sunday 12 March 2017.

DOUGHTY, S. and KRISCHE, R. (2016) ‘Handle with Care’, at InDialogue conference, Nottingham Contemporary, Thursday 1 December 2016.

DOUGHTY, S. (2015) 'Hourglass' at Backlit Gallery, Nottingham, 12 May 2015. Commissioned by Dance4.

DOUGHTY, S. et al (2015) Renaissance, at Dance4 International Centre for Choreography, NottDance International Festival, Friday 10 March 2017; Nottingham Playhouse, 13 July 2016.

DOUGHTY, S. (2011). I Think Not, thefidget space, Philadelphia, USA, 9 November 2012; Polymer Culture Factory and Kumu Art Museum, Tallinn, Estonia, 20 and 21 October 2012; Embrace Arts Centre, Leicester, 8 March 2012.

DOUGHTY, S (2007) une danse pour la radio: deux, SDHS/CORD Conference on Rethinking Practice and Theory, June, Paris. 

DOUGHTY,  S. (2006) a dance for radio. Laiks Dejot Festival, Riga, Latvia (2007); Royal Opera House, London (2006); Nottdance International Dance Festival, Nottingham (2006); University of Texas at Austin (2006); Laban Centre, London (2006, 2008); Cultural Exchanges, DMU, Leicester (2006/2008/2012)

PUBLICATIONS

DOUGHTY, S. and SHENTON, P. (2018) ‘This Is… Where We Are Now’ in David, A., Huxley, M. and Whatley, S. (eds) Dance Fields: Where is Dance Studies Now? Hampshire, Dance Books. Publication date tbc.

DOUGHTY, S. et al. (2018) ‘The Holding Space: Body of (as) Knowledge’ in forthcoming body^space^object edited collection. Basingstoke, Palgrave Publishers. Publication date tbc.

DOUGHTY, S. (2018) ‘I Notice That I’m Noticing…’ in Midgelow, V. (ed). Oxford Handbook of Improvisation. Oxford, Oxford University Press. Publication date tbc.

DOUGHTY, S. (2018) ‘Hourglass: Drawing In and As Performance’, in Body, Space, Place in Collective and Collaborative Drawing: Drawing Conversations 2. Cambridge, Cambridge Scholars.

DOUGHTY, S. and Fitzpatrick, M. (2016) ‘The Identity of Hybrid Dance Artist- Academics Working Across Academia and the Professional Arts Sector’ in Choreographic Practices: Questioning the Contemporary in 21st Century British Dance. Intellect Press. Vol 7(1), April 2016

DOUGHTY, S. et al. (2015) Will You Play? Implications of Audience Interventions in Improvised Dance Performance’ in Choreographic Practices: Questioning the Contemporary in 21st Century British Dance. Intellect Press. Vol 6(2), October 2015.

DOUGHTY, S. et al (2008) Technological enhancements in the teaching and learning of reflective and creative practice in dance, Research in Dance Education. 9: 2, pp.129 – 146.

DOUGHTY, S, and MANGAN, M. (2004) On Civility – Quarantine Theatre’s EatEat, ‘Performance Research Journal’, December: 10:1. 

PERFORMATIVE CONFERENCE PRESENTATIONS:

DOUGHTY, S. (2016) ‘Body Of/As Knowledge’. Performance presentation at the Body^Space^Object^Memory^Identity conference, Coventry University, Friday 20 May 2016

DOUGHTY, S. (2015) ‘Hourglass: Archive as Muse’. Performance presentation at Questioning the Contemporary: Rethinking Process, Practice and Product in 21stCentury Contemporary Dance Practices symposium at Leeds Beckett University, 16-17th October 2015.

DOUGHTY, S. et al. (2014) ‘Keep That…Leave That! Implications for the Audience in Co-Authored Improvised Performance’ at Questioning the Contemporary in 21st Century Dance Practices Symposium, Leeds Metropolitan University, 18 July 2014.

CONFERENCE PAPERS:

DOUGHTY, S. (2017) ‘Hourglass: Mark-Making in and as Performance’ at Drawing Conversations 2: Body, Space, Object conference, Coventry University, Friday 8 December 2017.

DOUGHTY, S. and FITZPATRICK, M. (2017) ‘The Identity of the Hybrid Dance Artist/Academic’. Keynote speech at Challenging Futures in Dance, Drama and Music conference. University of Huddersfield, 7 and 8 April 2017.       

DOUGHTY, S. and FITZPATRICK, M. (2014) Mapping the Landscape: The Identity of Dance Artist-Scholars Working Across Academia and the Professional Arts Sector, at Independent Dance, London, 17 September 2014; Questioning the Contemporary in 21st Century Dance Practices, Leeds Metropolitan University, 18 July 2014; Inventing Futures conference, ArtEZ, Arnhem, The Netherlands. Tuesday 3 December 2013.

DOUGHTY, S. and FRANCKSEN, K. (2014) ‘Emergent Learning Strategies: Inspiring the Learners’ Sense of Agency and Autonomy through Practice’ at the HEA Annual Conference, Aston University, Birmingham, July 2014.   

DOUGHTY, S. (2006) Improvisation: What Do I Do and Why Do I Do It? PALATINE Improvisation Pedagogy Study Day, Leeds School of Music, May 2006 and Teacher Fellow Conference, ‘Teaching and Research: Forging new relationships’, DMU, June.

DOUGHTY, S. and STEVENS, J. (2002) ‘Seeing Myself Dance: Video and Reflective Learning in Dance Technique’ delivered at the Finding the Balance Conference at Liverpool John Moores University, 21 – 23 June 2002.

EXHIBITIONS:

DOUGHTY, S. (2015) ‘Hourglassat Theatre and Performance Research Association (TaPRA) Practice-as-Research Exhibition at the University of Worcester, 8 – 10 September 2015.

                                                                                                             

Research interests/expertise

  • Improvisation as performance
  • Improvisation as a means of generating movement in the rehearsal process for a fixed performance
  • Practice as research
  • Documentation and articulation of processes/practices involved in performance making and doing
  • Contemporary choreography
  • The practice of performing
  • Reflective practice:
    - developing a framework that develops analytical and reflective skills in those involved in movement improvisation
    - employing a range of technology/media to support student’s learning
  • Pedagogic Research

Areas of teaching

  • Movement improvisation
  • Contact improvisation
  • Choreography
  • Performance 
  • Contemporary dance technique
  • UK dance profession/infrastructure
  • Promoting dance
  • Reflective practice

Qualifications

MA by Independent Study: improvisation as a creative tool in the rehearsal process

BA (Hons) Performing Arts: Dance

Courses taught

  • BA (Hons) Dance
  • BA (Hons) Performing Arts
  • MA Performance Practices
  • MFA Performance Practices

Honours and awards

DMU Teacher Fellow, 1 August 2010. For excellence in teaching and learning.

DMU Vice-Chancellor’s Distinguished Teaching Award, 2009. Voted by students for outstanding teaching.

Membership of external committees

2015 - 2016: Board Member for Decoda

2012–2016: Board member for UK Young Artists.

2007 – 2009: Member of the project advisory board for "Embodied Generative Music: An Investigation of the Relation Between Bodily and Musical Expression", an art/science research project based at the University of Music and Dramatic Arts, Graz, Austria.

Membership of professional associations and societies

Fellow of the HEA (2002) 

Forthcoming events

'Please Do Touch' research project: Performances at Leicester New Walk Museum and Art Gallery, 1 and 2 December 2018. Working in collaboration with artist-academics Rachel Krische and Lisa Kendall from Leeds Beckett University, we will present our final practical outputs from the 'Body of Knowledge research project'. Supported by Arts Council England; Dance4; DMU; Leeds Beckett University and Derby Museums Trust. Go to https://www.dance4.co.uk/event/please-do-touch-live-performance/

Conference attendance

DOUGHTY, S. (2017) ‘Hourglass: Mark-Making in and as Performance’ at Drawing Conversations 2: Body, Space, Object conference, Coventry University, Friday 8 December 2017.

DOUGHTY, S. and FITZPATRICK, M. (2017) ‘The Identity of the Hybrid Dance Artist/Academic’. Keynote speech at Challenging Futures in Dance, Drama and Music conference. University of Huddersfield, 7 and 8 April 2017.       

DOUGHTY, S. (2016) ‘Body Of/As Knowledge’. Performance presentation at the Body^Space^Object^Memory^Identity conference, Coventry University, Friday 20 May 2016

DOUGHTY, S. (2016) Managed and curated symposium: Dance Improvisation: The Estranged Cousin, at Attenborough Arts Centre, Leicester. Saturday 12 March 2016.

DOUGHTY, S. (2015) ‘Hourglass: Archive as Muse’. Performance presentation at Questioning the Contemporary: Rethinking Process, Practice and Product in 21stCentury Contemporary Dance Practices symposium at Leeds Beckett University, 16-17th October 2015.

DOUGHTY, S. and FITZPATRICK, M. (2014) Mapping the Landscape: The Identity of Dance Artist-Scholars Working Across Academia and the Professional Arts Sector, at Independent Dance, London, 17 September 2014; Questioning the Contemporary in 21st Century Dance Practices, Leeds Metropolitan University, 18 July 2014; Inventing Futures conference, ArtEZ, Arnhem, The Netherlands. Tuesday 3 December 2013.

DOUGHTY, S. et al. (2014) ‘Keep That…Leave That! Implications for the Audience in Co-Authored Improvised Performance’ at Questioning the Contemporary in 21st Century Dance Practices Symposium, Leeds Metropolitan University, 18 July 2014.

DOUGHTY, S. and FRANCKSEN, K. (2014) ‘Emergent Learning Strategies: Inspiring the Learners’ Sense of Agency and Autonomy through Practice’ at the HEA Annual Conference, Aston University, Birmingham, July 2014.   

DOUGHTY, S. (2012) Thinking about I Think Not,  at the Improvisation Practices Symposium, University of Northampton, 26 June 2012. 

DOUGHTY, S. (2006) Improvisation: What Do I Do and Why Do I Do It? PALATINE Improvisation Pedagogy Study Day, Leeds School of Music, May 2006 and Teacher Fellow Conference, ‘Teaching and Research: Forging new relationships’, DMU, June.

DOUGHTY, S. and STEVENS, J. (2002) ‘Seeing Myself Dance: Video and Reflective Learning in Dance Technique’ delivered at the Finding the Balance Conference at Liverpool John Moores University, 21 – 23 June 2002.

Externally funded research grants information

2018: As PI, Grant for the Arts, Arts Council England (£11,039) to undertake Please Do Touch research project.

2016: As PI, Grant for the Arts, Arts Council England (£5,100) to undertake the Body of Knowledge research project,

2015: As PI, Grant for the Arts, Arts Council England (£13,170) to undertake the Renaissance research project and I plan to submit a second application in 2018 to produce the work.

2015: As PI, I performance commission of £7,860 from Dance4 to interrogate improvised performance

2013: As CI, Grant for the Arts, Arts Council England (£13,000) to support and develop activities and audience engagement as part of Quick Shifts improvisation collective.

2004: As PI, AHRC small grant funding (£3,832) for practice-based research project The still moving body – disposing of, recycling and documenting improvisation that resulted in a performance output, a dance for radio.

Internally funded research project information

Improvisation: what do I do and why do I do it?  Pedagogic Research Project funded by Centre for Excellence in Performing Arts, De Montfort University.  2006 and 2007.  Sole researcher. 

Professional esteem indicators

2017: Keynote address on Hybrid Dance Artist-Academic research project at Challenging Futures in Dance, Drama and Music conference, University of Huddersfield, 8 April 2017.Physical Education and Sport Pedagogy 2012/2012: peer reviewer

2016: Granted University Research Leave from January – May 2016.

2014: Invited by Dance4 to represent the UK in an international online conversation with artists from Australia and India. Friday 28 November 2014.

2013: Interviewed for the leading Korean dance journal Dance and People (2013, Vol 8: p.82)

BOOK REVIEWS:

BUCKWALTER, M. (2010) Composing While Dancing: An Improviser’s Companion, Wisconsin, University of Wisconsin. Review published in Dance Research Journal (2013) 31(2): pp.216 – 217.

BUTCHER, R. and MELROSE, S (eds) (2005) Rosemary Butcher: Choreography, Collisions and Collaborations. Middlesex, Middlesex University Press. Review published in Research in Dance Education, (2008) 9(1), pp 107-109.

GERE, D and COOPER ALBRIGHT, A. (2003) Taken by Surprise: A Dance Improvisation Reader.  Middletown, Connecticut: Wesleyan University Press.

PEER REVIEWER:

2014: Journal of Dance and Somatic Practices

2012: Physical Education and Sport Pedagogy:

2008: Dancelines

Bibliometrics

Cited in:

BURT, R. (2009).  History, memory, and the virtual in current European dance practice, Dance Chronicle, 32:1–26.

BROCKBANK, A. and McGILL, I. (2007). Facilitating reflective learning in Higher Education, 2nd ed. Berkshire, The Society for Research in Higher Education and Open University Press, pp128.

DE SPAIN, K. (2014) Topography of movement improvisation, Oxford University Press.

TEMBRIOTI, L. and TSANGARIDOU, N. (2014) Reflective practice in dance: a review of the literature. Research in Dance Education. 15(1): pp4-22.

 

Search Who's Who

sally-doughty-img

Sally Doughty performing I Think Not.
Photo credit: Hana Vojáčková

sally-doughty-img-01

Renaissance, performed by Sally Doughty and Pete Shenton.
Photo credit: Jason Seniorsally-doughty-img-02Renaissance, performed by Sally Doughty and Pete Shenton.
Photo credit: Jason Senior

 
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