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 

  • I Notice that I'm Noticing
    I Notice that I'm Noticing Doughty, Sally This essay considers the concept of noticing in improvisational movement practices and interrogates how what and how we notice can have a significant impact on movement material that is spontaneously composed. This essay takes as its starting point the premise that the act of noticing is a conscious and active form of engagement, and then goes on to discuss this in relation to what and how dance artists notice in the moment of improvising. The author draws from her experience of studying with leading improvisers but primary focus is on the author’s experience of working with American dance maker Deborah Hay in her 2011 Solo Performance Commissioning Project (SPCP). Interviews with dance artists Simon Ellis and Matthias Sperling provide further in-vivo perspectives in order to exemplify the significance of noticing in Hay’s performance practice.
  • This is...
    This is... Doughty, Sally; Shenton, Pete This is… responds to multiple themes outlined for Performatica 2018 that are currently very pertinent for Mexico, as well as in a global context. The following themes have particular resonance for the proposed performance: - Am I aware of the body's possibilities within its own limits? - How do we adapt ourselves as a community? - In what way do we create spaces in order to dwell in them? - What is our capacity to understand global and intellectual diversity? This is…. uses dancing and speaking to investigate how memory can serve as a fundamental line of enquiry to produce improvised contemporary dance performance. It aims to extend the boundaries that exist for this genre and in doing so, it explicitly engages the audience so that they might be moved to reflect on their own experiences. Performers Doughty and Shenton recall and tell individual personal memories that are positioned concurrently with - at times - seemingly unrelated movement material, which prompts performers and audience to consider 'how one thing connects to the next thing… [and that] within this passage of relation lies the logic, narrative, pattern or subject that we, as human beings, are bound to look for' (Burrows 2010: 111). Operating at the intersections between individual and collective memory, 'This is…' aims to create a space in which performers and audience have a shared experience with a particular resonance on ideas of community; coming together and the current Mexico/USA political tensions. The improvised methodology supports the development of witty, moving, thought provoking and unexpected commentaries on one's past, present and future self.
  • The Holding Space: Body Of (As) Knowledge
    The Holding Space: Body Of (As) Knowledge Doughty, Sally; Krische, Rachel; Kendall, Lisa Body Of (As) Knowledge (BOK) is a collaborative practice-based research project reflecting and expanding upon the practices of dance artist-scholars Sally Doughty, Lisa Kendall and Rachel Krische. BOK examines the body as a living archive, focusing on the collection, articulation and dissemination of the moving body as opposed to more traditional archival materials of artefacts and documents. This multi-stranded project engages with Derby Museum Trust to develop understanding of how traditional processes of archiving work, and includes performative outcomes presented in the museum space, NottDance (2017) and InDialogue Symposium (2016). The three authors propose a radical contribution to the publication in the form of a link to an online holding space for this research project. The digital holding space is a repository for film, audio and written documentation of BOK and seeks to highlight and privilege the assertion that the moving body acts as a living resource of archival information. The authors recognise the inherent contradiction of constructing an online artefact of this living, embodied project, and therefore propose that the online resource, in correlation with the concept of the moving body as archive, has a finite life-span. The authors will utilise encryption technology that makes electronic data ‘self-destruct’ after a specified period of time: the holding space will ‘erode’ or ‘rust’ as time passes, and after a certain point the online document can no longer be read (Bleeker 2012: 1). Therefore, the content held on-line remains only in the memories, bodies and practices of the three artist-scholars and the readers who engage with the online artefacts within the identified timeframe. Challenging the traditional notion that ‘the archive [is] that which endures’ (Roms 2013: 45), this contribution promotes a time-sensitive archive which is ‘subject to change, or even disappearance’ (ibid), to reflect the condition of a mortal, corporeal archive.
  • Hourglass: mark-making in and as performance
    Hourglass: mark-making in and as performance Doughty, Sally This proposal responds to the specific themes of 'what happens when we draw with or from the body'; 'choreography as drawing with and from the body' and 'performative drawing - witness or viewer'. It aims to reveal the processes that are implicit within the author's methods of documenting an improvised performance through drawing and mark-making, and how the resulting documentation has the potential to act as a choreographic score to generate new performance work. The author reflects upon a performance commission that she received from Dance4 in 2015 to make an improvised performance in response to artefacts from Robert Wilson's opera Einstein on the Beach (1976) on exhibition at Backlit Gallery, Nottingham. She gave two performances of the hour-long work, titled Hourglass, at the gallery on Saturday 9 May 2015. She articulates her approach to documenting Hourglass from an in-vivo perspective. Treating the exhibits on display as a multi-modal document of the opera's development and performances, Doughty developed strategies for embedding her own documentation of Hourglass into the performance itself. In doing so, she disrupted the normative distinction between the roles of performer and documenter so that the performance's documentation was not conceived of as an additional imposition of practice-as-research but instead, was integral to the artistic practice (Nelson 2013, p.87). Interrogating methods for documenting or 'scoring' Hourglass gave rise to the design of wearable canvases that were integrated into the costume, onto which Doughty hand-drew key features from the performance, such as spatial pathways; movement/vocal material and moments of interaction with audience members, during the performance. Towards the end of each performance the wearable scores were repurposed as she removed each wearable canvas from the costume and hung them in the gallery space as exhibits, thus contributing to the artefacts from the opera's history. The author provides the context for her own drawing in performance by examining the work of dance and performance artists including Trisha Brown (Untitled 2007), Carolee Schneeman (Tracking 1973) and Si Rawlinson (Ink 2017) who have developed strategies for drawing in performance that 'encode movement' (Roben 2012). She proposes an alternative method of documenting that challenges a body of literature and artists' methods of documenting, in which the body gives rise to the mark in the moment of moving. It is a relatively common occurrence that performance is documented by someone other than the artist and from a position external to the work. Michael Woolley observes that 'a distinct tension exists between the performer and documenter' (2014, p. 59), and the author proposes that the nature of her documentation through mark-making in performance collapsed any suggestion of such 'tension', offering instead an embodied and embedded practice of documentation that arose seamlessly through the performance. Nelson notes that when documenting, 'the literal, indexical function of words is less useful than more poetic modes' (2013, p.90) and this is reflected in the mode of drawing undertaken during the performance of Hourglass. The mark-making shifted from a representational style of drawing to a technique that included Doughty's personal responses and a more poetic commentary on the work. The process and creative potential of treating the hand-drawn scores as archival material from Hourglass to inform new performance work such as Hourglass: Archive as Muse (Doughty, October 2015) will be discussed here, concluding that drawing in performance has the dual potential to document and generate.
  • This is...where we are now
    This is...where we are now Doughty, Sally; Shenton, Pete This performance by Sally Doughty and Pete Shenton responds explicitly to the conference theme of ‘where are we now?’ in relation to both histories and confluences. The performance is a 25 minute excerpt titled This is… from a full-length dance performance, titled Renaissance, which uses dancing and speaking to investigate how memory can serve as a fundamental line of enquiry to produce improvised contemporary performance. This is… is designed to develop multiple layers of meaning for both performers and audience through the interrelationship of movement and text. It demands that Doughty and Shenton recall and tell individual personal memories that are positioned concurrently with – at times – seemingly unrelated movement material, which prompts performers and audience to consider ‘how one thing connects to the next thing… [and that] within this passage of relation lies the logic, narrative, pattern or subject that we, as human beings, are bound to look for (Burrows 2010: 111). Memory, as the driver in the work, places dual creative and performative demands on us as performers, which is to generate improvised movement and speech drawing from memory, and to commit (as much) of it to memory (as we can) in order to revisit and conclude it later on. As Hannah Ewence observes, ‘History and memory can, and do, successfully overlap and crossfertilize’ (2013: p.160) and in this instance, it does so to produce new improvised performance. This is…. operates at the intersections between individual, collective and confluent memory to produce witty, moving, thought provoking and unexpected commentaries on one’s past and present self. It asks performers and audience alike to consider ‘where are we now? at any one moment in the work. Renissance is supported by Arts Council England, Dance4 and De Montfort University.
  • Body of Knowledge
    Body of Knowledge Doughty, Sally; Krische, Rachel; Kendall, Lisa Body of Knowledge is a research project that explores how the dancer’s body can be considered as a living archive by understanding experiences – dance related and other – that have been collected by and remain in the body. Recalling and categorising memories, events, performances, training, holidays, injuries – to name a few – has inspired us to develop ‘collections’ from which we have generated new performance work. Treating the body as a living archive, we challenge more traditional archives that contain tangible artefacts and documents, and emphasise the knowledge that resides in and with the dancer. This event is the last phase of their Body of Knowledge project, and Sally, Lisa and Rachel will present some of the dancing, speaking and writing practices they have been working with in order to unearth, understand and use their personal archives. They are joined in a post-performance discussion about the project by Betsy Gregory and Sally Hawsley.
  • Renaissance
    Renaissance Doughty, Sally
  • Handle with Care
    Handle with Care Doughty, Sally; Krische, Rachel Digging deep into their personal archives, Sally Doughty and Rachel Krische continue a four month process of collecting, collating and cataloguing their individual embodied collections. This endeavor to amass materials and memories in the moment of performance demands that the personal becomes public; the private becomes shared; connections are remembered, made and lost. They consider how their fragmented past(s) can be dragged into their present(s) to generate new understanding and opportunities for performance making, and in doing so, they invite the audience to re/consider their individual yet interwoven, personal archives.
  • Body of/as knowledge
    Body of/as knowledge Doughty, Sally This performative presentation focuses on a strand of my practice that considers my body as an archive that has the potential to give rise to new performance work. Memory and archive are considered synergistically to create meaning anew from prior experiences and is a process defined by André Lepecki as one that generates rather than imitates (2010: 29). Treating memory as a mechanism with which to document previous experiences (that include movement training and techniques) allows me to trace the lineage of certain ideas, preferences and skills that are present in my performance making. Logging or tracing such influences and experiences offers me a valuable insight into the nature of my practice(s) and acts as an underpinning for new work. I will make reference to three of my performances (a dance for radio (1994); Hourglass (2015) and Hourglass: Archive as Muse (2015)) as examplars of how knowledge and experience housed in my body have been ‘used, cited, or re-appropriated […] for new purposes’ (Burt 2003: 34) and thus, how the body can be conceived of as a 'non-material museum' (Lista 2014). I will draw also upon a current research project that I am working on in collaboration with dance artists/academics Rachel Krische and Lisa Osborne. Invited by Dance4 to engage in a dialogue that focuses on the body as archive, we three will engage in monthly conversation about our practices and the role that our personal archive plays in our work. This presentation includes preliminary findings from our discussions thus far to elucidate the concept of the The (Moving) Body as Archive.
  • The identity of hybrid dance artist-academics working across academia and the professional arts sector
    The identity of hybrid dance artist-academics working across academia and the professional arts sector Doughty, Sally; Fitzpatrick, Marie This article reports on interim findings from an evolving research project that sets out to examine and document the experiences of hybrid dance artist-academics working across academia and the professional arts sector. Three round table events and an online conversation enabled the capturing of voices of those who operate in academia and the professional arts sector in response to the research project’s three main aims: • To understand the experiences of the hybrid dance artist-academic • To shed light upon the contextual factors that shape these experiences • To offer recommendations that may support a productive, creative practice environment for the hybrid dance artist-academic. This article further contextualizes commentaries within wider discourse on artistic practice and/or Practice as Research (PaR), such as those from Practice as Research in Performance (PARIP) and the Centre for Research into Creation in the Performing Arts (ResCen). The relationship between arts-making practices and neo-liberalist frameworks is explored. The emergent issues of hierarchies, dissidence and the epistemology of the hybrid dance artist-academic are presented and conceptions of agency and community are reconsidered. The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI link.

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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