Kate Marsh

1. Taking charge – finding a new discourse for understanding the shifting roles of disabled people in dance Kate Marsh

2. Research Background • I am a disabled dance artist

3. Research Background • I am a disabled dance artist • I have worked in inclusive dance for 16 years

4. Research Background • I am a disabled dance artist • I have worked in inclusive dance for 16 years • I have been involved in significant change in practice, theory and perceptions of disabled dance artists

5. Research Background • I am a disabled dance artist • I have worked in inclusive dance for 16 years • I have been involved in significant change in practice, theory and perceptions of disabled dance artists • I see a need for progression in how we research the field of dance and disability • There is a discrepancy between original momentum in this sector and disabled leaders in dance

6. Research Aims • Map the disability and dance sector through engagement with both theory and practice. • Identify how work by disabled dance artists is perceived, analysed and evaluated.

7. Research Aims • Map the disability and dance sector through engagement with both theory and practice. • Identify how work by disabled dance artists is perceived, analysed and evaluated. • Explore how disabled dance artists experience working in dance.

8. Research Aims • Map the disability and dance sector through engagement with both theory and practice. • Identify how work by disabled dance artists is perceived, analysed and evaluated. • Explore how disabled dance artists experience working in dance. • Examine how disabled artists feel about issues of authorship and ownership of their creative practice examine issues of leadership for disabled dance artists.

9. Research Aims • Map the disability and dance sector through engagement with both theory and practice. • Identify how work by disabled dance artists is perceived, analysed and evaluated. • Explore how disabled dance artists experience working in dance. • Examine how disabled artists feel about issues of authorship and ownership of their creative practice and examine issues of leadership for disabled dance artists. • Explore issues of leadership for disabled dance artists – Potential obstacles and strategies for developing opportunity

10. Research Aims • Map the disability and dance sector through engagement with both theory and practice. • Identify how work by disabled dance artists is perceived, analysed and evaluated. • Explore how disabled dance artists experience working in dance. • Examine how disabled artists feel about issues of authorship and ownership of their creative practice and examine issues of leadership for disabled dance artists. • Explore issues of leadership for disabled dance artists – Potential obstacles and strategies for developing opportunity • Build resources and opportunities to facilitate continued progress for disabled dance artists.

11. Where are the disabled leaders in dance? • HE/training context • Professional Development • Post-performance Opportunity • Mentoring • Legacy

12. Methodology Critical Framework Primarily Qualitative Ethnographic/Anthropologic Practice focussed Methods Case Studies/Auto Biography Interviews Observation Practice as research

13. Research Outcomes • Improved access into HE/Training Routes • Increased opportunity for Disabled Leaders in Dance: Lecturer, Choreographer, Director, Producer, Manager • Extend discussion in this area, beyond the ‘inclusive’ dance community and offer a perspective and practical suggestions for the dance sector in general

14. Thank You & Questions