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 ...

This online conversation builds upon research into the identity of the hybrid dance-artist academic and documents conversations with two leading dance curators/programmers.

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 ...

In 2015, Sally Doughty received a commission from Dance4 to make a dance performance in response to an exhibition of artefacts from the seminal opera Einstein on the Beach (1976). Created and performed in the exhibition ...

In 2015, the author was commissioned by Dance4 to make an improvised dance performance, titled Hourglass, in response to artefacts from Robert Wilson’s seminal opera Einstein on the Beach (1976) exhibited at Backlit Gallery, ...

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 ...

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. ...

The Lovers (2012) is a hypermedia performance for dancer and musician (Sally Doughty and Craig Vear). It articulates the impact of intermedial performance environments upon composer-choreographer collaboration, specifically, ...