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Notes
∗Department of Drama, University of Hull, Cottingham Road, Hull HU6 7RX, UK. Email: [email protected] A DVDRom documenting the work discussed in this response will belodged with the Arts Humanities Data Service later this year.
∗Corresponding author. Performance Studies Division, University of Northampton, St George's Avenue, Northampton NN2 6JD, UK. Email: [email protected]
∗Department of Humanities Arts and Languages, London Metropolitan University, 166–220 Holloway Road, London N7 8DB, UK. Email: [email protected]
∗School of Performance & Cultural Industries, University of Leeds, Bretton Campus, West Bretton, Wakefield WF4 4LG, UK. Email: [email protected]
∗University of Exeter, UK. Email: [email protected]
1. In South Africa, the contentious word ‘Coloured’ refers to people of mixed descent.
1. Initially, we considered writing ‘interrogate or merely reflect upon’, but recognised that would suggest a binary, a hierarchy that we do not ascribe to the work we make.
1. Site-specific performance is defined here as a performance created and performed in response to a particular site or location.
1. Sounding Dance Improvisation is a term I adopted to express my investigation into the different ways in which movement and voice can relate during improvisations, especially when performed in response to sites.
2. These included: Deep Listening—developed by musician Pauline Oliveros; Active Breath—developed by performer Patricia Bardi; Taketina—a system of polyrhythmic training developed by Reinhardt Flatischler.
3. The group included psychologists, writers, teachers, musicians, artists, dancers, housewives, a banker …
4. I have purposely used a range of terms when referring to ‘site’ to draw attention the problematics of the term itself. I favour a shifting terminology to reflect the range of contexts in which such work might take place.