Dr Fiona Bannon
Senior Lecturer in Dance & Performance
(0113 34) 38729
stage@leeds building, Room 1.06.
PhD, MEd, PGD, BA
Senior Lecturer and Assessment Lead in PCI.
Teaching this session includes, for example Exploring Cultures in Performance, Making Dance Theatre, Performance and Collaborative Enterprise,
Fiona is currently completing Considering Ethics in Dance, Theatre and Performance (in development)
Fiona began her professional career working as a freelance community dance worker after completing postgraduate studies in Community Dance at the Laban Centre (London). After moving to Sydney, Australia she worked as the Education and Community Officer for Ausdance (NSW). On returning to the UK, Fiona joined the Scarborough School of Arts (University of Hull) as a Lecturer in Dance and Performance. She was later appointed Head of Performance, Theatre and Dance moving on to be Head of the School of Arts in 2004 and in 2006 the Head of the School of Arts and New Media. Fiona is a Senior Lecturer in the School of Performance and Cultural Industries, Leeds, continuing her research into ethics and aesthetics in performance and collaborative practice.
Fiona is the Chair of DanceHE and founding member of Architects of the Invisible, a performance collective that explores experimental choreography and social interaction. Fiona is a Senior Fellow of the Higher Education Academy and recently joined the Executive of the World Dance Alliance and is Chair of the Working Group for World Dance Alliance-Europe. Current work includes the supervision of a number of Ph.D. candidates researching in the areas of collaborative arts practice, choreography, auto-biographic me-search through queer theory, dance and photography and experiences of salsa in Europe. She writes for dance journals including Research in Dance Education and Choreographic Practices, regularly presents research work nationally and internationally.
Fiona is currently writing a manuscript investigating ethics, aesthetics and creative co-creation in performance.
Considering Ethics in Dance, Theatre and Performance (in development)
- Ethics and Collaborative Performance
- Arts and Aesthetic Education
- Improvisation, dialogue, and co-creative practice
- Multisensory performance, land-based arts, and well-being
- Somaesthetics, society, and senses making
- Social arts practice, participation, and sustainability.
Postgraduate Taught Courses
Performance and Collaborative Enterprise (PACE), Individual Projects, Research Project
Making Dance Theatre, Exploring Cultures of Performance, Researching Theatre and Performance, Industry Study.
Director Centre for Practice-Led Research in the Arts (CePRA) www.cepra.leeds.ac.uk/
Assessment Lead and Integrity Officer
PCI – International Representative
Year Abroad Tutor.
Year in Industry Tutor.
Approaching Collaborative Practices: Ethical considerations in Performance and Dance. (In preparation)
(2012) “Bad girls, dancing like a blaze of consciousness”, Punk and Post-Punk Kiszely P; Ogg A (eds.). 1.2: 178+. (Submitted)
(2011) “Touch: Between Experience and Knowledge”, Journal of Dance and Somatic Practices Whatley S; Garrett Brown N (eds.). 3.1 and 2: 215-227.
(2011) “Articulations: Walking as Daily Dance Practice”, Choreographic Practices Midgelow V; Bacon J (eds.). 1.1: 97-109.
(2010) “Architects of the Invisible: Play with a City”, proximity. 3. 13: 10-15.
(2010) “Dance: the possibilities of a discipline”, RES DANC EDUC. 11.1: 49-59.
(2009) “Dance, Power and Difference”, The European Physical Education Review. (Unpublished)
(2009) “Creative Dance”, The European Physical Education Review.
(2004) “Towards Creative Practice in Research in Dance Education”, Research in Dance Education Rolfe L (eds.). 5.1: 23-41.
(2000) “Experiencing Every Moment: Aesthetically Significant Dance Education'”, Research in Dance Education Rolfe L (eds.). 1.1: 9-26.
(2000) “'Dance, Power and Difference'”, Research in Dance Education. 1 April.1
(1998) “Engaged in Crisis”, Dance Matters.
(1986) “If the Suit Fits Solo Performance Work”, New Dance. 36
(2016) “Being in Pieces: Integrating Dance, Identity and Mental Health”, In: Karkou, V; Oliver, S; Lycouris S (eds.) The Oxford Handbook of Dance and Wellbeing. Oxford Handbook Series. New York: Oxford University Press. (In preparation)
Repository URL: http://eprints.whiterose.ac.uk/85743/
(2016) “Ethico-aesthetic practice of improvising: relations through motion”, In: Midgelow V; Hopf C (eds.) Handbook on Improvisation in Dance. 1. Handbook Series. Oxford: Oxford University Press. (Submitted)
(2015) “Baring All on Stage: Active Encounters with Voyeurism, Performance Aesthetics and 'Absorbed Acts of Seeing'”, In: Theatre as Voyeurism: The Pleasures of Watching. 128-144
(2015) “Attending to ethics and aesthetics in dance”, In: Whatley S; Garrett Brown N; Alexander K (eds.) Attending to Movement: Somatic Perspectives on Living in this World. Axminster, Devon: Triarchy Press. 219-228
Repository URL: http://eprints.whiterose.ac.uk/85742/
(2015) “Baring all on stage: Active encounters with voyeurism, performance aesthetics and ‘absorbed acts of seeing’”, In: Theatre as Voyeurism: The Pleasures of Watching. 128-146
(2013) “Synchronising Self and City: An Everyday Aesthetic for Walking”, In: Coles R; Milligan Z (eds.) Well-Being and Environment. Abingdon, Oxford: Routledge. (Submitted)
(2012) “Capturing a Moment: Researching Aesthetic Experience within Dance Education”, In: Kipling Brown, A; Manley, M-E; Svendler Nielsen, C (eds.) Rich Returns, daCi's First 30 Years. Volume 1. In Search of Our Own Dance Knowledge. 1. Taipei: Dance and the Child International (daCi), Taiwan Chapter. 71-78
(2008) “Walking Between: Through Place and Practice”, In: Cecchetto D; Cuthbert N; Lassonde J; Robinson D (eds.) Collision: Interarts Practice and Research. Newcastle upon Tyne,: Cambridge Scholars Press. 163-178
(2015) Moving to think: Knowledge generation through dance. Twist & Twin. Exploring Identities in Dance. The 13th Dance and the Child International Congress. (Submitted)
(2015) Of possibilities and potential- Dancing adolescence composing a present identity.. (Submitted)
(2013) Engaging with Touch:Transformative Learning in Dance. Dance, young people and change Dance and the Child International(daCi) and the World Dance Alliance (WDA) Ausdance.
(2011) Starting from here: higher education from the insideout. Dance Dialogues Proceedings: Dance Dialogues: conversations across cultures, artforms and practices Austrailia: Ausdance, World Dance Alliance: Asia Pacific, QUT.
(2006) Curious Education: Art Making and Improvisation’. Dance and the Child International, 10th Biannual Conference Proceedings: Colouring the Senses The Hague:
(2003) Trans-cultural Aesthetics: Dance Improvisation Exploring Body-Minded Knowledge. Pulses and Impulses for Dance in the Community Proceedings: Proceedings of the International Conference: Pulses and Impulses for Dance in the Community Lisbon: Universidade Technica de Lisboa.: 61-66.
(2000) Capturing a Moment: Researching Aesthetic Experience within Dance. Extensions and Extremities: Points of Departure, Proceedings: 8th Dance and the Child International Proceedings, Regina:: 29-34.
(1997) An Aesthetic Approach to Dance Education. The Call of the Lakes and Forests Proceedings: 7th Dance and the Child International Conference Proceedings, Finland:: 28-36.
(2012) Relational Ethics: Dance, Touch and Learning. York: HEA. (Submitted)
(2011) Starting from here dance in higher education from the inside out.. Ausdance.
(2007) Imaginative Castings: The Emergence of New Practice. UWIC.ac.uk.
(2003) Reflections on Conversation in Learning and Teaching. University of DeMontfort/PALATINE. (Accepted)
The possibility of walking, drifting, meandering. (Submitted)
The Blackboard Dances: Architects of the Invisible. 10//2/01/1
Through Salt Air. Performance 02//2/01/0
Of Sheer Presence. 09//2/01/0
Thesis / Dissertations
Experience Every Moment: Aesthetically Significant Dance Education.
Research Projects & Grants
Building Banter (EPSRC) Sept 2010- Sept 2012. Research and development based on improving energy efficiency in building.
The project includes talking with employees about their experience of the buildings and equipment that they work with each day in order to find ways to improve energy efficiency in the systems. It has lead to the design of various digital and visual energy-efficient products as well as behaviour change by the building users.
The R&D has been coordinated by Moixa Energy- http://www.moixaenergy.com/tsb.asp
Research Centres & Groups
Practitioner Processes Research Group
External Ph.D. Examinations
Amanda Williamson (2017)
Practice-led and interdisciplinary examinations of post-patriarchal telluric spirituality in the field of somatic/movement dance education and therapy.
University of Sunderland.
Jaimie Henthorn (2016)
Movement intervention within architecture: Artistic research methodologies.
Trinity Laban Conservatoire of Music and Dance. City University: London.
Paula Kramer (2015)
Dancing Materiality A study of Agency and Confederations in Contemporary Outdoor Dance Practices.
Faculty of Art and Design – Coventry University.
Chris Jannides (2013)
The SocioKinetic-bodymAPP: An Improvisation Tool for a Dance and Movement Practice.
School of Dance, University of Chichester.
Chair, DanceHE – Standing Conference on Dance in Higher Education. http://www.dancehe.org.uk/
Executive Board Member – World Dance Alliance http://www.worlddancealliance.org/
Chair, Working Group World Dance Alliance-Europe, (WDA-E) https://www.facebook.com/groups/447624555434013/
Editorial Board – Journal of Research in Dance Education
Undergraduate External Examination
University of Lincoln 2016 –
The University of Surrey – Dance and Culture, 2012- 2016
Liverpool Hope University – Dance, 2012-2016
Liverpool John Moores
PhD & Postdoctoral Supervision
Current PhD Supervision in PCI
Towards wholeness: exploring potential transformations in worldview through encounters with climate change art
Duncan Marwick Revealing Presence.
PhD Completions (PCI)
Kathinka Walter Social dimensions of choreography. Exploring choreography as a multi directional process. (2017)
Dr Mark Edward Temporality of the Performing Body: Movement, Memory, Mesearch (2016)
The incentive for this research comes from my journey as a performing subject with a personal interest in gender performance (drag queen guerrilla interventions), ageing performers and que(e)rying¹ the site through queer visibility in heteronormative spaces.
Dr. Stefanie Boulila (AHRC Doctoral Studentship) 2016.
Dancing salsa in post-thinking Europe: Gender and sexuality discourses among salsa dancers in Switzerland and England.
Dr. Louise McDowall (2014)
Dance Improvisation as a ‘Conversational Dynamic.
Simone Kenyon – Walking out of the body and into the Mountain: dancing, mountaineering and embodied ways of knowing.
Dr. Victoria Hunter – Site-Specific Dance Performance: the investigation of a creative process creative process (2009)
Examples of Post Graduate Masters Supervision
Daliah Toure, 2013
Ideas, Tension, and Impulse: Mathilde
Improvised Music and Dance: non-consensus in collaboration and its manifestation in practice.
Peter Laycock, 2010
Tales of a Choreographic Tourist: Retaining Choreographic Signature whilst Adopting New Practices
Heather Young, 2009.
Through Preservation and Performance.
An interrogation of dance documentation and transfer methods, and their effects on the ontology of a contemporary choreographic work,
University of Hull
Aarabi Veeraraghavan, MRes, 2007
Narrating Space- The Dancing Body in/as Space and Site
Sue White, MA, 2004
Backspace: Documentation, Performance Capturing a Work
Jezz White, MA, 2004
Searching for Me: A trilogy of solo work identifying personal art making practice
Sarah Roe, MA, 2004
Dance and Reflection: A Personal Dialogue
Fergus Byrne, MA, 2003
Nerve Quarries: A Comparative Study of Helene Cixous and the Butoh of Tatsumi Hijkata
Kayla Dougan, MA, 2003.
The Body as Site for Comfort and Discomfort
Experience Every Moment: Aesthetically Significant Experience of Education in Dance
University of Manchester, Faculty of Education, 2001.
This study began with my desire to evaluate aesthetic responses in the field of dance education and to design a methodology, which would demonstrate changes in aesthetic sensitivity and development over time. In this way the thesis was written to advance the academic standing of education in dance.
The work examined a variety of methodological approaches to research, and engaged in qualitative interpretations of ‘streaming’ conversations with students recorded over a period of four years. The research drew on phenomenological, interpretivist, feminist, and naturalistic methodologies. The research attempted to locate the role of aesthetic experience in education in dance with a view to arriving at a methodology, which will promote learning through demonstrable changes in aesthetic development, over time.
The results of the research made it possible to infer conclusions, which demonstrate the evolutionary nature of the research process itself, coupled with the need for flexibility and the recognition and understanding of change through time. In addition, the results went some way to demonstrating that aesthetic experience is rooted in our intellect, feelings and emotions in a complex network of information patterning, orderings and understandings. Furthermore the results indicate that the development of such perspectives in education in dance is not only possible but with appropriate consideration, realizable.
Momentary Distractions , October 2011, stage@leeds
Artist commission with Kathinka Walter, Vanessa Grasse, Daliah Toure