Inclusive Dance

List of Figures Abbreviations Preface Acknowledgements Introduction - An ethno-historical overview of the origins of Touchdown Dance: A radical initiative in a radical climate - Part 1. Taking a stand for inclusivity in an exclusive society  - Part 2. The body as the locus of liberation - Part 3. Bringing CI and Touchdown Dance to Denmark 1. Returning to the Origins: The Journey Taken by the Founders - Part 1. A chance encounter – Where it all started - The first years of Touchdown Dance 1986–88 – Finding a common way of seeing using CI - Bringing visually impaired and sighted people together through CI - The first encounter – A mini revolution - Part 2. Touchdown Dance (1988–94), Breaking new ground, new discourses, new science, new praxis: Re-inhabiting the body brought into question the perception of the visible and invisible - Part 3. Finding my place 2. Methodology: Undertaking Research That Is Practice-Led - Contact Improvisation – Sowing the seeds of self-determination through touch and movement - CI – A practice-led approach to learning - Part 1. CI – The inter-relationship of pedagogy and practice-led research – The advent of an integrated and inclusive approach - Part 2. The foundational principles in practice  - Vignette 1: An integrated exchange and inter-corporeal event – The three reciprocal membranes - Vignette 2: Touch – On the gap between physical and verbal language – The motile membrane between states of consciousness - Part 3. The role of discursive, ethnographic methods 3. Touch Communication: The Reciprocal Membrane of Inclusion - Part 1. Touching the skin is touching the membrane of the inner body - Part 2. In search of a natural attitude towards touch 4. The Pedagogic Process in Practice - Part 1. Introduction - Working with movement – A path towards change - CI – A sphere for cultural motility and mutability - The transitional state – New ways of seeing, moving and being - Part 2. The different modality-specific methods - Modality 1: The lower six inches - Modality 2: Rolling - Modality 3: Back-to-back sitting - Modality 4: Stand on ‘all fours’ – The low ‘bridge’ or ‘table’ - Modality 5: Lifts – Pathways into space and back to the floor 5. Workshops: Our Partnerships and Projects Since 1994 - Children - Youth work - How would you rate your movement skills before and after the workshop? - Adults 6. Performance and Creative Process - Sixth Sense – Second Sight: Practice-based research – In performance - Productions post 1994 - I-radiate – 1999–2000 - SENSE-8 2000–01 - TACT 2002–03 - CLOSER. Created 2005–08 reworked as APPARENTLY NORMAL 2010–12 - Follow the frame - 343 m/s – The speed of sound - 343 m/s Lisbon 7. Final Words - The paradigm shift – Towards the individual and collective – Embracing the membrane of inclusion - The research accomplishments and the return of non-touch  - Capturing the experience – The multiple membranes  8. Three Touchdown Dance Artists’ Points of View - Introduction - Holly Thomas – Dancer and facilitator - Sharing practice - Performance work - Robert Anderson – Dancer and facilitator - Jamus Wood – Dancer and facilitator Afterword – Steve Paxton Appendix 1. The Small Dance 329 Appendix 2. The ‘Hatching Chick’ – And the ‘birth’ of the Membrane Concept Timeline Notes Bibliography