Livresécouteconscience / présence+2525 autres tagsThe Oxford handbook of improvisation in danceAnn Cooper Albright, Christopher J. Wells, melinda buckwalter, Tamara Ashley, Kent De Spain, Vida Midgelow, Ivar Hagendoorn, Ana Sanchez Colberg, Allison Robbins, Hilary ElliottAnnée 2019Sur placeThe Oxford handbook of improvisation in dance
Articleséconomiedroits d'auteur+33 autres tagsWho can profit from dance? An exploration of copyright ownershipSarah Whatley, Charlotte Waelde, Mathilde PavisIssue de Dance research, 2017, 35.1Type Article de périodiqueAnnée 2017Non disponibleWho can profit from dance? An exploration of copyright ownership
Livresarchiver la dansenouvelles technologies+33 autres tagsTransmission in motion. The technologizing of danceMagda Borrull Pascual, Nikolina Pristas, Tomislav Medak, James Leach, Harmony Bench, Charlotte Waelde, Rachel Fensham, Sarah Whatley, Bojana Cvejic, Chris ZieglerAnnée 2017Sur placeTransmission in motion. The technologizing of dance
Livreséducation somatique et esthétiqueosthéopathie+33 autres tagsAttending to MovementSarah Whatley, Natalie Garrett Brown, Kirsty AlexanderAnnée 2015Cote E.1./WHAT/ATTEDisponible en ligneAttending to Movement
ArticlesRecovering and reanimating 'lost' traces: the digital archiving of the rehearsal process in Siobhan Davies RePlaySarah WhatleyIssue de Dance Research, 2013, 31/2Type Article de périodiqueAnnée 2013–2014Non disponibleRecovering and reanimating 'lost' traces: the digital archiving of the rehearsal process in Siobhan Davies RePlay
Articlesrecherchearchives numériques+11 autres tagsArchives of the dance (21): Siobhan Davies dance onlineSarah WhatleyIssue de 26.2Type Article de périodiqueAnnée 2008–2009Non disponibleArchives of the dance (21): Siobhan Davies dance online
ArticlesmémoirepatrimoineDance identity, authenticity and issues of interpretation with specific reference to the choreography of Siobhan DaviesSarah WhatleyIssue de DANCE RESEARCH 23 2Type Article de périodiqueAnnée 2005–2006Non disponibleDance identity, authenticity and issues of interpretation with specific reference to the choreography of Siobhan Davies
