Animated Edition - Issues 1996 - 2001
Focus on: various subjects
Below are various articles from editions of Animated between
1996 - 2001.
You can also search the library for any animated articles from this time and if you'd like to buy a paper copy of any of these editions please see buy copies.
In this issue
1996 Autumn
Animated, Autumn 1996. Karen Hall goes globe trotting with Channel 4
Animated, Autumn 1996. Has the kernel of dance choreography faded? Is there a creeping disenchantment with contemporary dance? Nikki Crane fuels the debate
1997 Autumn
Animated, Autumn 1997. Brian Thomas on spreading your wings
Animated, Autumn 1997. Hilary Shedel reports on the first course of its kind designed for those with a basic knowledge of photography and a mandatory enthusiasm for dance!
Animated, Autumn 1997. Suzanne Bull on the real access issues for people with disabilities
Animated, Autumn 1997. Ballet into the 21st Century, classical and contemporary. Jennifer Jackson ponders how the familiar can be remade strange?
Animated, Autumn 1997. Anne Roberts reveals what makes audiences take risks
Animated, Autumn 1997. Pamela Harling-Challis is one of a new breed of artists embarking on dance research at Laban Centre London. Here she offers a personal insight
1997 Spring
Animated, Spring 1997. How do young men get as far as training in dance and what problems do they encounter along the way? Alysoun Tomkins reveals some startling facts
Animated, Spring 1997. Young disabled dancers are finding a voice, says Ray Jacobs
Animated, Spring 1997. Laraine Fischer reflects on the value of work placements
Animated, Spring 1997. Judy Smith urges students to seize the initiative
Animated, Spring 1997. Ruth Trueman looks at Community Dance and its expanding profile in Higher Education
Animated, Spring 1997. The Claire Russ Ensemble, Motionhouse and local dance artists have joined forces to create the Warwickshire Youth Dance Programme. Claire Russ reveals how
Animated, Spring 1997. Charlotte Vincent talks about her work
1997 Winter
Animated, Winter 1997. Age can equate to growth. Carolyn Naish reflects
Animated, Winter 1997. Antony Smith on limited lexicons and the importance of the tea dance
Animated, Winter 1997. Dancers are seduced into thinking of only the present. Kenneth Tharp argues why we should act on the findings of Fit to Dance?
1998 Autumn
Animated, Autumn 1998. Vivien Freakley, of the pioneering Black Choreographic Initiative talks about the support and development of choreographers at the cutting edge of black British dance
Animated, Autumn 1998. Deborah Baddoo reports back on The Association of Dance of the African Diaspora's recent seminar
Animated, Autumn 1998. Dick McCaw explains how the International Workshop Festival meets artists needs, interests and preoccupations
Animated, Autumn 1998. William Burroughs may have called language 'a virus', but in La Ribot's recent London based choreographic research, language is a code. By Lois Keidan
Animated, Autumn 1998. Jo Butterworth reflects on the international conference - The Greenhouse Effect and is left in no doubt that there is so much more to share
Animated, Autumn 1998. Heidi Wilson puts Powys Dance under the spotlight
Animated, Autumn 1998. Sheron Wray recently left Rambert to commit fulltime to her own project, JazzXchange Music and Dance Company. Here she reveals the processes involved
1998 Spring
Animated, Spring 1998. So how do you think? Brian Thomas dispels some myths
Animated, Spring 1998. Janet Archer elaborates on Dance City's Moving on Up and, Lesley Younger talks about the new Sunderland Dance Initiative
Animated, Spring 1998. Marie McCluskey on DansConnect, an exciting 18 month project which will enable Swindon Dance to reach out to a whole new generation of young people
Animated, Spring 1998. The Centre for Dance and Theatre Studies, Bretton Hall, with Yorkshire Dance have created a programme on Choreographic Development Jo Butterworth reports
Animated, Spring 1998. Penny Greenland speaks candidly about her fears and aspirations as JABADAO are poised on the brink of some pioneering new initiatives
Animated, Spring 1998. Katy Dymoke uncovers Dance Division - a bold new initiative which aims to bring 360,000 males, face to face with dance - dispelling myths and prejudice conclusively
Animated, Spring 1998. Being part of The Place's Associate Artists Scheme is a bit like being put in a hothouse environment. Carol Brown explains
Animated, Spring 1998. Six years after a major feasibility study was undertaken the new Scottish School of Contemporary Dance is about to be born, based at Dundee College. By Peter Royston
1998 Summer
Animated, Summer 1998. Gill Clarke, Independent Dance Artist and Deborah Barnard, Dance Northwest/Ludus Dance Agency on debate amongst artists, and between artists and funders
Animated, Summer 1998. Francois Matarasso highlights the difficulties of defining success
Animated, Summer 1998. Rivca Rubin and Steve Purcell challenge current thinking about arts training creating new possibilities for a dynamic and influential performance praxis
Animated, Summer 1998. Choreographer and performer Rosemary Lee embarks on an Arts Council research project designed to deepen and challenge her as an artist and creator
Animated, Summer 1998. Lauren Scholey assesses the need to quantify and qualify our work to audiences and funders alike
Animated, Summer 1998. As dance professionals we enjoy a high degree of autonomy, often paying little regard to monitoring or evaluating. Diane Amans asks whose needs are being met?
Animated, Summer 1998. Issues in documenting community dance by Jane Bacon
Animated, Summer 1998. Laurence Higgens offers a personal perspective
Animated, Summer 1998. It takes time and leg-work to find people, meet with them and talk but it is increasingly important to give more voice to participants. Ruth Trueman reflects
Animated, Summer 1998. Darshan Singh Bhuller in conversation with Emma Manning
Animated, Summer 1998. This year sees the tenth anniversary of the Siobhan Davies Dance Company, a moment that invites reflection as Sanjoy Roy discovers...
Animated, Summer 1998. Ana Sanchez-Colberg reflects on the challenges that the current cultural climate poses to the working artist - choreographer...
Animated, Summer 1998. In the changing arts climate there is an enhanced need for multi-faceted reflective arts practitioners. Lesley Younger offers some strategies
1998 Winter
Animated, Winter 1998. Rachel-Anne Rist reflects on the final day of the International Association of Dance Medicine and Science's (IADMS) annual conference
Animated, Winter 1998. Identity is a composite of cultural influences, personal experiences and inner feelings. Karen Hall talks about her work as an artist-in-residence
Animated, Winter 1998. With the introduction of a National Curriculum dance is now a legal entitlement for all pupils at Key Stages One and Two. Keyna Paul considers the challenges
Animated, Winter 1998. Igniting the candle - Marion Gough offers a personal perspective on the teaching of dance
Animated, Winter 1998. Chris Thomson ponders our 'institutional' visions - the navigation systems which redefine our arts practice in schools
Animated, Winter 1998. Lyn Paine contemplates the state of play of dance in schools and proffers some words of advice to artists-in-residence
Animated, Winter 1998. Luke Judd talks to Nadine Senior about the importance of enabling young people to become artists in the deepest sense
Animated, Winter 1998. Sanjoy Roy takes a candid look at the ephemeral fate of many of today's choreographers in conversation with Shobana Jeyasingh
Animated, Winter 1998. Tracking the impact of artists working in schools. David Oddie explains the background to the pioneering OFSTED review
1999 Autumn
Animated, Autumn 1999. Adam Benjamin conjectures that the likely barrier keeping disabled students out of training in the future will not be concrete steps it will be technical ones
Animated, Autumn 1999. "The body is the meeting point for what is wild and what is civilized... dance bites at the heel of what is unknowable."(1). By Doran George and Christy Adair
Animated, Autumn 1999. Jessica Shenton highlights the latest research projects which constitute part of Dance UK's innovative Healthier Dancer Programme
Animated, Autumn 1999. Marie McCluskey and Jackie Fahy unpack DansConnect - an innovative performance-led initiative - reaching a staggering 6000 young people
Animated, Autumn 1999. Karen Gallagher talks about Merseyside Dance Initiative MDI's pioneering strategy which is placing dance firmly in the minds of local government policy makers
Animated, Autumn 1999. Fiona Millward talks about Zone 3 - a revolutionary approach to the long-term development of the independent dance sector
Animated, Autumn 1999. Adrian Heathfield discusses the unruly work of Wendy Houston
Animated, Autumn 1999. Evaluating our dance practice is an area many of us have resisted but it is one which is vital to the development and survival of dance. Jane Bacon discusses
Animated, Autumn 1999. Susana Garcia and Nigel Warrack contemplate the value placed on childrens dance and report on Dance and Theatre Provision for Children in the UK and Abroad
Animated, Autumn 1999. Brendan Keeney talks frankly about Take Me to the River, an inspired site-specific adventure in the heart of London
Animated, Autumn 1999. Geetha Upadhyaya's illuminating account of the making of The Selfless Princess - a pioneering collaboration between classical Indian dance and digital art
1999 Summer
Animated, Summer 1999. Fi Frances highlights the urgent need for training for those artists wishing to work well with older people...
Animated, Summer 1999. There are few systems for the nurture of the mature dancer. Fergus Early on the issues of moving in a territory without signposts
Animated, Summer 1999. Standing the test of time? As we cruise towards the millennium many artists have identified a need to revisit and reconstruct their work. By Liz Aggiss
Animated, Summer 1999. Anna Carlisle's illuminating account of an unending voyage of artistic discovery
Animated, Summer 1999. From Rambert, Mantis and Second Stride... to life as a solo artist. Ann Dickie's poignant account of how her career has come full circle. Still dancing at 53
Animated, Summer 1999. Ruth Churchill unravels the maze of current initiatives and highlights METIER's crucial role in achieving Lifelong Learning for all
Animated, Summer 1999. "Don't worry darling, you have high cheek bones and you will stay looking younger far longer than she will." By Emilyn Claid
Animated, Summer 1999. "I would rather 'pop-off' when I am in the dance group than lie alone in my room waiting... to die..." Sara Houston ponders the politics this radical project raises
Animated, Summer 1999. Lynda Robbins talks candidly of the distorted belief systems that are denying dancers and their bodies crucial energy and nutrients for health and performance
Animated, Summer 1999. Jane Hackett talks about BRB's strategic initiative Dance Track where opportunity, information and funding combine to create pioneering dance provision
Animated, Summer 1999. If youth knew, if age could... A wry and rather wistful observation which underscores the predicament of the older artist in dance. Mary Brady reflects
1999 Winter
Animated, Winter 1999. As process based performance work engaging time as a formal medium is continually marginalised interdisciplinary artist Robert Pacitti explains why he makes...
Animated, Winter 1999. Clare Cooper takes a candid look at the dependency of the independent dance sector and why it is so bad at attracting portfolio income streams
Animated, Winter 1999. The arts are bringing something different to current business training practice. Toby Wilsher of Trestle Theatre Company explains
Animated, Winter 1999. How can the subtle process of coordinating the space between dancers be made explicit and offered to the wider echelons of business and industry? Kate Flatt explains
Animated Winter 1999. Here Rachel Rist captures some of the issues emerging from the International Association of Dance Medicine and Science Conference
Animated, Winter 1999. Terry Braun talks to Lois Keidan about Digital Dancing
Animated, Winter 1999. If you thought that dance was a world apart from current business practice - think again. Tim Stockil takes a candid look at what business can learn from dance
Animated, Winter 1999. Do we need a cultural policy asks Anthony Everitt?
Animated, Winter 1999. Penny Greenland explains how management methods used to instigate change have become intrinsic in JABADAO's current practice
Animated, Winter 1999. Toronto is currently a creative hothouse for dance on screen, Laura Taler and Kathleen Smith, provided an insight into the prolific Canadian scene
2000 Autumn
Animated, Autumn 2000. Dialogue between dancer and photographer is what it takes to make a dance photography course work. Hilary Shedel, explains
Animated, Autumn 2000. 'Being good in business is the most fascinating kind of art.'(1) Susanne Burns on throwing away the old thinking about art and business not mixing
Animated, Autumn 2000. 'How many people know they are dancing their last dance? Irene did. Judy Smith celebrates the extraordinary life of Irene Dilkes
Animated, Autumn 2000. Is it jazz? Is it contemporary or even Afrikan? Kwesi Johnson reveals how he is expanding body language and dynamics into physical text
Animated, Autumn 2000. Veronica Jobbins provides an update on the new National Curriculum
Animated, Autumn 2000. Groups have enormous energy for both creativity and destructiveness. If that can be harnessed the benefit is likely to be considerable. Julia Buckroyd explains
Animated, Autumn 2000. Increasing opportunities for artists in schools. Mark Robertson believes we are now beginning to understand what good practice is and what it looks like
Animated, Autumn 2000. Has our youth dance practice remained unchallenged for too long? Sue Akroyd raises some serious issues for consideration
Animated, Autumn 2000. Judy Bird on the journey Salford and Trafford's Disability Arts Initiative has travelled in the creation of an accredited arts programme for people with learning difficulties
Animated, Autumn 2000. Brigitte Doyle talks firsthand about her experience of translating Chris Dickinson's radical approach to Brain Based Learning
Animated, Autumn 2000. Nicole Thomson, artistic director of Anjali Dance Company, talks about her life and aspirations
Animated, Autumn 2000. Education Action Zones encourage innovative ways to raise achievement in schools. Project director Dee Palmer-Jones explains
2000 Summer
Animated, Summer 2000. One of the most prominent issues facing us all is bone health. Dr Nicola Keay highlights the findings of two research studies
Animated, Summer 2000. Here, Jennifer Jackson, co-founder of Ballet Independents Group, explains how from simple beginnings Making Work revealed itself as a multi-layered opportunity
Animated, Summer 2000. Here, celebrated Canadian based dance critic, Max Wyman, reflects on his experience of dance criticism
Animated, Summer 2000. Carolyn Deby in conversation with Micha Bergese, the German-born, former star dancer from London Contemporary Dance Theatre
Animated, Summer 2000. David Massingham takes time out to reflect on his first year jumping the fence from full-time choreographer to National Dance Agency artistic director
Animated, Summer 2000. Here Peppy Hills explains how her collaboration with a landscape architect is enabling young people with severe and complex learning needs
Animated, Summer 2000. Rivca Rubin reveals how to enter someone else's model of the world gracefully
Animated, Summer 2000. When Linda Jasper became director of South East Dance she inherited the beginnings of a dance for camera programme. Here she talks about the process
Animated, Summer 2000. From fraught containment to the vulnerable, wild and... unknown. The making of Rosemary Butcher's SCAN by Niki Gladstone
2001 Autumn
Animated, Autumn 2001. How can dance engage with young people in hospital? Here Rachel Elliott lifts the lid on forWard motion! the new work she directs for Green Candle Dance Company
Animated, Autumn 2001. Dr Denise Peerbhoy, Jacqueline Birchall and Alicia Smith document the capacity of movement to influence the well-being and quality of life - dance meets social inclusion
Animated, Autumn 2001. Catherine Hale on the riveting experience of Magpie Dance Company in collaboration with Urban Dance Company at the Bloomsbury Theatre in London
Animated, Autumn 2001. Charlotte Vincent talks about living and working in Sheffield
Animated, Autumn 2001. Dr Andree Grau, on directing a research project South Asian Dance in Britain: negotiating cultural identity through dance (SADiB).
Animated, Autumn 2001. 'A living theatre of plants and people' (1) Antony Waller talks about the Dancemakers initiative at the Eden Project, Cornwall's eighth wonder of the world
Animated, Autumn 2001. Working with technology in my professional performance work has been a slow, careful process,' explains choreographer Darren Johnston to Kari O'Nions
Animated, Autumn 2001. Movement dance therapy aids emotional and physical integration. Here Sara Bannerman-Haig attempts to demystify some of the processes involved
Animated, Autumn 2001. Penny Greenland was recently awarded an MBE for her services to dance. Here Greenland (the cynic) interviews Greenland (the impassioned)
Animated, Autumn 2001. Janet Smith, Artistic Director of Scottish Dance Theatre, reflects on the wider ecology of dance, on issues of heritage and evolution
Animated, Autumn 2001. The greatest poverty faced by children in the UK today is arguably the poverty of aspiration and imagination. Peter Jenkinson OBE addresses the challenges
2001 Spring
Animated, Spring 2001. Lucy Moelwyn-Hughes looks back at V-TOL's ground-breaking summer intensive
Animated, Spring 2001. In 1999, Scotland saw the re-establishment of the Scottish Parliament this has already led to additional investment in the arts, as Patricia Eckersley explains
Animated, Spring 2001. Finding a critical language for marginalized performance Liz Aggiss speaks frankly
Animated, Spring 2001. John Martin explains how the work of Pan-Centre for Intercultural Arts is engaging the community in high quality creativity
Animated, Spring 2001. By its nature, contact often engenders a more holistic approach. Caroline Waters shares her thoughts on improvisation in performance
Animated, Spring 2001. In action - The Ethiopian Gemini Trust by Tamara McLorg
Animated Spring 2001. 'One crowded hour of glorious life is worth an age without a name.' (1) Claire Pencak reflects on the tyranny of abstraction
2001 Summer
Animated, Summer 2001. Anne Gallacher, talks about Birmingham Royal Ballet's radical move from separate artistic and education policies to a unified cultural policy
Animated, Summer 2001. Ruby Worth details moments and memories from The Family Project
Animated, Summer 2001. Looking at the issue of inclusivity or exclusivity by Claire Russ and Matthew Hawkins
Animated, Summer 2001. Martin Wilson reflects upon the role of the artist within the context of a specialist mental health trust where patients are valued members of the community
Animated, Summer 2001. There is nothing new in commissioning artists to make site-specific work and what might result could be rubbish. There are no rules says Anthony Roberts
Animated, Summer 2001. Amid bluebell woods is Kevedon Hatch... Fleur Derbyshire uncovers some of the bunker's darker secrets...
Animated, Summer 2001. Exploring the sculptural qualities of the moving figure by Assis Carreiro, Director, DanceEast
Animated Summer 2001. Clubbin', pullin', gettin' down and a whole lot more by Maxine Doyle
Animated, Summer 2001. Leigh Verrill-Rhys provides an insight into dancers as artists as people
Animated, Summer 2001. Karen Gallagher offers an insight into the transient audiences on the Leeds to Liverpool Canal
Animated, Summer 2001. Laraine Fisher on a collection of whispered poems and miniature dances drawn from the urban landscape at the edge of East London...
Animated, Summer 2001. The relationship between art and community work is subtle and complex, as Catherine Hale discovers in an interview with Rosemary Lee
Animated, Summer 2001. Dylan Quinn speaks candidly about All the king's men - a dance/physical theatre work for camera designed for use in prisons
Animated, Summer 2001. Capitalising on local environments by Lois Taylor
2001 Winter
Animated, Winter 2001. Infinite possibilities for expressivity by Dick McCaw
Animated, Winter 2001. Middle Eastern dance - surviving centuries, assimilating and sampling many global influences by Philip Walker
Animated, Winter 2001. As Gregory Nash moves on from The British Council to head up Ausdance New South Wales he reflects on the state of dance in contemporary Britain
Animated, Winter 2001. Is Britain the poor relation in Europe in terms of international programming? Niki Pollard talks to Rose Fenton, festival director of LIFT
Animated, Winter 2001. Our bodies are our history - our movement, our account - by Ana Sanchez-Colberg and Eugenio Cueto Barragan
Animated, Winter 2001. Ghislaine Boddington on choreographers raising concerns for dance in an international and intercultural context
Animated, Winter 2001. Here artistic director of Blue Eyed Soul, Rachel Freeman, talks about the company's work and the increased recognition it is gaining
Animated, Winter 2001. Cultural distinction versus dreary conformity by John Ashford
Animated, Winter 2001. An international context by Pauline Tambling, executive director, research & development, Arts Council of England
Animated, Winter 2001. Bulgaria - a well kept secret? Dessy Gavrilova reveals
Animated, Winter 2001. A sense of place - Ireland's new research centre by Mary Brady
Animated, Winter 2001. Anti-dancing or antidote? by Jane Greenfield