Validation and virtuosity: Perspectives on difference and authorship/control in dance

Abstract

This document is the author's post-print version, incorporating any revisions agreed during the peer-review process. Some differences between the published version and this version may remain and you are advised to consult the published version if you wish to cite from it.

AllPlay Dance: Two Pilot Dance Projects for Children With Disability, Developed and Assessed With a Dance Studies Approach

“…Sarah Whatley et al (2015) examine authorship considerations, including in relation to copyright, of disabled dancer Caroline Bowditch in her short film A Casting Exploration . The film explores Bowditch’s experience of being re-cast in a role in dance work, Love Games by Cleville (2011) .…”

“…The film explores Bowditch’s experience of being re-cast in a role in dance work, Love Games by Cleville (2011) . As well as discussing the role of “virtuosity” in creation and performance, dance and disability, Whatley et al (2015 , p. 72) ask “[w]hile the choreographer may compose the dance, why can the dancer not be considered as an arranger of that composition?” This discussion is important because Bowditch, through her “arrangement” of the choreography, through her dancing body, is both challenging the perception of virtuosity, and as suggested by Whatley contributing to the authorship, whether or not it is acknowledged (p. 72). An individual dancer, with individual experience, body and “ability” might be considered the author of their own dance or at the very least of their dancing.…”