As a choreographer and director, at the forefront of Practice-as-Research within Dance and Performing Arts, my focus has been both on producing both high quality practice and more traditional forms of dissemination. I have a sustained commitment to and reputation for challenging the borders and boundaries of dance, most recently receiving commissions from Birmingham International DanceXchange and The International Centre for Choreography (Ic4C) to develop two new bespoke performances; Still Moving: Moving Still (2018), and Life Class (2019). A seven screen video installation, Still-ing presented at Talking, Thinking, Dancing, and commissioned by Ic4C (2017], drew upon my post-doctoral work, and was one of two works representing the UK at the Artistic Doctorates in Europe (ADiE) inaugural event. Life Class (2019) marks the 30-year anniversary of my research as co-director and choreographer of Bodies in Flight and will be accompanied by a touring exhibition Flesh and Text which draws together still and moving images, alongside artefacts and commentary about the company’s work. The exhibition explores in three parts: the company’s early professional practice; the development of its research methodology working across a range of collaborations; and finally its recent work collaborating with different communities. www.bodiesinflight.co.uk Most recent outputs include a range of site-specific ambulant dance/performance works, that challenge themes of artistic and community engagement with people, place and space. Still Moving: Moving Still, was the first piece of choreography to be commissioned and presented in the gallery spaces and walk-ways of The International Arts Centre, Nottingham Contemporary (2013). Still moving was developed from an earlier (2012) performance and accompanying 3 week installation made for Arnolfini Gallery, Bristol, as part of a major AHRC funded project, Performing Documents. The Dream-Walks (Bodies in Flight) have been made and performed in Singapore (2009), Nottingham (2010), Bristol (2010), Wirksworth (2011), Skegness (2012 and 2013) and most recently as part of two AHRC funded projects, the Connected Communities programme in Cardiff (2014), and a Heritage Lottery Funded project, Know Your Bristol (2016). A 2012 commissioned project Gymnast, created in response to the London 2012 Games, was made for gymnastics clubs, theatres and galleries and alongside my gallery work Still Moving: Moving Still was taken to the British Council showcase of new works by Dance4, as part of Edinburgh Festival (2012). From June to September (2012) four short films I made as part of Gymnast, were screened daily across all 23 of the BBC’s city centre Big Screens erected for London 2012, and broadcast to a footfall of 3.4 million. Touring works prior to and including Gymnast and The Dream-Walks have always straddled professional and academic, national and international contexts; outputs have befitted a range of audiences and commissioners. Skinworks (2002), toured extensively including, as part of a British Council programme, at The Esplanade Theatre’s Year of Living Digitally (Singapore). Digital outputs; Skinworks for Ears and Skinworks for Ears & Eyes included broadcasts on Braingell and Resonance FM (2005 and 2006). Who by Fire commissioned by Opera 2004, toured nationally and closed the opening day (through performance and plenary) of the 2nd International P-a-R Conference (Univ of Leeds). Double Happiness made and performed in Singapore (2000), and as part of Digital Summer, Breathing Space, and Now, was broadcast through Arts Central TV. I have led on, and supported colleagues from UCLan Dance, Travel and Tourism, and Engineering courses to engage in and disseminate research, most recently in The Journal of Dance and Somatic Practice (Intellect. 10.1) and in part through the continuing refinement of the research through experiential workshops and papers facilitated at conference and symposium events (e.g. at National University of Ireland, 2017; Rethinking Research: Disrupting and Challenging Research Practices at Coventry University, 2018; Contra dance, University of Malta, 2018; Stilling and Slowing, foregrounding process in performance practices, Royal Birmingham Conservatoire and Birmingham City University (2018)). I was one of the first dance-based academics to embrace new-technologies as a means of dissemination through the development of a CD-Rom, Flesh and Text (ISBN 1-84233057-8). This charts the development of the company’s aesthetic and methodology, with individually authored (20,000 word) hypertext monographs from myself and Prof Jones (co-director and choreographer), critical writing from scholars and professionals, interviews with company members and multi-media. Alongside this, a specially commissioned two-screen video installation, which drew upon material from the CD-ROM, was shown at Arnolfini Gallery (2001), Bonington Gallery (2002) and then re-commissioned as part of the National Review of Live Art (2003). From 2009-15, as one of seven researchers invited to be part of an international, interdisciplinary research project; Making Artistic Inquiry Visible, I extended my research into social sciences through the umbrella of Cultural Mapping. Beginning with a commissioned research residency in Banff (Canada, 2010), and continuing through international conference presentations, co-authoring two book chapters in 2015 and 2013 (ISBN 1138821866 Routledge and ISBN 9789724053004 Almedina). This extension into the social sciences was not new to me. Renewed Methodologies (1998-2010), a collaborative research project with ethnographer Professor Maggie O’Neill (University of York), with women working as prostitutes, led to the development of a series of artworks entitled Not all the time … and a range of accompanying critical writings and digital manifestations. As with all my research, published outcomes have taken many forms to ensure a wide audience. We produced over 20 significant outputs, and the findings have been articulated both through standard academic discourse; e.g. in 2001 "Not all the time…" in Feminist Review 67, Routledge (ISBN: 0-905-488-59-8), two book chapters, videos, exhibitions, catalogues, and performances ISBN 0-7456-1921-5, ISBN: 1-842-330-10-1, ISBN 1-897898-71-1 ISBN 0-905488-86-5, ISSN 1368-4930, ISSN 1355-9591), including; The British Sociological Conference, Edinburgh University; Centre for Social Theory: Keele University, Women's History Network International Conference, Stoke; and Making Sense of the Body BSA conference, Krakow, Poland.