InVisible Difference Project-AHRC

We asked why this is the case; what is it in existing theoretical and legal frameworks that helps or hinders the participation of disabled dance artists in the mainstream? We worked closely with disabled dancers to consider perceptions of creation, interpretation and authorship. In doing so, we sought to uncover and discover new ways of thinking about how dance that is made and performed by disabled dancers contributes to our cultural lives. We hoped this would strengthen the case for change (where necessary) in working practices and the legal frameworks that underpinned the artists' work. 

Dancers with disabilities encounter unique challenges. The professional dance community broadly supports the removal of labels such as ‘inclusive performance’. Such labels mark disabled dance artists out as ‘other’. Yet, disabled dance artists and performers like Claire Cunningham, Caroline Bowditch and David Toole are slowly making their mark upon the mainstream dance world. There is, however, a long way to go before disabled dances artists are fully integrated. The InVisible Difference project recognises this. 

The InVisible Difference project examined the different models of disability alongside empirical observations of the development of choreography by and for disabled dancers. The project aimed to uncover new ways of thinking about how dance is made and performed by disabled dancers. We also assessed how the nature of this choreography interacts with intellectual property law and the concepts of authorship and ownership. We considered disability, human rights and copyright law from UK domestic legislation to international law. In this we assessed how the law compliments or conflicts with dance, and the extent to which the legislation encourages and protects the creativity of disabled performers. 

Our fieldwork reflected the multi-disciplinary approach to the InVisible Difference project. 

We have conducted empirical observations with dance artists and choreographers to better understand how dance created by and for disabled people, is made. This has assisted our understanding of how the law intertwines with dance, and how this interaction affects the dancers and choreographers themselves. 

Our observations were primarily focussed upon two dancers and choreographers, Caroline Bowditch and Claire Cunningham, with observations taking place mainly in Glasgow, Coventry and the Candoco Studios in London. We also conducted observations with Welly O'Brien, Kimberley Harvey, Chisato Minimamura and Marc Brew. 

We were very fortunate to observe Claire working on Give me a reason to live, a solo performance inspired by the work of medieval Dutch painter Hieronymus Bosch. We also observed Claire working on Guide Gods, which explored the perspectives of disability as held by world faiths. A short clip of Guide Gods can be found here. 

During our work with Caroline, we observed the choreographic process surrounding the creation, and the rehearsals, of Falling in Love with Frida, winner of a Herald Angel award at the 2014 Edinburgh Fringe Festival. A short clip of Frida and the audience response to the work can be viewed here. 

If you would like further information about the project, please contact karen.wood@coventry.ac.uk. 

We will be sending out bi-annual newsletters containing updates on project activity, upcoming events and publications. If you would like to be kept informed and would like to join our mailing list. 

Please contact:

 karen.wood@coventry.ac.uk.