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Previous Events

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War, Peace & Politics in Dance

October 2022

BBO-British Ballet Organization, London

  • Britta Wenn & Hassan Khalil, 'Tahtib – From pharaonic martial art and soldier training to an Egyptian folk dance'

  • Christine Bayle, 'Le Ballet de la Merlaison - Preparing for war'

  • Jane Gingell, 'Queen Christina’s ballets: feminist, pacifist and environmentalist'

  • Pilar Montoya Chica, 'La Guerra: Entremés nuevo de Antonio de Zamora (1716)'

  • Catarina Costa e Silva, 'Balle de las Danças'

  • Anne Deller & Kath Waters, 'The Marlborough – an English dance to celebrate a military victory'

  • Keith Cavers, 'Men are from Mars: Bellona’s buddies'

  • Sarah McCleave, 'Dancer and diplomat: the career of Emilie Bigottini'

  • Alena Schmakova, 'Political balls in the Scottish capital between 1746 and 1822'

  • Susan de Guardiola, 'Waltzing with the bear'

  • Lisa Fusillo, 'What is it about those Swans?  The politics of swans in war and peace'

  • Jane Pritchard, 'War and politics in music hall ballets'

  • Sharon Phelan, 'Dance as a political weapon during the Irish uprising against Britain at the turn of the twentieth century'

  • Anja Arend, 'A story of rescue - Khamma by Maud Allan and Claude Debussy (1911/12)'

  • Gonzalo Preciado-Azanza, 'The Three-Cornered Hat´s Aragonese jota, a dance conceived in times of war'

  • Carmel McKenna, 'Irish Céilí Dance as a vehicle for subversion in 1930s Ireland'

  • Susan Hamlin, 'Expatriate payback'

  • Tiziana Leucci, 'The triumph of death: War, Resistance & Exile in Kurt Jooss The Green Table. Death’s Dance (1932)'

  • Rosemarie Gerhard & Lauren Showler, 'British Ballet at War'

  • Anita Makuzsewska 'Mankurt – choreographic images of the enslaved mind and body in Leonid Lebedev’s Legend of Donenbay Bird. Mankurt'

  • Thiago Alixandre Cunha, 'Choreodromocracy'

  • Alena Shmakova, 'Dancing for the King: recreation of Strathspey for two based on the Strathspey setting steps from the Contre-Danses à Paris, 1818' MS (Ms 3860, NLS)' (workshop)

  • Anne Deller & Kath Waters, 'The Marlborough, countrydance' (workshop)

  • Susan de Guardiola, 'Social dances celebrating the Franco-Russian Alliance' (workshop)

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Queerness in Dance History

October 2023

De Utrechtse Muzieschool, Utrecht

  • Ricardo Barros, 'Molly Boys and Queens: homosocial dance as refuge and a conduit for self-expression'

  • Ray Batchelor, 'The Histories We Need? As the contexts for the practice of queer Tango evolve, ought its histories be reappraised?'

  • Keith Cavers, 'Popular Song'

  • Diana Dicker, 'Two-Spirit, Sacred Dance: A review of the tradition and evolution of the Joyas of Southwest America and the Mahu of Maui'

  • Lisa Fusillo, 'From Characters to Caricatures: An examination of stereotypes, androgyny, and representation in Massine ballets'

  • Rosie Gerhard & Lauren Showler, 'Gender Fluidity in British Ballet'

  • Susan de Guardiola, 'I Wear My Own Clothes: Dance and dress reform in the life of Dr. Mary

  • Fenella Kennedy, 'Un-Covering Cunningham and Cage'

  • László Kürti, 'Laroon In Flanders: The male gaze in 18th-century dance iconography'

  • Tiziana Leucci, 'Crossing, challenging, embodying and performing queerness and gender identities in the South Asian traditional dances'

  • Anne-Liis Maripuu, 'Confronting traditional gender roles on dance stage. The case of Elmerice Parts'

  • Jane Pritchard, 'Travesty dancers in London music hall ballets'

  • Andrew Sutherland, 'The changing representation of queerness on stage: Reclaiming space through queer opera'

  • Ricardo Barros, ' "Come let us [xxxx] finely", or "8 more a dancing" ' (country dance workshop)

  • Susan de Guardiola, 'The Maxixe in America in 1914' (workshop)

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Dance, Disease & Healing

October 2021

BBO-British Ballet Organization, London

  • Michaela Mettel, 'Dance, Women and physical Education in Early Modern Italy'

  • Sergey Konaev, 'Trauma and disease as an engine for development of dance notation'

  • Tiziana Leucci, 'Dance, trance, possession and healing : an autobiographical journey from South Italy to South India'

  • Christine Bayle, 'A sophisticated dance practice, in its past and future - French sources 1550-1750'

  • Keith Cavers, '"Let me have men about me that are fat": historical extremes of body weight and type'

  • Pilar Montoya Chica, '"Turumbé con la turumbela; vamos bailando la tantarantela": the presence of the Tarantella dance in Spain'

  • Edith Lalonger, 'The "Filles du magasin" - health and working conditions of novice female dancers at the Palais-Royal, c.1713'

  • Jane Pritchard, 'Two Topsys - A look at the impact of serious injury on the careers of two dancers at the turn of the C19th/C20th'

  • Sheila Dickie, 'Older People Dancing'

  • Lisa Fusillo, 'Dance as Subtext for Survival - from Ma Raine's Black Bottom to TikTok'

  • Lisa Fusillo, 'Dances from the 1920s and 2020s - Black Bottom, Charleston, Lindy, the Cupid Shuffle and a TikTok dance' (workshop)

  • Ricardo Barros, 'A Conceal'd Health - Country Dance' (workshop)

  • Ilaria De Simoni, 'The Tarantella & Pizzica' (demo & workshop)

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Colonial dancing in Europe, European dancing in the colonies

November 2019

Portingaloise, Ginasiano and Armazém22, Porto

  • Jane Gingel, ' "Diabolical Practices": Intercultural trends in Spanish music and dance in the 16th century'

  • Catarina Costa e Silva, ' "Bayamo, bullimo cus pé..." - Dance elements in 17th- century polyphonic repertoire of Santa Cruz de Coimbra'

  • Mary Collins & Rachel Brown, 'Catching the Canary'

  • Jane Gingel, with Konrad Przybycien, Lenka Horlova and Blanka Ferjentsik Wernerova, 'Chacona & Zarabanda' (demo)

  • Davide Vecchi, 'Domenico Zipoli and the dance - Dance music of an Italian Jesuit in the New World'

  • Davide Vecchi, 'Dancing to Zipoli's music' (workshop)

  • Christine Bayle, 'L'Europe Galante, between clichés and influences'

  • Tiziana Leucci, 'The Portuguese travel accounts at the origin of the Indian dancer character of the "Bayadère" in the European literature and stage plays'

  • Susan Hamlin, 'Les Indes Galantes, an opéra-ballet rediscovered: Les Sauvages on the French stage'

  • Edith Lalonger, ' "Les sauteries de la petite noblesse de la Nouvelle-France" '

  • Edith Lalonger, 'Danses Quebecoises' (demo)

  • Tiziana Leucci, 'Indian Classical Dance' (workshop)

  • Anne Daye, 'The "National dance" of Ireland: promotion and confusion 1614 - c.1914' 

  • Isabelle Calabre, 'The Quadrille, creole dance of "Toute-Monde"'

  • Ricardo Barros, 'From the "Terreiro" to the "Paço" - the extraordinary journey of the Lundú over the centuries, continents and social strata'

  • Ricardo Barros, 'The 19th-century Lundú Quadrille' (workshop)

  • Lisa Fusillo, 'Re-examining cultural identities in ballet after a hundred years: The "Spanishness" of Le Tricorne'

  • Anita Makuszewska, 'Tracing memories of submission and defiance in the Soviet ballet adaptations of Hikmet's Legend of Love and Aitmatov's Legend of Donenbai Bird - Mankurt'

  • Dorothea Sauer, 'Modern Dance in Brazil? Liselott Trinks and herWigman Adaptations in Joinville'

  • Jane Pritchard, 'Roshanara?'

  • Anne Daye, 'The Irish Ceilidh' (workshop)

  • Performance of '500 years of dancing in Portugal and its colonies' by Portingaloise, Ricardo Barros, Tiziana Leucci, Bando do Sarunyo and NEFUP

  • Performance of 'Feliz Centenário, Mr Cunningham' by students of Ginasiano Dance School

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Dancing beyond the Opera House, 1850 to 1910

November 2018

Victoria & Albert Museum, and Swedenborg House, London

  • Jane Pritchard (keynote speaker), 'Dancing beyond the Opera House, 1850 to 1910'

  • Keith Cavers, 'Ballet burlesqued: 200 years of dancing in drag'

  • Susan Hamlin, 'Loie Fuller - The American dream made in France'

  • Lisa Fusillo, 'Imports, exports and exploitation: American theatrical dancing 1840-1898'

  • Theresa Buckland, 'Models for Modernity: couple dancers on display in English theatre and society, 1900-1910'

  • Christine Bayle, 'The life of the dancer Nina Tikhonova, between revolution and war'

  • Matthew Spring, 'Developments in social dance in Bath during the 19th century'

  • Tiziana Leucci, 'The performances of "Asian dances" at the colonial exhibitions, museums, gardens, salons, cabarets & music halls in Europe and the United States (1889-1910)'

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Relations between Music
and Dance

November 2017

Technische Universität, Dresden

  • Uta Dorothea Sauer & Iris Winkler,'Relations between Dance and Music within social life'

  • Bill Tuck, 'Who played for the dancing in the 15th century?'

  • Jane Gingell, '"Inventions Rare" - Building a Music Edition for the Stuart Masque'

  • Barbara Segal: "The dance and music must so nicely meet" - Soame Jenyns, 1729

  • Mary Collins & Rachel Brown, 'Gesture and Nuance in the 18th century Sarabande'

  • Ricardo Barros & Nicolette Moonen, 'Lully, the sound alchemist'

  • Mojca Gal, 'Searching for the je-ne-sais-quoy'

  • Edith Lalonger, 'The "Ballets figurés" in the operas of Jean-Philippe Rameau'

  • Christine Bayle, 'Musical and choreographic questions for the period between Renaissance and Baroque'

  • Giles Bennett, 'Newly Discovered Late 17th century Choreographies from Germany'

  • Jane Gingell, 'The Dancer as Musician - the Castanet in Spanish 18th century dance (workshop)'

  • Françoise Dartois-Lapeyre, 'Connections between music and dance in the ballets presented in Paris during the years 1776-1782'

  • Helena Kazárová, 'From Starzer to Beethoven: Tracing the Concept of the 'Eloquent Music' (la musique parlant)'

  • Tiziana Leucci, 'The Relation of Music and Dance in the Western and in the South India Choreographic Traditions'

  • Lisa Fusillo, 'Symphonic Scandals - The Collision of Music and Dance'

  • Susanna Avanzini, 'Giselle's "Marche des vignerons": a cheerful divertissement'

  • Helen Linkenbagh, 'Rhythm, duration, vitality dynamics and classical ballet technique'

  • Caroline Konzen Castro, 'Moving through melodies - relating dance and music in Gret Palucca's work'

  • Ingolf Collmar, Dance workshop and presentation on Purcell's masque Fairy Queen

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Comic, dramatic and historic genres in eighteenth and nineteenth century dance repertory

November 2016

Academy of Performing Arts, Prague

  • Béatrice Pfister, 'Noverre's and Angiolini's pantomime ballets: the theoretical implications of the choice of ballet subjects'

  • Marie Helène Delavaud-Roux, 'Jean-Georges Noverre's ballets inspired by ancient Greece'

  • Petra Dotlacilová, 'Dressing the genres: Costume designs by by L.-R. Boquet for Noverre's Grands Ballets Historiques, Héroiques, Poetiques, Nationnaux, Allégoriques et Moraux (1766)'

  • Michael Malkiewicz, 'Étienne Lauchery: The neglected link between Noverre and Taglioni'

  • Alessandra Kajdanska, 'National and Political Motives in Ballets performed at the Court of Polish King Stanislaw August Poniatowski (1764-1795)'

  • Lisa Fusillo, 'Les Femmes de Bonne Humeur - An 18th-century comedy for contemporary audiences'

  • Zuzana Rafajová, 'Why is Albert from Giselle the true romantic hero?'

  • Flavia Pappacena, 'Mythology adapted to political needs and to public taste in mid-eighteenth century Italy'

  • Nika Tomasevic, 'Ballets on colonial themes at the end of the eighteenth century: Exoticism "wins" Italian audiences'

  • Annamaria Corea, ' "Shakespearian" Repertory in Italian Ballet between 18th and 19th Century'

  • Ricardo Barros, 'Apollon: disheartened hero or afflicted god?'

  • Christine Bayle and Tiziana Leucci, 'Celebrating the French in India: or The Triumph of Love by the "Conquering Bacchus" '

  • Christine Bayle, 'La Bourrée Dauphine in Le Triomphe de l'Amour' (workshop)

  • Pierre-François Dollé and Irène Feste, 'The interpretation of comical and burlesque entries in the Belle danse repertoire' (workshop)

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Choreographing Historical Works

November 2015

Queen's University, Belfast

  • Matthew Spring, 'Beyond the choreography: social dance in context in Georgian Bath'

  • Henrique Rochelle, 'Where are dances kept? The memory of bodily archives and dances as a museum artefact'

  • Maria Salgado Llopis, 'Re-enacting Natural Movement: Wind Tossed (1936) and the Hyper-Historian'

  • Matthew Werley, 'Greta Wiesenthal's "latent" choreographies and modernising contested spaces'

  • Darren Royston and Penelope Boff, 'Realizing a 17th-century Spanish play: La Danza de los Siete Pecados'

  • Uta Dorothea Sauer, 'The Revival of the ópera-ballet Les Quatre Saisons (Dresden, 1719) at the Festival "Dresden800" in 2006: performance practice and techniques of reconstruction'

  • Lisa Fusillo, 'Tracing Massine's Sacre: Revival, Re-construction, or Re-interpretation?'

  • Millicent Hodson (keynote speaker), 'Forensic Dancer'

  • Mary Collins, 'Bach and beyond: dancing to the music of J.S. Bach'

  • Edith Lalonger, 'Choreographing the ballets of J. Ph. Rameau'

  • Ricardo Barros, 'Re-visiting and re-choreographing in Pécour's versions of the Sarabande d'Issé:'

  • Round-table 'Re-imagining Sallé' - panellists: Sarah McCleave, Jane Gingell, Edith Lalonger, Catherine Turocy and Deda Cristina Colonna

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Teaching Dance History :
Histories of Dance Teaching

November 2014

Royal Academy of Dance, London

  • Elana Tarasova, 'Historical Dance in Russia, modern teacher's choice'

  • Mary Collins, 'Who Said Elephants Can't Dance?'

  • Madeleine Inglehearn, 'Dancing by Able Masters'

  • Edith Lalonger, 'Theatrical Dance, Haute and Basse, according to Louis Bonin's treaty Die Neuuste Art Zur Galanten und Theatralischen Tanz-Kunst, 1711'

  • Ricardo Barros and Nicolette Moonen, 'Querrelling Brothers: The establishment of the Académie Royale de Danse and changes in dance teaching'

  • Carol Martin, 'Mothering English Ballet: Woman dance teachers and the maternal imaginary (London 1920-1939)'

  • Sheila Dickie, 'Teaching Dance in England from 1914-1929'

  • Sergey Konaev, 'Marius Petipa as Pupil and Dance Teacher'

  • Ricardo Barros and Nicolette Moonen, 'Amidst Mouvements and Retakes: reconciling dance and music (practical workshop)'

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En Cadence s'il vous plaît

November 2012

Conservatoire de Boulogne/Billancourt, Centre George Gorse, Paris

  • Françoise Dartois-Lapeyre, 'Les Rapports Musique et Danse au XVIIIe siècle: point de vue des maîtres et perception du public'

  • Ricardo Barros, 'Belle Danse, Lullian Bowing and Les Arts Réunis in the Grand Siècle'

  • José Sasportes, 'Les Danses de Trois Orphées'

  • Domenika Hens, 'Rameau Danced: Baroque sound spaces for choreographic opera stagings'

  • Stephanie Schroedter, 'Social Dance in Opera and Opera in Social Dance'

  • Suzanna Avanzini, 'Orpheus und Eurydike according to Bausch / Gluck'

  • Robert F. Waters, 'Through the Looking-Glass: The relationship between music and dance in Philip Glass's Einstein on the Beach and Les Enfants Terribles'

  • Tiziana Leucci, 'South Asian Dance with Western Operas and South East Asian Music on the European Stage and Cinema (1899-1938)'

  • Lisa A. Fusillo, 'Dancing on the Ether Waves'

  • Christian Matijas Mecca, 'The Chansons de Bilitis and the Emergence of New Music for Modern Dance'

  • Antony Desvaux, 'La Musique au Révélateur de la Danse, ou comme Béjart découvre Artaud dans la musique de Boulez'

  • Stephanie Jordan, 'Unruly Partners: Choreomusical Proposals and Practices'

  • Peter Sparling, 'Dancing Graham's Music: Sounds from an inner landscape'

  • Todd J. Coulter, 'Beyond the Bar Line: The relationship of phrasing in the music and choreography of Paul Taylor'

  • Sophia Preston, 'Mark Morris and Lou Harrison: "trans-ethnicism" and "elastic form"'

  • Marie-Louise Crawley, 'Musicalising the Gesture: The challenge of "executing the movements to elucidate the music" in choreographing the world-première of Karlheinz Stockhausen's Mittwoch aus Licht'

  • Renate Brauninger, 'The Function of the Score: How does the Anna Teresa de Keersmaeker use processes of scoring to preserve her early work?'

  • Elo Masing, 'Movement in Sound / Sound in Movement: Notes on a collaborative process'

  • Eimir McGrath, 'Moving Hearts: Performance as agent of change - exploring the concurrent experiences of dance and music within performance through the lens of Affective Neuroscience'

  • Helen Julia Minors, 'Soundpainting: Navigating the creative space within and between dance and music'

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The teaching and learning of Dance History 

November 2000

Royal Opera House, London

  • Elizabeth Souritz, 'Teaching history of dance in Russia in the past and today'

  • Francesca Franchi, 'Royal Opera House Archives - an introduction to their access and use'

  • Tiina Suhonen, 'Problems of Periphery - Teaching dance history in Finland'

  • Marie-Joelle Louison-Lassabliere, 'L'histoire de la danse: une discipline a inventer'

  • Frederick Naerebout, 'Which way forward for dance history?'

  • Alexandra Carter, 'Partners in Time: a critical examination of the changing nature of "history" as a discipline'

  • Johanna Laakkonen, 'The problem of canon in writing and teaching dance history'

  • Germaine Prudhommeau, 'Les debuts de l'enseignement de l'histoire de la danse en France'

  • Anne Bloomfield, 'Past inspirations & future practices: ways forward in teaching historical dance in the primary schools'

  • Geraldine Morris, 'The role of history in performance interpretation'

  • Virginia Taylor, 'Social history's challenge to dance history: the secrets of Degas' Little dancer aged fourteen years'

  • Funmi Adewole, 'African Theatre Dance: aesthetics, discourses and the stage'

  • Sophia Lycouris, 'Improvisational Performance in Dance as Discourse: a case study in the application of new history methodologies in the study of post modern dance'

  • Larraine Nicholas & Henrietta Bannerman, 'The Graham explosion in Britain: evolution or revolution?'

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Previous Conferences

  • 2011, London; Not Just Ginger & Fred: Camaraderie, collusion and collisions between dance and film

  • 2010, Seville; Fusion & Confusion

  • 2009, Schwetzingen; Allemande, the Grandmother of the Waltz

  • 2008, Leiden; Dance in Antiquity, Classics in Dance

  • 2007, Prague; The Myth of Don Juan: the seducer in dance practice and history

  • 2007, London; When Handel met Sallé [study day]

  • 2006, Rome; L'Italia e la Danza: history, performance, style and technique in theatre, folk and social dancing

  • 2005, York; Reading a Dance or Two: recording and passing on dance through time

  • 2005, Logrono; Spain in the eyes of the world

  • 2004, Stockholmn; A Show of Hands

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