Dance, Disability and Law

Description

This edited collection is the first book to that focus on the intersection between dance, disability and law. Bringing together a range of writers from different disciplines, this volume considers the question of how we value, validate and speak about diversity in performance practice with a specific focus on the experience of differently-abled dance artists within the changing world of the arts in the UK. Dance, Disability and Law addresses the legal frameworks that support or otherwise the work of disabled dancers (including IPR, human rights and medical law) and explore factors that impact on their full participation, including those related to policy, arts funding, dance criticism and audience reception. By bringing together leading voices, this book makes an important contribution to several fields, and in particular the disciplines of dance, law, philosophical aesthetics, disability studies and spectatorship in performance.
Preface
Introduction
Section I: Disability, Dance and Critical Frameworks
Disabled Dance: Barriers to Proper Inclusion within Our Cultural Milieu
Cultural Heritage and the Unseen Community
An Analysis of Reporting and Monitoring in Relation to the United Nations Convention on the Rights of Persons with Disabilities, the Right to Participation in Cultural Life and Intellectual Property
A Dance of Difference: The Tripartite Model of Disability and the Cultural Heritage of Dance
In a Different Light? Broadening the Bioethics Perspective through Dance
Interruptions 1-3
Section II: Disability, Dance and the Demands of a New Aesthetic
A Wondering (in Three Parts)
A New Foundation: Physical Integrity, Disabled Dance and Cultural Heritage
Disability and Dance: The Disabled Sublime or Joyful Encounters?
Moving Towards a New Aesthetic: Dance and Disability
What We Can Do with Choreography, and What Choreography Can Do with Us
Dancing Identity: The Journey from Freak to Hero and Beyond
Dance Disability and Aesthetics: A Changing Discourse
Interruptions 4-6
Section III: Disability, Dance and Audience Engagement
The (Disabled) Artist Is Present
Disability, Disabled Dance Audiences and the Dilemma of Neuroaesthetic Approaches to Perception and Interpretation
Finding It When You Get There
Interruptions 7-9
Policy Brief for Venues: Providing Space. Obligations and Approaches to Dancers with Different Bodies
Position Brief for Dancers. Policy Brief: Asserting Copyright
Policy Brief: For Dancers
Blog Posts from Resilience and Inclusion
Interruptions 10-12
Annex 1: Blog Postings
Annex 2: Policy Briefs
Notes on Contributors
Index

Sujets

• Droit et juridique
• Reino Unido
• Disability
• United Kingdom
• Interdisciplinarity
• Dance
• Law
• Royaume-Uni

Informations

• Publié par: Intellect Books Ltd
• Date de parution: 01 juin 2018
• Nombre de lectures: 0
• EAN13: 9781783208708
• Langue: English

Extrait

First published in the UK in 2018 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2018 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2018 Intellect Ltd.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the
British Library.
Copy-editor: MPS Technologies
Cover designer: Aleksandra Szumlas
Cover image: Pink Mist choreographed and performed by Claire Cunningham, photo © Eoin Carey.
Production manager: Matthew Floyd
Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-868-5
ePDF ISBN: 978-1-78320-869-2
ePub ISBN: 978-1-78320-870-8
Printed and bound by TJ International, UK
This is a peer-reviewed publication.
Contents
Preface
Sita Popat
Introduction
Sarah Whatley, Charlotte Waelde, Shawn Harmon, Abbe Brown, Karen Wood, Kate Marsh and Mathilde Pavis
Section I: Disability, Dance and Critical Frameworks
Chapter 1: Disabled Dance: Barriers to Proper Inclusion within Our Cultural Milieu
Shawn Harmon, Charlotte Waelde and Sarah Whatley
Chapter 2: Cultural Heritage and the Unseen Community
Fiona Macmillan
Chapter 3: An Analysis of Reporting and Monitoring in Relation to the United Nations Convention on the Rights of Persons with Disabilities, the Right to Participation in Cultural Life and Intellectual Property
Catherine Easton
Chapter 4: A Dance of Difference: The Tripartite Model of Disability and the Cultural Heritage of Dance
David Bolt and Heidi Mapley
Chapter 5: In a Different Light? Broadening the Bioethics Perspective through Dance
Shawn Harmon
Blog Posts
Interruption 1: 11 November 2015: Dance, Medicine and Marginalisation: The Limits of Law and a Shift to Values
Shawn Harmon
Interruption 2: 27 October 2014: Language
Kate Marsh
Interruption 3: 21 November 2013: Difference?
The InVisible Difference Team
Section II: Disability, Dance and the Demands of a New Aesthetic
Chapter 6: A Wondering (in Three Parts)
Luke Pell
Chapter 7: A New Foundation: Physical Integrity, Disabled Dance and Cultural Heritage
Abbe Brown, Shawn Harmon, Kate Marsh, Mathilde Pavis, Charlotte Waelde, Sarah Whatley and Karen Wood
Chapter 8: Disability and Dance: The Disabled Sublime or Joyful Encounters?
Janice Richardson
Chapter 9: Moving Towards a New Aesthetic: Dance and Disability
Shawn Harmon, Kate Marsh, Sarah Whatley and Karen Wood
Chapter 10: What We Can Do with Choreography, and What Choreography Can Do with Us
A conversation between Catherine Long and Nicola Conibere
Chapter 11: Dancing Identity: The Journey from Freak to Hero and Beyond
Eimir McGrath
Chapter 12: Dance Disability and Aesthetics: A Changing Discourse
Margaret Ames
Blog Posts
Interruption 4: 1 April 2014: Difference
Kate Marsh
Interruption 5: 29 July 2015: Disability Dance and Philosophy: Liminal Spaces
Charlotte Waelde
Interruption 6: 14 September 2015: A Wider Significance for a Philosophy of Disabled Dance?
Shawn Harmon
Section III: Disability, Dance and Audience Engagement
Chapter 13: The (Disabled) Artist Is Present
Claire Cunningham
Chapter 14: Disability, Disabled Dance Audiences and the Dilemma of Neuroaesthetic Approaches to Perception and Interpretation
Bree Hadley
Chapter 15: Finding It When You Get There
Adam Benjamin
Blog Posts
Interruption 7: 6 October 2015: Understanding and Appreciation
Hetty Blades
Interruption 8: 10 June 2015: Mainstream and Marginal: Have We Progressed in the Last Decade Plus?
Charlotte Waelde
Interruption 9: 29 June 2015: Mainstream or Marginal? Still on the Edge… Disabled Dance?
Sarah Whatley
Policy Briefs
Policy Brief for Venues: Providing Space. Obligations and Approaches to Dancers with Different Bodies
Position Brief for Dancers. Policy Brief: Asserting Copyright
Policy Brief: For Dancers
Blog Posts from Resilience and Inclusion
Interruption 10: 27 March 2017: The Need for a Wide Approach
Abbe Brown
Interruption 11: 1 March 2017: Golden Age?
Sarah Whatley
Interruption 12: 14 March 2017: Disabled Dancers: Agents of Change?
Shawn Harmon
Annex 1: Blog Postings
Annex 2: Policy Briefs
Notes on Contributors
Index
Preface
Sita Popat
Dance, Disability and Law: InVisible Difference presents ground-breaking research in the field of disabled dance. It connects disciplines that are not often associated with each other, discussed by voices from across professional practice and academic study. It addresses real-world experiences and issues that are deeply rooted in cultural heritage, aesthetics, status, ownership and value. It probes beneath the surface in an area of dance that still has the tendency to attract admiring, uncritical smiles and enthusiastic cries of, ‘Oh, aren’t they wonderful!’
This edited volume emerged out of the InVisible Difference project, based at Coventry University’s Centre for Dance Research and funded by the Arts and Humanities Research Council. The project explored how British society values dance made and performed by disabled dancers, and how those values translate into economic realities and cultural heritage preservation. Academics from dance and law joined forces with performers and choreographers to examine the particular challenges of professional work in disabled dance. The team produced important legal advice, briefings and guidance for dancers and choreographers, venue programmers and funders. As part of the innovative methodology, the project commissioned dance performances from disabled choreographers, whom the researchers followed through the process of creation, production and touring. These included Caroline Bowditch’s beautiful, funny and poignant show, Falling in Love with Frida , which invited audiences to engage directly with disability in performance through its semi-biographical approach. Falling in Love with Frida was performed at Edinburgh Festival and numerous other small-scale venues, helping to develop greater comprehension and critical appreciation among audiences. At the time of writing, the research findings are being used to develop an online toolkit for disabled dance makers and the producers and programmers of their works, together with an accompanying documentary film.
The concerns of this book span the experiences of professional disabled dancers and choreographers, including reflections on personal identity, access to training and funding and cultural influence. The ways that society values disabled dance are considered through discussion of spectatorial processes and preferences, priorities in the preservation of cultural heritage and notions of aesthetics. Some chapters take the form of traditional academic essays, while other authors have chosen to write in different registers that reflect aspects of their artistic endeavours. Alongside these chapters are policy documents and briefings that illustrate how these concerns play out in practical, legal terms. Diverse in its disciplinary coverage whilst remaining tightly focused on the topic, this book is unique in its thorough investigation of a complex cultural issue. It is a rich, comprehensive and valuable resource that will influence the study and practice of disabled dance for years to come.
Introduction
Sarah Whatley, Charlotte Waelde, Shawn Harmon, Abbe Brown, Karen Wood, Kate Marsh and Mathilde Pavis
A lthough the arts have a long history and long-standing social significance, both the professional context and work-making processes of contemporary artists – and specifically dance artists – raise critical questions about the creative process, ownership and value of dance, which remain under-explored. When the dance is made by disabled artists, additional and often unappreciated factors complicate these questions; factors such as the social, political and legal positions of disabled persons, and the social and economic positions of disabled dance against the broader backdrop of our cultural heritage (and therapeutic interventions). These questions and factors provide the context for this book, which reflects some of the activities and outcomes of InVisible Difference: Dance, Disability and Law (InVisible Difference), an Arts and Humanities Research Council funded interdisciplinary project that ran from 2012 to 2016. 1
At base, InVisible Difference sets out to extend thinking around the making, status, ownership and value of dance in the uncertain contemporary arts setting. It focused on dance made and performed by disabled dance artists because the unsettled performative characteristics of dance, the broad policy questions associated with disability and culture, and the general absence of se rious legal analysis around dance offered a unique opportunity to apply multidisciplinary and interdisciplinary lenses to broad questions about social justice (such as the importance and utility to dance-makers of the international legal framework for the safeguarding of intangible cultural heritage and human rights), and to narrower but equally important questions about the social context of dance-making (such as the alignment of legal rules and entitlements to the reality of dance-making and the influence of different legal regimes to the lived experience of the disabled dancer). 2 At its root was a practical inquiry about whether the theoretical foundations of rights (and specifically copyright and the standards and rules it erects), and the evolving and often conflicting models of disability (e.g. the medical, the social and the affirmative models), actually serve to support the dancer and dance-maker, and more specifically the disabled dancer and dance-maker, thereby facilitating her in contributing to the cultural heritage of humanity according to