Creativity and Cognition in Contemporary Dance
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Originally trained as a musician, Robin Grove has taught literature at the University of Melbourne for over forty years. His publications include four books, some hundreds of reviews and many articles on a wide range of subjects. As contributor and later co-editor, he was associated with The Critical Review from 1963 till the final issue in 2004. From 1963 onwards he was closely involved with the state company, Ballet Victoria, for whom he choreographed five works. From 1986 to 1994 he was dance reviewer first for The Australian, then for The Age. He has been a visiting Fellow of King’s College Cambridge and at the University of York and Australian National University. In 2001 he received the Fulbright Association’s Selma Jean Cohen award for international dance scholarship.
Catherine (Kate) Stevens is a cognitive psychologist who
applies experimental methods to the study of auditory and temporal stimuli.
Her doctoral research (University of Sydney, 1993) investigated musical pattern-recognition
in human listeners and artificial neural networks. Her current research interests
include: music perception and cognition; recognition of auditory icons and
warning signals; tinnitus; choreographic cognition, and measuring audience
response to contemporary dance.
Kate is Deputy Director of MARCS Auditory Laboratories and Associate Professor
in Psychology at the University of Western Sydney (http://marcs.uws.edu.au/).
She is founding President of the Australian Music & Psychology Society
(AMPS) (http://marcs.uws.edu.au/links/amps/index.htm).
Shirley McKechnie is one of the pioneers of contemporary dance in Australia. Educated for a career in science she became a dancer, teacher, choreographer and later, artistic director of the Australian Contemporary Dance Theatre 1963-1973. She established the first degree-course in dance studies in Australia at Rusden College (now Deakin University) and was Head of the Dance Program 1975-1984. In her role as dance scholar, educator and advocate for the dance she was a co-founder of the Australian Dance Council (Ausdance Inc) , founding chair of the Tertiary Dance Council of Australia and founder of the Green Mill Dance Project. Shirley received the Medal of the Order of Australia in 1987, the Kenneth Myer Award in 1993 and the Lifetime Achievement Award at the Australian Dance Awards in 2001. She is currently a Professorial Fellow at the Victorian College of the Arts.
Dr. Stephen Malloch trained in performance (violin) and musicology at the Sydney Conservatorium of Music. His interest in music analysis led to an M.Mus. at the University of London, followed by a PhD in music analysis and acoustics at the University of Edinburgh. His training in performance, music analysis and acoustics formed the background to his work on mother-infant vocal communication during a post-doctoral research fellowship at University of Edinburgh. He now continues his research at MARCS Auditory Laboratories, investigating what he calls the 'communicative musicality' of human non-verbal interaction. This involves the study of how humans shape time expressively and communicatively using gestures of voice and body. His work currently involves research into parent-infant interactions, use of music therapy with sick infants, the way teachers talk to a class, and the ways in which infants interact with each other.
Agnes Petocz is a senior lecturer in psychology at the University of Western Sydney. She teaches courses in the history and philosophy of psychology, personality, psycholinguistics and critical thinking. Her research interests include symbolism, the tensions between science and meaning, and the philosophy of psychoanalysis. She is the author of Freud, Psychoanalysis and Symbolism (1999, CUP), which has recently appeared in Italian translation. She is currently working on two projects: the first is a collaboration with colleagues at the University of Sydney on the tensions between qualitative and quantitative research perspectives in psychology; the second is a book on the meaning of meaning and its scientific investigation.
John Sutton is Associate Professor of Philosophy at Macquarie University in Sydney. He is the author of "Philosophy and Memory Traces: Descartes to Connectionism" (CUP, 1998), and co-editor of "Descartes' Natural Philosophy" (Routledge, 2000). In current work on interdisciplinarity in the study of memory he is investigating relations between autobiographical memory and embodied skill memory. He has written and directed two plays in the Philosophy Nights series at Steki Taverna in Newtown, Sydney: "Empedocles: Love and Strife", and "Kenelm Digby and the Liquid Empire".
Sue Healey is a dance artist based in Sydney, Australia , and widely acclaimed as a performer, teacher, choreographer and dance-film maker. She has created over 40 works for live performance and film, in Australia and internationally. Her works have toured to the United States, United Kingdom, China, Japan and New Zealand. Sue’s career has seen her working as a founding member of Danceworks 1983-88, as a commissioned individual artist, and as Artistic Director of Vis-à-Vis Dance Canberra 1993-95 and the Sue Healey Company.
She graduated from the Victorian College of the Arts with a BA (Dance Performance, 1984) and a Masters Degree in Choreography in 2000. She currently lectures at the School of Theatre, Film and Dance, UNSW. During 2003/04 Sue has been a Research Associate with the Unspoken Knowledges and Conceiving Connections research projects.
Michelle Potter is Curator of Dance at the National Library of Australia where she is the business owner of the web portal Australia Dancing http://www.australiadancing.org. She has a doctorate in art history and dance history from the Australian National University and is founder and editor of the biannual journal Brolga:An Australian journal about dance. She is the author of two books about Australian dance, A Passion for Dance (1997) and A Collector’s Book of Australian Dance (2002), and her dance writing has also been widely published in scholarly and popular journals and magazines in Australia, the United Kingdom and the United States.
Renee Glass completed a Bachelor of Psychology (Hons) in 2001at the University of Western Sydney (UWS) and, having studied piano performance through the Trinity College of Music, took the opportunity to combine her strong interests in psychology and the arts by joining the Conceiving Connections project in 2002. She gained an Australian Postgraduate Award (Industry) and is currently a PhD student in the MARCS Auditory Laboratories at UWS. Renee’s research interests include the investigation of cognitive, affective and physiological processes involved in the arts. Currently she is investigating audience response to contemporary dance and developing a scale that will measure such responses.
Mark Gordon holds a Bachelor of Education majoring in Drama, Dance and Media Studies from Rusden State College of Victoria (1979) and joined Tasdance as Assistant Director in 1982. In 1984 he was appointed the first Executive Officer of Ausdance Victoria, where he developed the Branch and contributed to national policy development for the organisation over 10 years.
He became a tutor at the National Theatre Drama School in 1984 and progressively became Technical Director, Assistant Director and coordinator of the youth program. He conducted classes on acting, performance for singers and technical theatre. On joining the staff of the National Theatre Ballet School under the direction of Marilyn Jones, he taught composition, improvisation, injury prevention, diet and nutrition, anatomy and physiology.
In 1996 Mark was appointed inaugural Artistic Director of the Australian Choreographic Centre in Canberra where he developed the concept, structure, programs and funding base of the Centre. He has brokered a wide range of productive partnerships with arts, educational and Government Institutions. He was appointed to the ACT Cultural Council in 2000, Chairs the ACT Theatre, Dance, Film and Video grants committee, and served as a peer reviewer for the Australia Council Dance Board. Mark is a qualified masseur and holds a private pilot’s licence.
Ivar Hagendoorn is a freelance choreographer, researcher and photographer. His research focuses on the neural correlates of the perception of art, in particular dance, and has been published in various academic journals. In 2001 he was a visiting scientist and artist at the University of Southern California in Los Angeles. January 2004 he created an evening long choreography for the Ballett Frankfurt. More information about his work and research can be found at: http://www.ivarhagendoorn.com.
Ryan D. Tweney is Professor of Psychology at Bowling Green State University in Ohio, where he has taught since 1970. His work centers on the application of cognitive science to the understanding of case studies in science, particularly in the work of Michael Faraday (1791-1867). He is the editor or co-editor of five books, and the author of many scholarly and scientific papers. Most recently, he has worked on the cognitive and epistemic artifacts used by Faraday and is currently wondering about the dance of ideas between cognitive science, ethnography, and the history of science.
Hilary Crampton has had both a professional and academic career as dancer, choreographer and teacher in the fields of ballet, contemporary and folkloric dance. She has written extensively on matters pertaining to the education and training of dancers. She also serves as Dance Critic for The Age newspaper, Melbourne, in which her reviews are published regularly. Her research interests lie in the area of arts and cultural policy, and the ways in which policy influences the organisation of the artistic field. She currently lectures in the postgraduate Arts Management programme at the University of Melbourne’s School of Creative Arts.
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