No-How Generator_Graphic by Victoria Ford
No-How Generator had its London premiere at Sadler’s Wells Lilian Baylis Studio recently. Thanks to everyone who came to join us and to all our collaborators, guest performers and the team at Sadler’s Wells.
Here's a recent interview with Dance Art Journal about No-How Generator. I also recently talked about this work and shared some of the practice as part of the 3-day symposium Choreographic Devices at the ICA.
No-How Generator is a choreographic work. It’s also my practice-based PhD work. I began my artistic doctorate in October 2017, and I’m happy to say that I just passed my viva in March (with minor corrections to the written part of my thesis). I did my artistic doctorate at De Montfort University (Leicester), thanks to support from AHRC/Midlands4Cities in partnership with Dance4 and Siobhan Davies Dance. I’m so grateful to everyone who has been a fellow traveller with me through this process, especially my PhD supervisors Ramsay Burt, Sally Doughty and Paul Russ, alongside my collaborating performer Katye Coe, my producer Iris Chan, my artistic mentor Siobhan Davies and my examiners ‘Funmi Adewole and Jonathan Burrows. Once I get those corrections done, I’ll share a link to my written thesis here, for anyone who might like to have a read.
NEUROLIVE, the 5-year interdisciplinary research project that I am artistic director of, is now in its third year. You can find up-to-date info about it on the project website neurolive.info. Please follow us @neuroliveness on Instagram and Twitter and join us for our next performances, talks and studies, taking place at Siobhan Davies Studios and Goldsmiths University.
I’m slowly giving a long-overdue update to this site and have recently added info about my solo installation performance Loop Atlas for the first time - please have a look.
I’m really thankful to UCLA scholar Kriss Ravetto-Biagioli for recently publishing a paper that talks about Loop Atlas, as well as another that talks about my solo work Riff. I’ve really enjoyed the conversations that she and I have had about these works over the past few years - it really means an absolutely massive amount to me to hear that the ideas from some of my past work still resonate and are remembered and engaged with. It’s so fundamentally important to me that the work that dance artists/choreographers do can keep generating connections across times and isn’t just assumed to disappear without a trace - it keeps resonating and keeps working as compost.
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Thanks for visiting and warm wishes,