Editorial: On (Un)Knowns<\/strong><\/p>\nHETTY BLADES, SCOTT DELAHUNTA AND LUC\u00cdA PIQUERO \u00c1LVAREZ<\/p>\n
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4\u00a0Dancing in Car Parks [artists\u2019 pages]<\/strong><\/p>\n\u2018FUNMI ADEWOLE, JONATHAN BURROWS AND KATYE COE<\/p>\n
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9\u00a0[xxxxx]: A video-documented performance study [artists\u2019 pages]<\/strong><\/p>\nALEN AGARONOV AND HY FLORENCE LAM<\/p>\n
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11\u00a0Ibn \u2018Arabi and the Shadhiliya of Tunisia: Exploring knowledge as embodied practice in the hadra rituals of Sidi Bin-Hasan<\/strong><\/p>\nDIA BARGHOUTI<\/p>\n
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18\u00a0Blind Spots [artists\u2019 pages]<\/strong><\/p>\nMEGHAN MOE BEITIKS AND JOEL FOSTER<\/p>\n
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24\u00a0Choreography as Concept, Dancing as Material<\/strong><\/p>\nERIN BRANNIGAN<\/p>\n
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32\u00a0Unfolding Images: Notes on image analysis and choreography in the frame of Ad Extra<\/strong><\/p>\nBEATRIZ CANTINHO AND T\u00daLIO ROSA<\/p>\n
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37\u00a0What about Knowledgefied Discourse in Artistic Research? Reflections from Brazil<\/strong><\/p>\nSUSANA CASTRO GIL<\/p>\n
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46\u00a0The Anatomy of Knowledge: On The Dead\/The Undead by Mobile Akademie Berlin<\/strong><\/p>\nJASPER DELBECKE<\/p>\n
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54\u00a0A Bodily Mental Lexicon: Documenting a choreographer\u2019s method through a multimodal archival resource [artists\u2019 pages]<\/strong><\/p>\nCARLA FERNANDES AND FRANCISCO HENRIQUES<\/p>\n
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58\u00a0‘Papiers Voisins’, Stories of Entangled Documentations [artist’s pages]<\/strong><\/p>\nEMILIE GALLIER<\/p>\n
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63\u00a0[Dis]rupting, [mis]understanding, [un]learning and [re]membering\u2014Lerato Shadi, Hamedine Kane and Euridice Zaituna Kala<\/strong><\/p>\nKATJA GENTRIC<\/p>\n
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71\u00a0\u2018And then again, I draw myself to the detail\u2019: Capturing experiential states in contemporary dance making through Expanded Fields<\/strong><\/p>\nRUTH GIBSON AND JENNY ROCHE<\/p>\n
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78\u00a0A Trilogy of Getting Stuck: Methods of (un)knowing<\/strong><\/p>\nSEPIDEH KARAMI<\/p>\n
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83\u00a0Forming Blank, Performing Form [artist’s pages]<\/strong><\/p>\nJONDI KEANE<\/p>\n
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90\u00a0Magicking possible futures: Viv\u00eancias by Grupo Cultural Bal\u00e9 das Iyab\u00e1s<\/strong><\/p>\nPAOLA MAR\u00cdA MARUG\u00c1N RICART<\/p>\n
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95\u00a0Dancing with Epistemic Borders: Knowledge and unknowns in mixed-methods Practice-as-Research (PaR) collaborations between dance and social science<\/strong><\/p>\nAOIFE MCGRATH, VICTORIA DURRER AND PETER CAMPBELL<\/p>\n
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104\u00a0(De)composing the Mongrel: Improvisation and the (un)known<\/strong><\/p>\nMATTHEW JAMES NOONE<\/p>\n
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110\u00a0Scoring Enquiry, Unsettling Ignorance: Moving with racialized cancer uncertainties<\/strong><\/p>\nCARO NOVELLA<\/p>\n
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118\u00a0Meeting on Paper: Dramaturgy as a practice of lateral movement [artists\u2019 pages]<\/strong><\/p>\nEFROSINI PROTOPAPA AND KONSTANTINA GEORGELOU<\/p>\n
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124\u00a0\u2018To all my friends, known and unknown, close and distant\u2019: Or how to think about thinking about performance art<\/strong><\/p>\nJONAS RUTGEERTS<\/p>\n
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128\u00a0The Artful Agile Atypical Octopussy [artist’s pages]<\/strong><\/p>\nKAI SYNG TAN<\/p>\n
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130\u00a0Kinesthetic Empathy as Embodied Research: A case study<\/strong><\/p>\nCELIA VARA<\/p>\n
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137\u00a0Qualic monsters in corridors: Reading Mette Ingvartsen’s ‘Manual Focus (solo version for camera)’ [artists\u2019 pages]<\/strong><\/p>\nJOANNE ‘BOB\u2019 WHALLEY AND LEE MILLER<\/p>\n
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REVIEWS<\/p>\n
142\u00a0At last we were offered a glass of champagne!\u2019: A study of live art<\/strong><\/p>\nTOMA\u017d KRPI\u010c<\/p>\n
143\u00a0A Mercurial Mirage: Seascapes as event, logic and method<\/strong><\/p>\nZIHAN LOO<\/p>\n
144\u00a0Remixing the Movement: Spirit, Sound and Flesh<\/strong><\/p>\nJADE POWER-SOTOMAYOR<\/p>\n
146\u00a0US Dance and Globalism at Mid-Century<\/strong><\/p>\nEMILY WILCOX<\/p>\n\n\n