Inclusive Dance: The Story of Touchdown Dance

Contents

• List of Figures
• Abbreviations
• Preface
• Acknowledgements
• Introduction
• - An ethno-historical overview of the origins of Touchdown Dance: A radical initiative in a radical climate
• - Part 1. Taking a stand for inclusivity in an exclusive society 
• - Part 2. The body as the locus of liberation
• - Part 3. Bringing CI and Touchdown Dance to Denmark
• 1. Returning to the Origins: The Journey Taken by the Founders
• - Part 1. A chance encounter – Where it all started
• - The first years of Touchdown Dance 1986–88 – Finding a common way of seeing using CI
• - Bringing visually impaired and sighted people together through CI
• - The first encounter – A mini revolution
• - Part 2. Touchdown Dance (1988–94), Breaking new ground, new discourses, new science, new praxis: Re-inhabiting the body brought into question the perception of the visible and invisible
• - Part 3. Finding my place
• 2. Methodology: Undertaking Research That Is Practice-Led
• - Contact Improvisation – Sowing the seeds of self-determination through touch and movement
• - CI – A practice-led approach to learning
• - Part 1. CI – The inter-relationship of pedagogy and practice-led research – The advent of an integrated and inclusive approach
• - Part 2. The foundational principles in practice 
• - Vignette 1: An integrated exchange and inter-corporeal event – The three reciprocal membranes
• - Vignette 2: Touch – On the gap between physical and verbal language – The motile membrane between states of consciousness
• - Part 3. The role of discursive, ethnographic methods
• 3. Touch Communication: The Reciprocal Membrane of Inclusion
• - Part 1. Touching the skin is touching the membrane of the inner body
• - Part 2. In search of a natural attitude towards touch
• 4. The Pedagogic Process in Practice
• - Part 1. Introduction
• - Working with movement – A path towards change
• - CI – A sphere for cultural motility and mutability
• - The transitional state – New ways of seeing, moving and being
• - Part 2. The different modality-specific methods
• - Modality 1: The lower six inches
• - Modality 2: Rolling
• - Modality 3: Back-to-back sitting
• - Modality 4: Stand on ‘all fours’ – The low ‘bridge’ or ‘table’
• - Modality 5: Lifts – Pathways into space and back to the floor
• 5. Workshops: Our Partnerships and Projects Since 1994
• - Children
• - Youth work
• - How would you rate your movement skills before and after the workshop?
• - Adults
• 6. Performance and Creative Process
• - Sixth Sense – Second Sight : Practice-based research – In performance
• - Productions post 1994
• - I-radiate – 1999–2000
• - SENSE-8 2000–01
• - TACT 2002–03
• - CLOSER . Created 2005–08 reworked as APPARENTLY NORMAL 2010–12
• - Follow the frame
• - 343 m/s – The speed of sound
• - 343 m/s Lisbon
• 7. Final Words
• - The paradigm shift – Towards the individual and collective – Embracing the membrane of inclusion
• - The research accomplishments and the return of non-touch 
• - Capturing the experience – The multiple membranes 
• 8. Three Touchdown Dance Artists’ Points of View
• - Introduction
• - Holly Thomas – Dancer and facilitator
• - Sharing practice
• - Performance work
• - Robert Anderson – Dancer and facilitator
• - Jamus Wood – Dancer and facilitator
• Afterword –  Steve Paxton
• Appendix 1. The Small Dance 329
• Appendix 2. The ‘Hatching Chick’ – And the ‘birth’ of the Membrane Concept
• Timeline
• Notes
• Bibliography