Research Strands
kinaesthesia and visual self-reflection
Shantel's research has centred on the topic of kinaesthesia in dance practice and theory for over a decade. More specifically, she investigates the layers of dance knowledge from the perspective of the dancer, in the context of Western theatre dance, and how dancers make meaning out of complex embodied experiences. Most of her research in this area focuses on the relationship between kinaesthetic and visually self-reflective experiences (e.g. with mirrors and video self-images) in dance practice contexts (e.g. rehearsal). This research strand directly informs Shantel's teaching, practice research, conference presentations, and publications. See also Publications.
(in)fertile territories
A choreographic practice research and biopolitics project, investigating female gender identity and infertility. The focus of the research is on the question: how do women diagnosed as infertile deal with their emotional and bodily experiences and the ‘hard evidence’ presented to them in medical contexts? The project builds on the following point of view, 'The speculum, ultrasound, and laparoscopies, are all technologies of the visible that reveal women's bodies to others and to themselves. That these invasive technologies are often uncomfortable, embarrassing, painful, and alienating, is undeniable, but what also must be affirmed is the way in which they open up women's bodies to experiences and possibilities that would not be available otherwise. To endorse uncritically these technologies is as problematic as uncritically rejecting them...' (Weiss 1999: 124). The title of the project takes the position of spatial negotiation between embodied experience and external self-referential imagery. A spatial position articulated by Rosi Braidotti (2011/1994) 'A "location," in fact, is not a self-appointed and self-designed subject position, but rather a collectively shared and constructed, jointly occupied spatiotemporal territory. [...] "Politics of location" are cartographies of power that rest on a form of self-criticism, a critical, genealogical self-narrative; they are relational and outside directed. This means that "embodied" accounts illuminate and transform our knowledge of ourselves and of the world' (p 16). Please see also Choreography pages.
performing knowledge
The principle choreographic focus of Shantel's research is the problem of continually substantiating dance as a valid form of knowledge and study, and, more specifically, supporting the argument for and development of choreography as a way of philosophising and ‘thinking through’ ideas. This research strand directly informs her teaching, practice research projects, and dissemination of research (e.g. publications).
Shantel's research has centred on the topic of kinaesthesia in dance practice and theory for over a decade. More specifically, she investigates the layers of dance knowledge from the perspective of the dancer, in the context of Western theatre dance, and how dancers make meaning out of complex embodied experiences. Most of her research in this area focuses on the relationship between kinaesthetic and visually self-reflective experiences (e.g. with mirrors and video self-images) in dance practice contexts (e.g. rehearsal). This research strand directly informs Shantel's teaching, practice research, conference presentations, and publications. See also Publications.
(in)fertile territories
A choreographic practice research and biopolitics project, investigating female gender identity and infertility. The focus of the research is on the question: how do women diagnosed as infertile deal with their emotional and bodily experiences and the ‘hard evidence’ presented to them in medical contexts? The project builds on the following point of view, 'The speculum, ultrasound, and laparoscopies, are all technologies of the visible that reveal women's bodies to others and to themselves. That these invasive technologies are often uncomfortable, embarrassing, painful, and alienating, is undeniable, but what also must be affirmed is the way in which they open up women's bodies to experiences and possibilities that would not be available otherwise. To endorse uncritically these technologies is as problematic as uncritically rejecting them...' (Weiss 1999: 124). The title of the project takes the position of spatial negotiation between embodied experience and external self-referential imagery. A spatial position articulated by Rosi Braidotti (2011/1994) 'A "location," in fact, is not a self-appointed and self-designed subject position, but rather a collectively shared and constructed, jointly occupied spatiotemporal territory. [...] "Politics of location" are cartographies of power that rest on a form of self-criticism, a critical, genealogical self-narrative; they are relational and outside directed. This means that "embodied" accounts illuminate and transform our knowledge of ourselves and of the world' (p 16). Please see also Choreography pages.
performing knowledge
The principle choreographic focus of Shantel's research is the problem of continually substantiating dance as a valid form of knowledge and study, and, more specifically, supporting the argument for and development of choreography as a way of philosophising and ‘thinking through’ ideas. This research strand directly informs her teaching, practice research projects, and dissemination of research (e.g. publications).
