on dance (academic)
2015 “Dancing Modernists in Oceania”. In Stephen Ross & Allana Lindgren (Eds.), The Modernist World, London: Routledge, pp. 225-264
2014 "A world with(out) words, Tess de Quincey’s Nerve Nine". In Bodies of Thought: Twelve Australian Choreographers, Erin Brannigan & Virginia Baxter (editors), RealTime, Adelaide, Australia: Wakefield Press
2012 “Do Try This At Home: Dance Manuals, Myopia and Misrecognition.” In Gillian Arrighi and Victor Emeljanow (Eds.), A World of Popular Entertainments: An Edited Volume of Critical Essays, Newcastle Upon Tyne, United Kingdom: Cambridge Scholars Publishing, pp. 118-133
"Anatomy of a dance work", Brolga, 36, June
2011 "Tethering the flow: dialogues between dance, physical culture and antiquity in Interwar Australia". In Rachel Fensham and Alexandra Carter (Eds.) Dancing Naturally: nature, neo-classicism and modernity in early twentieth century dance, London: Palgrave Macmillan.
"Together in Isolation: New Moves across Time and Space". In Julie Dyson and Stephanie Burridge (Eds.), Shaping the Landscape: Celebrating Dance in Australia, UK: Routledge imprint of Taylor & Francis, pp. 155-173.
"Feeling for Dancing in the archives of the dead". In Glen McGillivray (Ed.), Scrapbooks, Snapshots and Memorabilia: hidden archives in performance, Peter Lang
2010 “Homage and critique in contemporary dance (or a reverie on the lasting legacy of Yvonne Rainer’s NO manifesto)”, Brolga 32, June
2008 “Art dance, burlesque and body culture: negotiating interwar modernities”. In Robert Dixon and Veronica Kelly (editors), Impact of the modern: vernacular modernities in Australia 1870s-1960s, Sydney: University of Sydney Press.
2006 Body for Hire: the State of Dance in Australia, Platform Paper No. 8, Currency House.
2003 “Disco Dance”; “Jazz Dance”; “National Identity and Dance”; Research and Writing on Dance” Dancing on the Popular Stage since 1930”; “Choreography” (co-authored with Erin Brannigan) “Creative Appropriation of Aboriginal Dance” (co-authored with Carole Johnson). In Dr. John Whiteoak & Dr. Aline Scott-Maxwell, eds., Currency Companion to Music and Dance in Australia, Currency Press, Sydney.
2001 “Choreographing a Continent: modern dance and constructions of national identity in Australia”, Choreography and Dance, Vol. 4, Part 2/3.
1999 “Violence, vengeance and violation: The Display a ‘powerful dramatic work, intended to be very Australian’”, Australasian Music Research, 4, Centre of Music Research - Melbourne University
1999 “Prominence in Obscurity: Sonia Revid in Melbourne 1932-1945”, Brolga, 10, (ACT), June, 7-19.
1998 “The Great Articulation of the Inarticulate”: Reading in the Jazz body in Australian and American Popular Culture”, Journal of Australian Studies, No. 58, (QUT), October, pp.18-28
1997 “From Aboriginal Dance to Aboriginals Dancing: the Appropriation of the Primitive in Australian Dance”, Heritage and Heresy, Ausdance, Melbourne.
on dance (non-academic)
2015 "Taking Up Space: Nothing to Loose at the Sydney Festival", The Conversation, January 23
2014 "Sydney Festival Review: Chi Udaka", The Conversation, January 17
2011 "A 100 year pas de deux" British Liaisons, Australian Ballet Souvenir Program, May
"The Designer and the Dance Maker", Elegy, Australian Ballet Souvenir Program, June
2010 "Australia's Dance History Treasure Chest", review Australia Dances: creating Australian dance 1945-1965, Realtime, 100, Dec/Jan
2009 “Temporal Surrender”, What do I think About when I think about Dancing, Campbelltown Performing Arts Centre, Sydney
“Serge Lifar”, Paris Match, Australian Ballet Souvenir Program, March
“Do you believe in Fairies”, Sleeping Beauty, Australian Ballet Souvenir Program, June
2002 "One Extra Dance", Forum: Journal of the Australian Dance Council, Ausdance National, Winter.
1997 “Heretics and Heritage: in defence of dance independents”, Real Time, 22, December/January, (Sydney), 30
About Performance, “Fashioning Performance/Performing Dress”, No. 16, (due late 2017) (with Guest Editor, Rosie Findlay, London College of Fashion) Fashion, dress and performance share many characteristics. As aesthetic traditions, fashion and performance invite expressive human agency and create a space for the representation and contemplation of the contemporary socio-cultural moment. At the same time, performance and dress are both created and enacted by bodies that ‘speak’, enfolded into everyday practices of trying out and trying on, appearing and presenting ourselves to ourselves and to each other. The ways that fashion, dress and performance imbricate and influence each other extend beyond a consideration of costume for performance into: reading dress as performative; evaluating how dressing effects embodied knowledge, and exploring the relationship between fashion, dress and live aesthetic presentations. The 2017 issue of About Performance (no. 17) takes the dynamic and multi-directional intersection of these three concepts as its theme.
About Performance, “Performance Studies: here, (over)there, now”, No. 14/15, (due mid 2017) (the anniversary edition – Guest Editor) As Associate Professor Ian Maxwell suggested in 2006 (TDR, 50:1): “the development of what we at Sydney University call performance studies has been determined by a range of factors, both transnational and local.” (p. 35). Our research and teaching at the Department has been influenced by “paradigm shifts washing across the humanities” (p.36) – the linguistic, semiotic, new historicism, sociological, anthropological, phenomenological turns, to name a few – and by the changing influences and interests of staff, students and associates (artistic and academic) over the last 25 (or more) years. Central to our theoretical and thematic interests in Theatre & Performance Studies at the University of Sydney has been the work of professional performance makers. We have also been a leading research hub for rehearsal studies, reception theory and documenting performance. Our students, colleagues, and associates have published on theatre, parades, law, dance, politics, sport, acting, space, ritual, gender, movement and place. Our research, teaching and associations have reflected the eclectic nature of the discipline of performance studies more broadly and this special issue of About Performance reflects this expansive trend. With About Performance no. 15/16 we take a snapshot of where we are all at: here, (over)there, now. This edition will have new research on and around performance, by scholars associated with Performance Studies at Sydney University since its inception. Featuring the work of ex-students/colleagues, research and artistic associates and mentors, we have cast our net wide, our only criterion being interest and excellence.
Brolga: an Australian Journal about Dance, "Anatomy of a dance work", No. 36, June, 2012. (Guest Editor) This edition investigates and documents the making of "Anatomy of an Afternoon" by Martin del Amo in collaboration with dancer Paul White.
About Performance, “in between moves”, No. 11, 2011. (Guest Editor with Justine Shih Pearson). This About Performance is dedicated to writing about moving. These articles, collected under the subtitle In-Between Moves, explore movement in the spaces between: between bodies and other bodies, bodies and objects, bodies and places, bodies and time. They examine how being in these spaces can be conceptualised through ideas and experiences of motion.
Brolga: an Australian Journal about Dance, 33, December, 2010. (Guest Editor) In this edition choreographers: "Shelley Lasica, Martin del Amo and Narelle Benjamin talk candidly and elegantly about the way they make work—how they begin, how they collaborate with others and how they get things done. The Fondue Set—Jane McKernan, Elizabeth Ryan and Emma Saunders—offer a fascinating response to a set of provocations. They reveal their process in a three-part harmony that speaks to the particular concerns of this group of female artists. Helen Herbertson, Trevor Patrick and Tess de Quincey provide poetic reflections that speak to the nature of the work they produce. This results in beautiful, powerful prose that evokes, rather than explains, the why, when and how of their devising processes. But what I like about this more figurative approach is the way in which their writings help me re-imagine the sensibility of their performances. Brain Lucas gives us a generous, reflective musing on how even established artists are in a constant and continuing state of development and growth, and Julie-Anne Long takes us on a journey, through the inspiration, creation and realisation of a working process. She reflects on collaboration and the influence of place with a word skill that replicates her expertise as a dancing devisor." (editorial)
Brolga: an Australian Journal about Dance, 29, December, 2008. (Guest Editor)
Currency Companion to Music and Dance in Australia, Currency Press, 2003 (dance consultant assisting managing editors) Currency Press, Sydney.