Conference Presentations by Kristina Johnstone
This paper investigates how dance training and performance opportunities facilitated by New York... more This paper investigates how dance training and performance opportunities facilitated by New York University (NYU) and the Norwegian College of Dance (NCOD) faculty benefit the dance students of Makerere University. Recognising the various motivations and expectations of each institution, this paper questions the notion of collaboration and whether one can ever speak of collaboration ‘on equal terms’ (Bharucha, 2000). This
paper aims to investigate and challenge notions of the trained dancing body from a western construct and considers the impact of these exchange programmes on the students involved, particularly the Ugandan students of Makerere University. In an
academic atmosphere like Makerere where research and theory is the main focus with little emphasis on the practical, how does practice inform and influence theories and trends? Can the dancing body evaluate itself and how does learning other techniques expand or explain diverse perspectives, if at all? This paper accesses the ideas of Rustom Bharucha (1984; 1997; 2000) who writes from an Indian, postcolonial perspective, to
interrogate the power structures present in these cultural exchanges. To what extent do the parties involved perpetuate existing (western) notions about what the dancing body
should be? Who defines the dancing body? Who are we dancing for?
Papers by Kristina Johnstone
, who made me feel like a part of Kampala's dance community and for being my support system away ... more , who made me feel like a part of Kampala's dance community and for being my support system away from home. Gerard Samuel, my supervisor, for his encouragement and for guiding me towards the right questions. Fiona Gordon for countless conversations and for helping me to untangle my thoughts. Katie Thorp, for her honest opinions and meticulous observations. Ché Milani, for proofreading. All the interviewees who gave their time so willingly and commented so enthusiastically. My parents, for their always lively support even from such a distance.
The purpose of this workshop is to offer a view on how the body and movement function as places o... more The purpose of this workshop is to offer a view on how the body and movement function as places of inquiry. We explore the question of "what is ethical?", and by extension, can an "ethical research method" can be discovered by working with one's own body in relation to other bodies?
, who made me feel like a part of Kampala's dance community and for being my support system away ... more , who made me feel like a part of Kampala's dance community and for being my support system away from home. Gerard Samuel, my supervisor, for his encouragement and for guiding me towards the right questions. Fiona Gordon for countless conversations and for helping me to untangle my thoughts. Katie Thorp, for her honest opinions and meticulous observations. Ché Milani, for proofreading. All the interviewees who gave their time so willingly and commented so enthusiastically. My parents, for their always lively support even from such a distance.
African Theatre: Contemporary Dance, 2018
Theatre, Dance and Performance Training
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Conference Presentations by Kristina Johnstone
paper aims to investigate and challenge notions of the trained dancing body from a western construct and considers the impact of these exchange programmes on the students involved, particularly the Ugandan students of Makerere University. In an
academic atmosphere like Makerere where research and theory is the main focus with little emphasis on the practical, how does practice inform and influence theories and trends? Can the dancing body evaluate itself and how does learning other techniques expand or explain diverse perspectives, if at all? This paper accesses the ideas of Rustom Bharucha (1984; 1997; 2000) who writes from an Indian, postcolonial perspective, to
interrogate the power structures present in these cultural exchanges. To what extent do the parties involved perpetuate existing (western) notions about what the dancing body
should be? Who defines the dancing body? Who are we dancing for?
Papers by Kristina Johnstone
paper aims to investigate and challenge notions of the trained dancing body from a western construct and considers the impact of these exchange programmes on the students involved, particularly the Ugandan students of Makerere University. In an
academic atmosphere like Makerere where research and theory is the main focus with little emphasis on the practical, how does practice inform and influence theories and trends? Can the dancing body evaluate itself and how does learning other techniques expand or explain diverse perspectives, if at all? This paper accesses the ideas of Rustom Bharucha (1984; 1997; 2000) who writes from an Indian, postcolonial perspective, to
interrogate the power structures present in these cultural exchanges. To what extent do the parties involved perpetuate existing (western) notions about what the dancing body
should be? Who defines the dancing body? Who are we dancing for?