Through multilingual, cross-border collaboration, the artists explore “ripple” as a metaphor for bodies, ecologies, and movements - highlighting how transformation occurs at the intersections of place, language, and experience.

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The exhibition emphasizes collaboration across languages (English and Spanish), places (Chile, Aotearoa, Mexico, USA, Canada, etc.), and mediums (drawing, installation, video, text, and interactive digital platforms). It invites visitors to engage actively with the artworks, fostering a sense of shared creation and exchange.

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In essence, the exhibition celebrates the dynamism of artistic voices, the transformative power of migration, and the interconnectedness of forces shaping our world

The research explores the intersection of movement and traditional thinking, focusing on how dance research can incorporate various forms of expression such as performance, narrative, and experimental writing. It discusses the importance of soft relationalities and experimental connections in studio practice, emphasizing the ability for dancers to engage critically in research without sacrificing creativity.

Choreography is explored as a practice of border crossing, allowing new vocabularies to emerge through interdisciplinary collaboration. Three projects highlighted the importance of commitment, trust, and engagement with material circumstances in merging methods from various disciplines. The projects questioned relationships between art, ecology, geopolitics, and bodies, developing generative methods informed by weak theory and the transformative state of darkness.

This chapter explores the intersection of choreography and writing, where words emerge from witnessing dancing and choreographic phrases arise from written and spoken texts. The performance h u m a t t e r i n g incorporates carefully recorded and edited texts in conversation with live voice, blending choreographic writing with music and theatrical elements. The Mistranslation Laboratory involves co-creating vocabulary with audiences through small group tasks and performance experiments, engaging alternative layouts to blur the lines between essay, drawing, poetic language, and experimental performance documentation.

Longley explores the methods used in Mistranslation Laboratory, a performance research space focusing on durational performance in various art forms. The chapter discusses the exploration of balancing equations in mathematics using images, materials, and counting on to find the solution.

The research paper explores creative assessments that prioritize care and relational teaching in a hybrid-learning era, drawing from experiences teaching dance papers at The University of Auckland. The focus is on encouraging practices of care, learning from them, and acknowledging the different meanings of care for individuals. The paper suggests three philosophies for implementing creative assessments: iteration and scaffolding, multimodal assessment, and feedback and guidelines as departure points.

These artist pages document a series of international collaborations from Beberemos El Vino Nuevo, Juntos!, a project exploring how artists can connect across distance during the pandemic through experimental, transnational practices inspired by Francis Alÿs’s bridge-building works. Emphasising alternative forms of “touch” through sound, shared experience, and artistic exchange, the project reflects on pandemic conditions—balancing toxicity and hope—across multiple exhibitions and four interconnected bodies of work.

Originally intended as an analysis of artworks through critical theory, this collaboration instead shifts focus to the politics and methodologies of knowledge-making, examining co-authorship, writing, and artistic research as sites shaped by colonial power and possibilities for resistance. Reframed as a “shambolic manifesto,” the article proposes principles for Global South–oriented, collaborative creative-critical practice, grounded in trust, cultural distance, and experimental forms of writing and art-making.

This paper explores how Indigenous and Global South perspectives inform critical geographic and geospatial practices, using artistic mapping and collaboration to challenge colonial, extractivist systems of power. Drawing on works from the Mapping Porous Borders project, it argues that creative, theory-informed collaborations foster solidarity across geopolitical divides and enable resistance to isolation, border regimes, and dominant power structures.

This essay explores Lisa Samuels’ concept of “withness” through poetic and performative responses to Chilean activist art during the 2019–2020 protest movement, foregrounding solidarity, observation, and participation. Framing “radical kindness” as a form of resistance, it examines how activism generates new creative and social possibilities, where care, conflict, and collective transformation become deeply intertwined.

The Agencies of Kindness project reimagines academic peer review as a practice grounded in care, seeking to replace the often harsh and disempowering norms of blind review with a more supportive, collaborative, and rigorous approach. Through two participatory workshops, contributors collectively envisioned and implemented “kind” reviewing practices that fostered motivation, respect, and stronger research community connections.

This video article explores how artistic, embodied, and transdisciplinary practices can engage communities with marine sustainability by using poetic, visual, and relational methods to communicate risk beyond traditional scientific discourse. Through collaborative “artistic maps,” it investigates how fluid notions of embodiment, care, and perception can reshape understanding of ocean-related issues in Aotearoa New Zealand while expanding research through weak theory and creative practice.

This chapter argues that creative practices—particularly poetry—can generate unique, embodied forms of writing that translate affect, spatial awareness, and lived experience beyond conventional academic description. Drawing on two dance-based research projects, it demonstrates how poetic writing enables deeper articulation of embodied knowledge and supports practice-led research in education.

This research paper explores the use of performative writing as a method of inquiry, focusing on the concept of the "imperative" to enhance writing practices in educational settings. By drawing on posthuman theories and intra-active relationships, the authors demonstrate how arts-based writing can engage with both human and nonhuman elements. The paper provides a narrative account of two research Fellows using performative arts-based writing activities in a university setting to explore writing as a method of inquiry.

Language Is An Intangible Bridge is an experimental artist book that emerges from collaborative, transnational workshops exploring how language, movement, and creative practice can connect people across distance, especially during pandemic conditions. It combines poetic prompts, scores, and documentation to encourage embodied, intuitive, and resistant forms of making, positioning language as a relational “bridge” that enables shared experience, creative resistance, and connection across cultures and borders.

The research explores how writing, performance, and activism can intersect to challenge traditional language norms and create new forms of expression. By incorporating elements of ambiguity, rhythm, and poetic experimentation, the study aims to ignite a creative and tender form of resistance. Through various examples and perspectives, the research highlights the potential for writing to incite change and embody new modes of practice in activism and performance.

This research paper explores the "invisible" graduate attributes in tertiary dance education that are often overlooked in standard university programs. The study involves interviews with dance employers and academics, as well as surveys of students entering and completing full-time dance degrees. The unique embodiment and collaborative nature of dance learning offer fresh insights into the literature on graduate attributes, highlighting the importance of these skills in the field of dance education.

Artistic approaches to cultural mapping emphasize the importance of imagination and creative processes in community-based inquiry and advocacy. The book explores how contemporary artists challenge conventional mapping practices by engaging with the "felt sense" of community experiences and highlighting the importance of aesthetics in community self-expression and self-representation. It serves as a valuable resource for individuals involved in creative research methods, performance, and cultural mapping, as well as social and urban planning.

This volume challenges traditional notions of mastery in Dance Studies by exploring how dance can “undiscipline” academic knowledge through critical, creative, and cross-disciplinary practices. Bringing together diverse perspectives, it proposes new modes of research, pedagogy, and perception that respond to contemporary global conditions through choreography, somatics, Indigenous knowledge, and experimental performance.

This review describes Mistranslation Laboratory as an interactive, durational performance that playfully blends scientific frameworks with poetic, embodied experiences, inviting participants into carefully choreographed yet flexible encounters between bodies, materials, and environments. It highlights the work’s inclusive, caring, and inventive approach—balancing humour and intellectual depth—while noting that its openness and responsiveness can shift over time, sometimes losing its initial immediacy through repetition or fatigue.

The research explores the relationship between words and dance in choreographic practice, focusing on the works of Longley and Forti. By intertwining language and motion, unconventional forms of practice are created, challenging traditional expectations and intensifying the connection between bodies of language and bodies of motion. The study discusses how mistranslation between words and dance can lead to the cracking open of disciplinary conventions, allowing for new and innovative approaches to choreography.

This article delves into the exploration of posthuman relations through performance writing and dance research projects. It focuses on the relationships between bodies, sites, and ecologies, offering methods for documenting creative inquiry within a posthuman/new materialist paradigm. Projects discussed include Fluid City, Moving, Writing, Living, and Into the Fields.

This chapter explores the paradoxes of artistic research, where care and creativity can become entangled with control, regulation, and even forms of destruction that inhibit practice. Drawing on Andrew Pickering’s concept of the “mangle of practice,” it frames knowledge production as inherently messy and contradictory, and proposes strategies for engaging with this unpredictability as a productive force.

This article describes The Fluid City as an art–science–education project using interactive digital installations to explore the cultural, ecological, and sensory meanings of water in Auckland. Through poetic visualisations and experimental writing, it frames “liquid perception” as a way to rethink everyday relationships between bodies, environments, and urban water systems.

This practice snapshot discusses dramaturgy within a devised, multi-media, choreographic context through the performance h u m a t t e r i n g. Through approaching dramaturgy as a practice of folding, it accounts for some ways in which collaborators uncover the structure of new work in a devising process. In this context, definitions of what can constitute a body, or what can constitute a sense of humanity, can become uncertain. Practices of choreographic dramaturgy could be unsettled, extended and opened, so that embodied states split performance language open.