Carl Bagley and Ricardo Castro-Salazar INTRODUCTION In recent years the academy has witnessed an increasing number of qualitative researchers across a range of academic disciplines including education, reflecting on the use of the arts to inform practice; notable edited collections on this theme include Cahnmann-Taylor and Siegesmund (2008), Knowles and Cole (2008), Leavy (2009) and Liamputtong and Rumbold (2008). Arguably, these publications are indicative of increasing efforts by a number of researchers to define and position arts-based or arts-informed research as an important and emergent genre within the qualitative paradigm. While in this sense a ‘performative sensibility’ (Denzin, 2001, p. 25) could be claimed to be awakening, it should be noted that such stirrings are still relatively limited (especially when set against the plethora of other qualitative research endeavours), are far more marked in North America than in the UK or Europe, and from certain academic quarters face severe criticism (see, for example, Walford, 2009). In terms of those researchers embracing arts-based practices, work has tended to be of a literary nature, encompassing the use of short story (Kilbourne, 1998), creative fiction (Angrosino, 1998) and poetry (Richardson, 2002), or represented/staged in dramatic form (Goldstein, 2001; Mienczakowski, 2001; Saldana, 2005) or utilized in the visual arts (Knowles et al., 2007). Significantly, much less in evidence in the literature, and thus a relatively small performative fish in a relatively small academic qualitative pool, is the use of dance and movement. Indeed, it could be argued that the place and voice of dance...
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