ResDance

ResDance Series 8: Episode 8: The value of dance in Secondary Education with Jo-Hodson PriorIn the episode, Jo shares insight into her experiencesworking in education and teaching dance to young people from 11-18 in a Secondary school, and in her role as a PGCE Dance Subject Coordinator.  Through situating our conversation in ways of maintaining high quality dance provision, we discuss different ways of accessing dance, current dance and teaching practices and the transferable skills dance can offer both young people and the wider school community. Drawing upon her experiences as a practitioner and researcher, Jo shares insight into findings from her PhD research and her holistic teaching practice underpinned by theoretical discourse.  Jo further discusses the importance of developing positive wellbeing for young people through dance and giving young people a voice, highlighting the positive role reflective practice and encouraging them to create, explore and play, can provide. Throughout the episode, she advocates the importance of dance in schools and for the awareness of inclusive practices within dance. Jo is currently the PGCE Dance Subject Coordinator and Professional Studies Tutor at the University of Chichester and has been working in education for the past 21 years, teachingdance to young people from 11-18 in a Secondary school, as well as teaching contemporary dance vocationally. Jo has continually advocated for the importance of the Arts In schools, with a specific focus on high quality dance and inclusive practice.  She is currently completing her PhD at Trinity Laban Conservatoire of Music and Dance, focussing on the development of positive mental health and wellbeing in secondary age students, through a creative dance approach. Contact Details:Email: j.hodson-prior@chi.ac.uk Related Publications: OneDance Uk article for Education EditionHodson-Prior, J., (2019). University of Chichester & PGCE Dance. One Dance UK. Available at:https://www.onedanceuk.org/university-of-chichester-pgce-dance/?utm_source=One%20Dance%20UK&utm_campaign=452670b487-EMAIL_CAMPAIGN_2018_05_09_COPY_01&utm_medium=email&utm_term=0_f4ae144224-452670b487-144492377Please share this episode with students, educators, practitioners, performers, and interdisciplinary researchers curious to learn more about dance research inaction.

ResDance Series 8: Episode 7:ResDance Series 8: Episode 7: Queer:mess: Research enquiry into bringing the hidden, visible with Stuart Waters In this episode, Stuart reflects upon his career as a dancer, maker, researcher, curator and more recently, mentor and coach. Situating our conversation around his experiences as an artist with hidden disabilities, we explore ideas around whatsafety in dance looks like; ways of languaging and sharing experience and how spaces he creates meet the things people don’t see. We explore experiences that have led to a place of practice-based research and autobiographical led inquiryin a variety of settings and how his recent mentoring and coaching work has informed both his own practice and supporting artists, more widely. In this thought-provoking episode, Stuart offers personal and honest reflections around shame, keeping disabilities hidden and the barriers to asking for support. Offering insight into ways of being openaround disability as a sector, he advocates for the importance of a sense of dance community and the value of being brave and always championing yourself. As an alumnus of Northern School of Contemporary Dance(BA) and London Contemporary Dance School (MA) Stuart’s 26year career in the dance sector has been eclectic - performing and teaching in a wide range of educational and community settings nationally and internationally as well astouring with a range of companies and choreographers across different touring networks in the UK and overseas. Over the last decade, Stuart’s practice has shifted into maker, researcher, curator, facilitator, mentor and coach (EMCC Senior practitioner accreditation). Stuart’s practice is an evolving enquiryinto care. It is led by his lived experiences, intersectionality and his hidden disabilities as an access-led practice. Stuart’s work includes ‘Rockbottom’ (2016-2019), a touring solo show approaching mental health and chemsex. This began Stuart’s ongoing enquiry into “safeguarding the dancer in the studio process, live performance and engagement”, beginning conversations with communities and audiences around the UK.  Between 2021-2024, through partnerships, commissionsand collaborations with The Place, Wellcome Collection, FABRIC, Southeast Dance, PDSW, ACE, East Sussex Arts Partnership and The Brighton Festival, Stuart co-created ‘A Queer Collision’, a practice which evolved from an enquiryquestion into a touring show: how to embed access and audio description to lay the foundation for a queer, time-travelling show which told audio-described autobiographies. The show was also a deep look into care and inclusion forparticipants, audiences and teams. In the last 10 years, Stuart has also co-led and collaborated with a host of artists and partners to deliver ‘Head:ON Conversations’, a thread of Stuart’s work which looks at step-change within thedance and cultural sector. Stuart advocates for mental health and disability step-change in dance as an Unlimited and Clore ‘Inclusive Cultures’ alumnus and through his contributions as a trustee with Candoco Dance Company and STEPPS -a mental health charity for dancers.Image credit: Joe Armitage. Contact Details:Email: stuartwaters90@googlemail.comSocial Media:Instagram: @Stuart_watersLinktr.ee/stuartwaters90 Websites:https://stuartwaters.info/ stuartwaterscoaching.co.uk  Please share this episode with students, educators, practitioners, performers, andinterdisciplinary researchers curious to learn more about dance research in action. 

ResDance Series 8: Episode 6: Dance: A Life Choice: A conversation with Dennie WilsonIn the episode, Dennie shares insight into her background and experiences as a Dance Artist, Educator and Researcher.  Through situating our conversation in how her lived experience continues to inform her dance teaching practice, Dennie shares insight into her research informed approaches to teaching, ways in which critical and embodied knowledge is passed on through teaching practice and pedagogical ideas around coaching, learning and teaching. Reflecting upon her current PhD research, Dennie reflects upon her own coachingapproach to her how she teaches; the role of the coach within vocational dance training and the skills she aims to equip her professional dancers with who look to transition fromperformer to teacher. Throughout the episode, Dennie advocates the wider value and power of dance and the need for a continued belief in what dance can offer.Dennie is a Dance Artist, Educator and Researcher who was originally a professional dancer and then performance creator. With a driving interest in collaborative interdisciplinary practice, her career has taken her all over the world to workon projects with artists, composers, contemporary designers, jewellery makers, poets, and new media artists; using a range of mediums including film projection, stop motion animation and algorithmic choreography. She has collaborated on unique installation and theatre pieces in venues ranging fromthe Royal Albert Hall and the National Indoor Arena (Utilita) Birmingham to intimate studio spaces and art galleries. This lived experience forms the cornerstone of her dance practice. Dennie taught contemporary dance for eight years, at Elmhurst Ballet School (6th form and graduate year), andwas a senior lecturer in Dance Practice and Performance at the University of Wolverhampton. She worked as a dance artist with the Birmingham Royal Ballet’s learning education and participation department (LEAP) for over two decades.Currently Dennie is a Programme Manager, and Lecturer in Dance Education or Professional Dancers in the Faculty of Education at the Royal Academy of Dance. She has responsibility for teacher training programmes for professional dancers looking to make the transition form professional performer to professional teacher. She also lectures on all RAD Faculty of Education programmes with a particular focus on dance technique and performance, choreography, leadinglearning and the holistic health and wellbeing of the dancer. Lastly, Dennie is also jugging the final year of a Professional Doctorate at University of Central Lancashire where her research interest is coaching practice and therole of the coach within vocational dance training and professional dance performance, to empower the dancer as independent decision-maker.Contact Details: Email: dennie2@mac.comWebsite: dna3d dance designdigital. https://www.dna3d.co.uk/Website: The Blue Space Concept CoachingPractice https://bluespace.myfreesites.net/Related publications and sources:Building a case for coaching: informing an innovative, pedagogical approach to dancer development https://www.tandfonline.com/doi/full/10.1080/14647893.2022.2097656Labours of Sports Coaching: When to coach, teach, or train, with Dennie Wilsonhttps://open.spotify.com/episode/3intt9nRsd2HqACv2Bvy0N?si=CuhZ-BtoTYW0ldpCurAYjgOn Time : Speedhttps://ontimepodcastseries.podbean.com/Please share this episode with students, educators, practitioners, performers, and interdisciplinary researchers curious to learn more about dance research inaction.

ResDance Series 8: Episode 5: Dwelling in the interstice: Cross-disciplinary research as a mode of discovery with MaryKate ConnollyIn the episode, Mary Kate shares insights from her experience as a writer and curator, and her particular interest in performance legacies and the material remains of performance. Situating our conversation around her recent monograph, In Smithereens: The Costume Remains of Lea Anderson’s Stage (Intellect, 2024), we discuss therole of costume in contemporary dance and explore hands-on practices as means of revealing what gets left behind in the wake of performance. In this episode, Mary Kate reflects on her preoccupation with the intersections between disparatefields of research and a willingness to embrace the role of the novice when inhabiting them.Dr Mary Kate Connolly is a writer and curator based in London, UK. She is currently undertaking research in partnership with Victorian College of Arts, Melbourne. Mary Kate is Co-Editor (with artist David Caines) of COMPOST, a multidisciplinary arts zine.Her monograph In Smithereens: The Costume Remains of Lea Anderson’s Stage (Intellect, 2024) is the culmination of a longstanding collaboration with choreographer LeaAnderson; many years spent experimenting in the costume archive, writing about the fabric remains of performance and curating exhibitions of costume artefacts. Mary Kate continues to be preoccupied with performance legacies (both material and immaterial). Looking to find alternative ways in which theycan be unfolded.She has curated exhibitions and live events at studio 1.1, London, Barbican Pit Theatre, TACO! Gallery, and Anthony Wilkinson, Soho. Edited publications include Lea Anderson's The Cholmondeleys and The Featherstonehaughs: 40 Years of Style and Design (2024), People Show: Nobody Knows butEverybody Remembers (2016) and Throwing the Body into the Fight: A Portrait of Raimund Hoghe (2013).Mary Kate is former Programme Leader of the MA and MFA creative practice at Trinity Laban Conservatoire of Music and Dance. She has performed at Prague Quadrennial, Brut Wien and as part of SPILL festival, UK. Contact Details:Email: marykate@compostartzine.comSocial Media: @connolly.marykate@compost_art_zineRecent Publications and Related Links: In Smithereens: The Costume Remains of Lea Anderson’sStage:https://www.intellectbooks.com/in-smithereensCOMPOST Art Zine:www.compostartzine.comLea Anderson’s The Cholmondeleys and The Featherstonehaughs: 40 Years of Style and Design:http://www.leaanderson.com/40th-anniversary-bookPlease share this episode with students, educators, practitioners, performers, andinterdisciplinary researchers curious to learn more about dance research in action.

ResDance Series 8: Episode 4: Thinking differently about training practices and the value of health care within dance with Steven McRaeIn this episode, Steven reflects upon his experiences as a professional dancer and Principal of The Royal Ballet.  We position our conversation around the recently aired documentary “Steven McRae: Dancing Back to the Light”, which documents Steven’s journey with rehabilitation and return from injury. He reflects upon the revolutionary work of the Royal Ballet and a new sense of value he places on the role of scientific and embodied knowledge in underpinningand informing his practice.  Steven advocates the need for open dialogue and conversation around practices within dance and a greater accessibility of health provision within the sector.  Throughout the episode, he reflects upon the hope he holds for a greater sharing of experiences and the opportunity for a cultural shift in the training and workload practices of dancers.Australian dancer Steven McRae is a Principal of The Royal Ballet. He joined The Royal Ballet School on a Prix de Lausanne scholarship in 2003. He graduated into The Royal Ballet in 2004 and was promoted to First Artist in 2005, Soloist in 2006,First Soloist in 2008 and Principal in 2009. McRae was born in Sydney and trained with Hilary Kaplan and at The Royal Ballet School. He won the 2002 Adeline Genée Gold Medal and the 2003 Prix de Lausanne. His roles with The Royal Ballet include all the classical repertory and leading roles in works by choreographers including Frederick Ashton, George Balanchine, David Bintley, William Forsythe, Kenneth MacMillan, Alastair Marriott, Wayne McGregor, LiamScarlett and Christopher Wheeldon. His role creations include Magician/Mad Hatter (Alice’s Adventures in Wonderland), Jack (Sweet Violets), Sandman (Hansel and Gretel), Florizel (The Winter’s Tale), Emble (The Age of Anxiety), Creature (Frankenstein) and roles in Three Songs – Two Voices, Children of Adam, Chroma, Acis and Galatea (Royal Opera), 24 Preludes, The Human Seasons, Tetractys, Connectome, Woolf Works, Multiverse, The Illustrated Farewell, Yugen and concerto pour deux. McRae has performed as a guest artist with companies including American Ballet Theatre, National Ballet of Canada, Australian Ballet, Tokyo Ballet and at numerous international galas. His awards include the 2006 Emerging Male Artist (Classical) and the 2011 Best Male Dancer awards at the Critics’ Circle National Dance Awards. In 2014 he was named Young Australian Achiever in the UK by the Australia Day Foundation. https://www.rbo.org.uk/people/steven-mcraePhoto Credit: ‘Ballet Nights’Contact details:Instagram @stevenmcraeOther social media platforms:@royalballetandopera@verdensballetten@a_resilient_man.filmPlease share this episode with students, educators, practitioners, performers, and interdisciplinary researchers curious to learn more about dance research in action.

ResDance Series 8: Episode 3: Exploring Dance as a Tool for Awareness and Wellbeing with Alice Marshall In the episode, Alice shares insight into her experiences both as a professional dancer and choreographer and the work of her company - Adaire to Dance. Through exploring her choreographic identity, she offers insight into performative work and her drive for encouraging accessibility of the arts, presenting opportunities for all in dance. Alice reflects upon the role dance has as a tool for raising awareness ofexperiences and conversations that feel difficult to have, sharing her personal journey with baby loss and the role dance has played in her recovery. Throughout the episode, Alice highlights the need for open dialogue and conversation within dance and reminds listeners as to the wider value of dance.Please note this episode contains dialogue around baby loss Alice Marshall is a leading Dance professional in the Midlands area. After an extensive performance career with choreographers such as Paul Bloom, Katie Green and Cathy Seago, Alice went on to form Adaire to Dance – a professional performance company that demonstrates the diversity of Contemporary Dance. Her work with her own company concentrates on accessible dance and combining other art forms with the movement created. Often a collaboration with Illuminos is at the centre of her work. As Choreographer and performer within this company Alice also taught Dance toall ages in the community. As a lecturer she has a keen interest in the development and upholding of the work of Dance Artists, and therefore strives to present them all with opportunities that her connectionsin the industry can provide. Alice's dance academic research has been recognised, and she has presented papers across the sector including ELIA and Advance HE. Her work has been published in the form of a book Entertainment in the Performing Arts by Routledge and is the start of her exploration into a new way of accessible writing for academia. Alice was awarded Derbyshire's Inspirational Woman of the Year Award in the Arts (IWA) in 2015,and was one of three shortlisted for One Dance UK’s Lecturer of the Year 2018.https://alicevale.weebly.com/about.html  Contact details:Email: a.e.a.marshall@derby.ac.uk Instagram @aeamarshall Linkedin: Alice Marshall (Vale) - SeniorLecturer - University of Derby | LinkedInOther social media platforms:@adairetodance@creativeparentPlease share this episode with students, educators, practitioners, performers, and interdisciplinary researchers curious to learn more about dance research inaction.

ResDance Series 8: Episode 2: Giving Care: A conversation on dance, motherhood, and sustainability with Satu Hummasti and Shaun Boyle D’ArcySatu Hummasti and Shaun Boyle D’Arcy share insight into their individual careers and how their collaboration exploring ethics of care giving and care giving began. In the episode, they explore their ways of working and reflect upon their processes of making and collaborating. Through discussion of their sharedthinking and practices, we explore having accountability and responsibility for beings other than ourselves; gender parity; the role or policy in creating change and the value of collective dance making. Throughout the episode, Satu and Shaun highlight the importance of using dance to share livedexperiences and the hope that through open dialogue and conversation, family life can more readily be integrated into arts and dance spaces. Satu Hummasti, originally from Helsinki, Finland, is a choreographer, dancer, educator, and writer who hasperformed, choreographed and taught throughout the United States, Europe, South and Central America, and Russia. Her work has been seen in Medellin, Colombia; Bordeaux, France; Edinburgh, Scotland (as a part of the 2007 Edinburgh FringeFestival); St. Petersburg, Russia (as a part of the Open Look Festival 2011), Helsinki, Finland, Oulu, Finland (as a part of the Arctic Steps Festival 2015), Kökar, Åland, and San Jose, Costa Rica; and nationally in New York, Boston, Phoenix, Salt Lake City, Edinburgh, Texas, and Seattle. Her work has beencommissioned by Compañía de Cámara Danza UNA in San Jose, Costa Rica; Repertory Dance Theater in Salt Lake City; Kannon Dance Company in St. Petersburg, Russia; for graduate students at the University of the Arts in Helsinki, Finland; and for the graduating class of professional artists at the Keskuspuisto AmmattiOpisto TanssiPuoli, also in Helsinki, and SBDANCE Curbside Theater in Salt Lake City. In NYC she has shown dances at Dance New Amsterdam, Chashama, The Construction Company, Sal Anthony’s Movement Salon, and at The John Ryan Theater at White Wave, as a part of the d.u.m.b.o. and Cool New York Dance Festivals. She currently collaborates on community-based projects and dance theater projects with Daniel Clifton- her most recent project “Shore” was awarded an ÅlandIsland Guest Artist Residency in Åland, Sweden. She is an Associate Professor in the School of Dance at the University Utah.Contact details: Email: satu.hummasti@utah.edu Instagram: @satuhummasti Shaun Boyle D’Arcy is a dance artist and educator who hadan extensive performing career, dancing in classical ballet and contemporary companies including BalletMet (USA) and Cedar Lake Contemporary Ballet (USA). She danced in a broad spectrum of works by leading choreographers such asGeorge Balanchine, Edwaard Liang, Jodie Gates, Larry Keigwin, James Kudelka, David Dorfman, Alonzo King, David Nixon, Marius Petipa, Emily Molnar, and Benoit-Swan Pouffer. Shaun’s own choreography stems from this lineage, intertwining her roots in ballet and contemporary styles. Her work has beenpresented internationally at venues including the Joyce Soho Theater (USA), Ailey Citigroup Theater (USA), Bonnie Bird Theatre (UK), Robin Howard Theatre at The Place (UK), and the Kennedy Center (USA) amongst others. Shaun holdsdegrees from New York University (BFA), Trinity Laban Conservatoire of Music and Dance (MA), and George Mason University (MFA). She currently serves as a full-time faculty member in the School of Dance at George Mason University,located just outside of Washington D.C., and previously held academic appointments at the University of California, Irvine and the University of Utah. Additionally, Shaun continues to teach and choreograph as a guest artist at dance organizations in the United States and abroad.Contact details: Email: sboyleda@gmu.eduInstagram: @tiny.dancer.shaunInstagram: @gmu_schoolofdanceWebsite: Website

ResDance Series 8: Episode 1: The Unknown In Dance with Rhiannon FaithIn the episode, Rhiannon shares insight into her experiences and interests in dance, choreography and theatre and the role theatrical devising continues to play in her work. Throughout the episode, we explore the inspirations for her ways of making, the thinking that underpins her processes and how her creations serve a connection and relationship with an audience. We discuss consideration of the audience in her work and the curating around which audiences the work is trying to reach, where the work is most useful and ways to create a community of work through this.  Rhiannon shares the value she places on the role of legacy in making a change and the potential both her work and more generally, artistic practice, has to make a difference.  Throughout the episode, Rhiannon reflects upon her continued appreciation for her own personal background, who she is and how she responds to her support network around her.  The importance of following your instinct and trusting in the work you make is highlighted throughout, alongside the value of surrounding yourself with a team who share the same vision and are willing to embark on the journey with you. Rhiannon Faith is a boundary-breaking Artist whose work and experiences cross artforms.  Brought up in a big Irish Catholic, working-class family, she is an exciting British female voice making waves in choreography, directing, social activism and as a published author. Artistic Director of Rhiannon FaithCompany, nominated for five National Dance Awards; ‘Best Digital Choreography’ (2021), ‘Best Dance Film’ (2022), and ‘Best Independent Company’ (2021, 2022 & 2023). Critically acclaimed work DROWNTOWN received 4STARS across the board, and recently toured to Wuzhen Festival, China. New work Lay Down Your Burdens, Co-Commissioned by Barbican,London and Harlow Playhouse, premiered at the Barbican in November 2023 and was shortlisted for a 2023 One Dance UK Award for ‘Innovation in Dance’ and nominated for a 2024 Olivier Award for ‘Outstanding Achievement in Dance’.Photographer's credit: Foteini Christofilopoulou Contact details:info@rhiannonfaith.comhttps://www.rhiannonfaith.com/Social media platforms:X: @RhiannonFaithFacebook: @RhiannonFaithCoInstagram:  @rhiannonfaithcompanyRelated links:Rhiannon Faith Youtube Channel: https://www.youtube.com/channel/UCrBJ9bj8Gg4tq9x-vArHfGQHarlow Care Film: https://www.youtube.com/watch?v=ybfu4fpKEzUPlease share this episode with students, educators, practitioners, performers, and interdisciplinary researchers curious to learn more about dance research inaction.

ResDance Series 7: Episode 11: Sharing Dance Science knowledge to empower young dancers with Kendall Baab In this episode, Kendall shares insight into her background and experiences as a dance science educator and her interests in ways of enhancing performance and preventing injury through the creation of her business, Bodykinect.  Through a focus on education and training, we discuss her online presence in generating ways to create healthier training practices and in finding accessible and original ways of disseminating dance science knowledge. Throughout the episode, Kendall shares the value she places on the individual dancer through a holistic and consistent approach in the hope to continue empowering the young dancers. Kendall is a personal trainer for dancers and dance science educator located in Los Angeles, CA. She grew up as a competitive studio dancer and Texas high school drill team member of the Southlake Carroll Emerald Belles Dance/Drill Team in Southlake, TX. She earned her Bachelor of Arts degree in Dance Science from California State University Long Beach where she trained in ballet and modern dance, and a Master of Science degree in Dance Science from Trinity Laban Conservatoire of Music and Dance in London, UK where she completed dance science research involving perfectionism and self-efficacy in online dance classes and trained in contemporary dance. Kendall is a NASM Certified Personal Trainer and a BASI Certified Pilates Instructor with a dance specialization. She is also a Certified Health Coach through Dr. Sears' Wellness Institute. Kendall works with dancers all over the United States on strength, conditioning, and flexibility to enhance performance and prevent injury. Kendall is the CEO and owner of Body Kinect. Profile weblink: https://www.bodykinect.org/meet-the-team Contact details:  Email: hello@bodykinect.org  Socail media links:  Instagram: https://instagram.com/trainwithkendall YouTube: https://youtube.com/@trainwithkendall TikTok: https://tiktok.com/@trainwithkendall Other links: Free Resources & Publications: https://www.bodykinect.org/freeresources Please share this episode with students, educators, practitioners, performers, and interdisciplinary researchers curious to learn more about dance research in action.

ResDance Series 7: Episode 10: Thinking differently about the body in interdisciplinary research contexts with Susanne Foellmer In this episode, Susanne shares insight into her background and experiences as a researcher in dance studies and her various interests positioned within contemporary dance, choreography and performance art. Through situating her ideas within her research practice, we explore perspectives for thinking differently about the body and the importance of understanding dance theory as a critical practice. Throughout the episode, Susanne highlights the need for greater visibility of the field of dance studies and continued open conversation in interdisciplinary research contexts. Susanne Foellmer is full professor in dance studies at the Centre for Dance Research, Coventry University, UK. Her research interests include aesthetic theory, corporeality, media, and materiality in contemporary dance and performance art and in the Weimar era. She also engages in interdisciplinary research with regards to choreography in an expanded sense, particularly exploring social movements’ interrelations of the onsite, embodied public sphere and its media reverberations online. From 2022-23 she has been Senior Fellow at the Alfried Krupp Wissenschaftskolleg Greifswald.   Staff profile weblink: https://pureportal.coventry.ac.uk/en/persons/susanne-foellmer   Contact details:  Email: susanne.foellmer@coventry.ac.uk  Bluesky: @sufoellmer.bsky.social Other links: LinkedIn: Susanne Foellmer Centre for Dance Research, Coventry University Published resources of interest Foellmer, S. (2024). Communal Choreographies: Claiming the Embodied Public Sphere in Recent Climate Activism. Critical Stages, 29. https://www.critical-stages.org/29/commmunal-choreographies-claiming-the-embodied-public-sphere-in-recent-climate-activism/ Foellmer, S. (2023). The Archival Turn in Dance/Studies. Reflections on (Corporeal) Archives and Documents. (Reprint) Theatralia: Journal of Theatre Studies, 25(2), 129-147. Foellmer, S. (2020). Series and Relics: On the Presence of Remainders in Performance’s Museum. In S. Whatley, I. Racz, K. Paramana, & M.-L. Crawley (Eds.), Art and Dance in Dialogue: Body, Space, Object (1 ed., pp. 147-162). Palgrave Macmillan. https://doi.org/10.1007/978-3-030-44085-5_9 Please share this episode with students, educators, practitioners, performers, and interdisciplinary researchers curious to learn more about dance research in action.