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I joined ºÚÁÏÍø in 2018. Prior to this, I worked as a researcher in the Storytelling Academy at Loughborough University working on UK, EU and international projects and delivering teaching on the Drama course.

I completed my doctoral studies in 2016, graduating from Loughborough University. My PhD re-examined spectacle and theatrical practice in the Restoration, 1660-1714, drawing on alternative sources to better inform our understanding of the stage and society during that period.

My current research covers a range of different performance genres and topics.  Embedded into a lot of my work is interdisciplinary applied theatre and storytelling. I have previously worked internationally on topics such as mental health, environment, migration, social justice and education. I have also published in this area, most notably a chapter in the edited collection 'Water, Creativity and Meaning' (Routledge, 2019). In this area, I have extensive experience of applying for and contributing to funding applications to both UK and EU funding sources. 

Additionally, I have a deep interest in social impact created through performance, and I am partnering with performance companies that work in a range of different ways, to consider how they might support the lifelong wellbeing of young people. 

At present, I am developing a new area of academic enquiry on cabaret and political performance, specifically burlesque. I am currently working with a number of cabaret artists and producers to better understand the contemporary cabaret work they are creating, as well as considering how developments in the art form are providing space for new performers and explorations of identity. 

I have recently completed two European funded projects (1 of which I was PI) on Secondary and Higher Education and their connection with the Creative and Cultural sectors across Europe.

I am currently supervising three PhD projects, investigating formal and informal education in China and Bidesiya.

I welcome applications from PhD candidates in areas of applied theatre and storytelling, theatre for social change, digital storytelling, true-life storytelling, political performance and cabaret. 

Institute of Drama, Dance and Performance Studies

• Cabaret
• Burlesque
• Drag
• Applied theatre and storytelling 
• Theatre for social change/justice
• Theatre/storytelling for mental health
• Verbatim/digital theatre and storytelling
• Restoration stage practice

• Political performance
• Production
• Theatre for social change
• Theatre history
• Verbatim Theatre
• Community theatre
• Acting and performance practice 

• Fellow of the Higher Education Academy
• PhD in Drama, Loughborough University
• MA in Early Modern Writing, Loughborough University
• BA (Hons) Theatre and Professional Practice, Coventry University 

• Drama and Theatre Arts BA (Hons)
• Acting BA (Hons)

• Bingshuang Wei, PhD in Extra Curricular Chinese Arts Education 1st Supervisor.
• Fiona Wong, PhD in Formal Arts Education in China,  2nd Supervisor.
• Satkirti Sinha, PhD in Performance, Bidesiya: A crossdress dance of untouchables from Bihar, India, 2nd Supervisor.

Erasmus+ Strategic Partnership (British Academy) - CREATIVITY (Creative Resilience: Enhancing Active Tools, Innovation and Vision in the Young)

CREATIVITY: 

Previous research has identified the importance of formal, informal and non-formal skills and the ability to promote transversal skills when entering the Creative and Cultural sectors. While the European Commission has identified the Creative and Cultural sectors as areas for investment, the development of skills often utilised by these sectors, such as communication, creativity, critical thinking and collaboration, are currently under developed as educational institutions across Europe are reducing, and in some cases eradicating, the teaching of humanities subjects which offer such transferable skills. 

There has been a significant focus placed upon the development of the 4C’s within the agenda of the EuropeanCommission, and as countries, such as the UK with their SHAPE agenda, begin to recognise the need for humanities as a means of developing such skills despite the lack of trainingin the area, this project provides innovative practice to support young people in developing these useful lifelong learning skills at a time when Creative and Cultural sectors are particularly difficult to enter.

The sectors have been hit particularly hard by the current pandemic, damaging its resilience. This project seeks to utilise the skills of young people to rebuild and nurture the resilience of the creative and cultural sectors in the future. By responding to the need to bridge the gap between further education and employment in the Creative and Cultural sectors and the harsh reality of employment in the sectors where low wages, insecure contracts, and skill deficit that have been compounded by the devastating effects of Covid-19, the project seeks to aid the reopening and rebuilding of these sectors by assessing their future skills need and through a series of interactive education sessions up skill-young people to be the creative and cultural sector innovators and entrepreneurs of the future. In doing so, this project additionally addresses the problematic issues of diversity in the sectors by making the educational resources accessible through digital innovation which sees the replication of in person teaching online. Supported by the creation of a digital portfolio, CREATIVITY aims to assist young people and industry professionals in opening up dialogue about education and employment as a means of aiding a full recovery of the sectors.

Working with 10 young people, 14 informal educators, higher education institutions and a range of industry professionals, the project seeks to provide a clear route from school through to employment for both young people and the industry. To do so, the project will conduct a detailed research analysis on the skills training of student and the predicted future needs of the sector. This will inform the creation of 10 digitally interactive education sessions and supporting teaching materials that will utilise performing and visual arts methods to develop key competencies. The validation of these competencies will be provide by the creation of a digital portfolio designed to be shared with future employer and educators. An evaluative report detailing best practice once a rigorous evaluation process has taken place will enable the continue