Dr Karen Barbour

My research outputs are varied in representational style and media, including academic journals, books and book chapters, as well as digital dance, live performance and creative writing. Some publications are listed below. (More of my academic outputs can be found through my ORCID ID: https://orcid.org/0000-0002-6262-7146 and some of my professional and community dance work may be found at https://waikatodance.org/ )

Jeffrey, A., Barbour, K., & Thorpe, H. (2021). Entangled yoga bodies. Somatechnics, 11(3), 340-358. doi:10.3366/soma.2021.0364

Barbour, K.N. (2021). Environmental and site dance in Aotearoa New Zealand. Dance Research Aotearoa, 6, 51-72.

Barbour, K., Burgstaller, H., Claus, J., Cohen, E., Gray, E., Park, S. -R., . . . Waititi, C. (2021). Morphing Moments [Performance season]. Hamilton Gardens Arts Festival, New Zealand: Waikato Contemporary Dance Projects Trust.

Barbour, K. (2021). Doing autoethnography in the more-than-human world: Writing and performing place. In International Association of Autoethnography and Narrative. online, international.

Barbour, K.N., & Mayall, J. (2020). Clarity. [Digital dance: 5:04]. Hamilton, New Zealand: Waikato Contemporary Dance Projects Trust & The University of Waikato.

Barbour, K.N, Clark, M.I., & Jeffrey, A. (2019). Expanding understandings of wellbeing through researching women’s experiences of intergenerational somatic dance classes. Leisure Studies, DOI:10.1080/02614367.2019.1653354    

Barbour, K.N. (2019). Backyard activisms: Site dance, permaculture and sustainability. Choreographic Practices, 10(1), 113–25, DOI:10.1386/chor.10.1.113_1  

Barbour, K.N., Hunter, V., & Kloetzel, M. (2019). (Re)positioning Site Dance: Local Acts, Global Perspectives. Intellect Books.

Barbour, K.N. (2019). Dance and movement research. In P.A. Atkinson, S, Delamont, M.A. Hardy & M. Williams (Eds.), SAGE Encyclopaedia of Research Methods. Sage.

Barbour, K.N.(Choreographer & performer).(2018). Performing permeability, In Mapear la Permeabilidad [dance performance]. Museo de la Memoria y Los Derechos Humanos Theatre, Santiago, Chile; 23 November 2018.

Hermo-Jensen, M., Barbour, K.N., Leinan-Hermo, S., & Schott, G. (2018). Bird. [Digital dance: 6:00]. County Cultural Palace, Murmansk, Russia & The Artistic Residence, Nikel, Russia: Waikato Contemporary Dance Projects Trust & Stellaris DansTeater.

Barbour, K.N. (2018). ‘Whispering birds’: Site-specific dance, affect and emotion. In J. Butterworth & L. Wilsdchut (Eds.), Contemporary choreography: A critical reader (2^nd ed), (pp.295-308). Routledge.

Barbour, K.N. (2018). Dancing epistemology: Situating feminist analysis. In S. Fraleigh (Ed.), Back to the dance itself: Phenomenologies of the body in performance (pp.233-246). University of Illinois Press.

Barbour, K.N. (2018). Embodied ways of knowing: Revisiting feminist epistemology. In L. Mansfield, J. Caudwell, B. Wheaton & B. Watson, (Eds.), Handbook of Feminisms in Sport, Leisure and Physical Education (pp.). Palgrave Macmillan.

Barbour, K.N.(Choreographer).(2017). Making changes. In handmade [dance season]. Meteor Theatre, Hamilton; 21-22 September 2017.

Barbour, K.N.(Choreographer & performer). (2017). Activisms [dance season]. Hamilton Gardens Arts Festival, Sustainable Backyard Garden, Hamilton Gardens, New Zealand; 21-23 February 2017.

Barbour, K.N., Hutt, L., & Schott, G. (2017). Slow drift. [Digital dance: 6:13]. The University of Waikato, Hamilton, New Zealand.

Barbour, K.N. (2017). Dance on campus: Partnerships and participation in tertiary dance education and community dance practice. In B. Cowie & R. McNae (Eds.), Realizing innovative partnerships in educational research: Theories and methodologies of collaboration, (pp.197-209). Sense Publishers.

Barbour, K.N. (2016). Place-responsive choreography and activism. In R. Rinehart & e. emerald (Eds.), Global South Ethnographies:  Minding the Senses, (pp.127-145). Sense Publishers.

Barbour, K.N. (2016). Embodied values and ethical principles in somatic dance classes: Considering implicit motor learning. Journal of Dance and Somatic Practices, 8(2), 189-204.

Barbour, K.N. (2016). Places we call home: Representing place and identity in contemporary dance performance. International Journal of Social, Political and Community Agendas in the Arts, 12(1), 1-13.

Barbour, K.N.(Choreographer & performer). (2015). Whenua – Land [dance season]. Hamilton Gardens Arts Festival, Waikato River, Hamilton Gardens, New Zealand; 21-23 February 2015.

Barbour, K.N. (2014). Searching for Bliss: Insights and challenges in yoga and contemporary dance choreography. Dance Research Aotearoa, 2, 79-100.

Barbour, K.N. (2012). Standing centre stage: Autoethnographic writing and solo dance performance. Cultural StudiesóCritical Methodologies, 12(1), 67-71.

Barbour, K.N. (2012). Enhancing kinaesthetic empathy in digital dance. Lucid and liminal imagery. The International Journal of the Arts in Society, 6(5), 259-267.

Barbour, K.N. (Choreographer). (2012). Places we call home. In Dancing in place [dance season]. [dance season]. Playhouse Theatre, Academy of Performing Arts, Hamilton; 23 November 2010.

Barbour, K.N. (Choreographer & performer). (2012). Whispering birds [dance season]. Hamilton Gardens Arts Festival, Chinese Scholars Garden, Hamilton Gardens, New Zealand; 18-20 February 2012.

Barbour, K.N. (2011). Dance site: Reconceptualizing digital dance. Brolga, 35, 57-64.

Barbour, K.N. (2011). Dancing across the page: Narrative and embodied ways of knowing. Intellect Books.

Barbour, K.N. & McLaren, S. (2011). Lucid. [Digital dance: 4:56]. Mediarena and The University of Waikato, Hamilton, New Zealand.

Barbour, K.N. & McLaren, S. (2010). Liminal. [Digital dance: 5.00]. Mediarena and The University of Waikato, Hamilton, New Zealand.

Barbour, K.N. (Choreographer & performer). (2010). A place to stand. In A place to stand: Re-framing the body in motion [dance and film season]. Playhouse Theatre, Academy of Performing Arts, Hamilton; 18 November 2010.