Abbott, I. (2018). Ian Abbott on Theo ‘Godson’ Oloyade’s K.R.U.M.P. Macbeth at Trinity Laban, Writing About Dance. Available at: http://writingaboutdance.com/performance/theo-godson-oloyade-krump-macbeth-trinity-laban/ [accessed 6 August 2018].
Adey, P. (2010). Mobility, London: Routledge.
Adorno, T. (1991). The Culture Industry, Oxon and New York: Routledge.
Adorno, T. W. (1997). Aesthetic Theory. London: The Athlone Press Ltd.
Ahearn, L. (2000). Agency, Journal of Linguistic Anthropology, Vol. 9, No. 1–2, pp. 12–15.
Ahearn, L. (2001). Agency and Language, Annual Review of Anthropology, Vol. 30, pp. 28–48.
Anand, R. (2006). Accretion, Oxford Public International Law. Available at: http://opil.ouplaw.com/view/10.1093/law:epil/9780199231690/law-9780199231690-e1372#law-9780199231690-e1372-div1-1 [accessed 12 December 2018].
Anderson, Z. (2011). In the Dust, Zoo Southside, Edinburgh, Independent. Available at: http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/in-the-dust-zoo-southside-edinburgh-2343966.html [accessed 4 September 2017].
Anderson, Z. (2018). East Wall, Tower of London, London, Review: Hofesh Shechter’s Large-Scale Dance Show Storms the Tower, Independent. Available at: https://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/east-wall-review-tower-of-london-hofesh-shechter-dance-lift-a8455911.html [accessed 25 July 2018].
Anon (2008). Northern Soul: A Related Cousin to B’boying? B’Boy World. Available at: http://www.bboyworld.com/forum/showthread.php?65362-Northen-Soul-A-related-cousin-to-bboying [accessed 7 December 2016].
Arts Council England (2013). Great Art and Culture for Everyone: 10-year Strategic Framework. Available at: https://www.artscouncil.org.uk/sites/default/files/download-file/Great_art_and_culture_for_everyone.pdf
Baker, H. (2001). Turning South Again: Re-Thinking Modernism/Re-Reading Booker T., Duke University Press.
Banes, S. (1987). Terpsichore in Sneakers: Post-Modern Dance, 2nd edn, Middletown: Wesleyan University Press.
Banes, S. (1994). Writing Dance in the Age of Modernism, Hanover: Wesleyan University Press.
Banks, D. (ed.) (2011). Say Word! Voices from Hip Hop Theater, University of Michigan Press.
Barba, E. (ed.) (2010). On Directing and Dramaturgy: Burning the House, London and New York: Routledge.
Barba, E. and Barba, J. (2000). The Deep Order Called Turbulence: The Three Faces of Dramaturgy, TDR/The Drama Review, Vol. 44, No. 4, pp. 56–66.
Barthes, R. (1977). Image Music Text, London: Fontana Press.
Barthes, R. (1986). The Rustle of Language, New York: Hill and Wang.
Barton, B. (2005). Navigating Turbulence: The Dramaturg in Physical Theatre, Theatre Topics, Vol. 15, No. 1, pp. 103–119.
Baudrillard, J. (1994). Simulacra and Simulation, Ann Arbor: University of Michigan Press.
Bauer, B. (2011). Enfolding the Aesthetic Experience: Dramaturgical Practice in Contemporary Dance, in Dance Dramaturgy: Catalyst, Perspective + Memory, 34th Annual International Festival,Toronto: York University and University of Toronto, p. 15.
BBC (2014). Musical Theatre, BBC Bitesize. Available at: http://www.bbc.co.uk/schools/gcsebitesize/music/music_20th_century/music_theatre1.shtml [accessed 12 January 2016].
Beech, D. (2015). Incomplete Decommodification: Art, State Subsidy and Welfare Economics,PARSE Journal, No. 2. Available at: http://parsejournal.com/article/incomplete-decommodification-art-state-subsidy-and-welfare-economics/.
Benjamin, W. (1999). The Arcades Project, Cambridge, MA, and London: The Belknap Press of Harvard University Press.
Bennhold, K. (2017). Ferraris and Opera Were Urgent, but Grenfell Tower Risks Went Unheeded, New York Times. Available at: https://www.nytimes.com/2017/08/15/world/europe/london-inequality-grenfell-tower-fire.html?mcubz=3 [accessed 25 July 2018].
Berlant, L. (2011). Cruel Optimism. Durham, NC: Duke University Press.
Besemer, S.P. (2005). ‘Be Creative!’, October, Vol. 13, No. 4.
Bevan, R. (2016). Olympicopolis Architects on their £1.3 Billion Vision for E20, Evening Standard. Available at: http://www.standard.co.uk/lifestyle/london-life/olympicopolis-architects-on-their-13-billion-vision-for-e20-a3198041.html [accessed 2 August 2016].
Bigger, S. (2009). Review Article: Victor Turner, Liminality, and Cultural Performance: Studies in Religion and Education, Journal of Beliefs & Values, Vol. 30(2), pp. 209–212, Vol. 7672,No. February 2015, pp. 37–41.
Bloomer, N. (2017). Social Cleansing: Hundreds of Families Moved Out of London Boroughs Immediately After Grenfell, Politics.co.uk. Available at: http://www.politics.co.uk/news/2017/09/14/social-cleansing-hundreds-of-families-moved-out-of-london-bo [accessed 8 January 2019].
Bloomfield, R. (2015). Olympic Park: Essential Guide to Buying a Home in East London’s Five New Housing Zones, Evening Standard, Homes & Property. Available at: http://www.homesandproperty.co.uk/property-news/buying/new-homes/olympic-park-essential-guide-to-buying-a-home-in-east-londons-five-new-housing-zones-47631.html [accessed 5 September 2016].
Boal, A. (1994). The Rainbow of Desire: The Boal Method of Theatre and Therapy,London: Routledge.
Borch, C. (2002). Interview with Edward W. Soja: Thirdspace, Postmetropolis, and Social Theory, Distinktion: Journal of Social Theory, Vol. 3, No. 1, pp. 113–120. Available at: https://www.tandfonline.com/doi/abs/10.1080/1600910X.2002.9672816?journalCode=rdis20
Bourdieu, P. (1986). The Forms of Capital, Marxist.org. Available at: https://www.marxists.org/reference/subject/philosophy/works/fr/bourdieu-forms-capital.htm [accessed 26 July 2018].
Bourdieu, P. (1984). Distinction: A Social Critique of the Judgement of Taste.London: Routledge.
Bourdieu, P. (2010). Distinction, Oxon: Routledge Classics.
Brooks, P. (1996). The Melodramatic Imagination: Balzac, Henry James, Melodrama and the Mode of Excess, Yale University Press.
Brown, W. (2015). Undoing the Demos: Neoliberalism’s Stealth Revolution,New York and Cambridge, MA: Zone Books: MIT Press.
Burk, J. (1918). The Fetish of Virtuosity, Musical Quarterly, Vol. 4, No. 2, pp. 282–292. Available at: https://archive.org/details/jstor-738057/page/n1
Butler, J. (2004). Precarious Life: The Power of Mourning and Violence, London and New York: Verso.
Butterworth, J. (2009). Too Many Cooks?, in J. Butterworth and L. Wildschut (eds), Contemporary Choreography,London and New York: Routledge, pp. 177–194.
Butterworth, J. and Wildschut, L. (eds) (2009). Contemporary Choreography: A Critical Reader, Oxon: Routledge.
Carroll, N. and Seeley, W. (2013). Kinesthetic Understanding and Appreciation in Dance, Journal of Aesthetics and Art Criticism, Vol. 2, No. 71, pp. 177–186. Available at: https://www.jstor.org/stable/23597553.
Carter, A. and O’Shea, J. (eds) (2010). The Routledge Dance Studies Reader, 2nd edn, London and New York: Routledge.
Carter, P. (2014). Touchez: The Poetics of Turbulence, Performance Research, Vol. 19, No. 5, pp. 1–6.
CBCnews (2012). Crowd Control: What Is Kettling?, CBCnews, Canada.Available at: http://www.cbc.ca/news/canada/crowd-control-what-is-kettling-1.1133313 [accessed 8 August 2016].
Cetina, K.K., Schatzki, T.R. and Von Savigny, E. (eds) (2001). The Practice Turn in Contemporary Theory, London and New York: Routledge.
Chang, J. (2005). Can’t Stop Won’t Stop: A History of the Hip-Hop Generation, New York: Picador.
Chang, J. (2006). Total Chaos: The Art and Aesthetics of Hip-Hop, New York: Basic Civitas .
Cherjovsky, N. (2010). Virtual Hood: Exploring the Hip-Hop Culture Experience in a British Online Community, University of Central Florida.
Cocotas, A. (2016). Design for the One Percent, Jacobin, p. 14. Available at: https://www.jacobinmag.com/2016/06/zaha-hadid-architecture-gentrification-design-housing-gehry-urbanism/.
Collins, J. and Nisbet, A. (2012). Theatre and Performance Design: A Reader in Scenography, Oxon: Routledge.
Cooper-Albright, A. (1997). Choreographing Difference, New England: Wesleyan University Press.
Cresswell, T. and Merriman, P. (2011). Geographies of Mobilities: Practices, Spaces, Subjects, Farnham: Ashgate.
Cresswell, T. (2006). ‘You Cannot Shake That Shimmie Here’: Producing Mobility on the Dance Floor, Cultural Geographies, Vol. 13, No. 1, pp. 55–77.
Cross, R. (2018). Summer University. Retrieved November 4, 2018, from https://www.sadlerswells.com/jerwoodstudio/summer-university/
Crossley, N. (2001). The Social Body: Habit, Identity and Desire,Thousand Oaks, CA: Sage.
Cvejic, B. (2010). The Ignorant Dramaturg, Maska, Vol. 16, No. 131–132, pp. 40–53.
Cvejić, Z. (2016). The Virtuoso as Subject : The Reception of Instrumental Virtuosity, c. 1815–c. 1850, Cambridge Scholars Publishing. Available at: https://www.library.yorku.ca/find/Record/3647700
Danaher, G., Schirato, T. and Webb, J. (2000). Understanding Foucault, St Leonards, NSW: Allen & Unwin.
Davis, E. (2006). Found in Translation: The Emergence of Hip Hop Theatre, in J. Chang (ed.), Total Chaos: The Art and Aesthetics of Hip-Hop, New York: Basic, pp. 70–77.
Debord, G. (1983). Society of the Spectacle, Detroit: Black and Red.
Debord, G. (1994). Society of the Spectacle, translated by Donald Nicholson-Smith, New York: Zone Books.
Dedman, T. (2011). Agency in UK Hip-Hop and Grime Youth Subcultures: Peripherals and Purists, Journal of Youth Studies, Vol. 14, No. 5, pp. 507–522.
DeFrantz, T. (2004). Black Beat Made Visible: Hip Hop Dance and Body Power, in A. Lepeki (ed.), Of the Presence of the Body: Essays on Dance and Performance Theory, Middletown: Wesleyan University Press, pp. 64–82.
Del Seamonds, L. (1996). The Fourth Wall, The Museletter, Vol. 9, No. 3.
DeLaet, T. (2013). Re-inventing The Past: Re-enactment in Contemporary Dance and Performance Art, Research Centre for Visual Poetics. Available at: http://www.visualpoetics.be/?action=project&id=16 [accessed 28 December 2016].
Deobhakta, S. (2014). Analysis of Social Costs of Gentrification in Over-the-Rhine: A Qualitative Approach,University of Louisville.
Desmond, J. (1997). Meaning in Motion, Durham and London: Duke.
Dodds, S. (2011). Dancing on the Canon: Embodiments of Value in Popular Dance, New York: Palgrave Macmillan.
DV8 (2018). Artistic Policy, DV8. Available at: https://www.dv8.co.uk/about-dv8/artistic-policy [accessed 12 December 2018].
Dyke, J. (2015). ZooNation and Breakin’ Convention Secure over £1 Million Funding from Arts Council England,Sadler’s Wells. Available at: http://www.sadlerswells.com/press/news/2015/09/zoonation-and-breakin-convention-secure-over-1-million-funding-from-arts-council-england/ [accessed 26 June 2016].
Elden, S. (2007). There is a Politics of Space because Space is Political: Henri Lefebvre and the Production of Space, Radical Philosophy Review, Vol. 10, No. 2, pp. 101–116.
EUIPO, Breakin’ Convention 014662183,European Union Intellectual Property Rights. Available at: https://euipo.europa.eu/eSearch/#details/trademarks/014662183 [accessed 9 December 2018].
Felluga, D. (2015). Simulacra (Simulacrum) and Simulation, in Critical Theory: The Key Concepts, Oxon and New York: Routledge, pp. 282–283.
Fogarty, M. (2011). Dance to the Drummers Beat. PhD Thesis. University of Edinburgh. [accessed 12 June 2015]
Fogarty, M. (2012). Each One Teach One: B’boying and Ageing, in P. Hodgkinson (ed.), Ageing and Youth Cultures, New York and London: Bloomsbury, pp. 56–65.
Foster Leigh, S. (1998). Choreography and Narrative: Ballet’s Staging of Story and Desire, Indiana: Indiana University Press.
Foster, S.L. (2011). Choreographing Empathy: Kinesthesia in Performance, New York: Routledge.
Foucault, M. (1980). The Confession of the Flesh, in C. Gordon (ed.), Power/Knowledge: Selected Interviews and Other Writings, pp. 194–228. This interview was conducted by a round-table of historians.
Foucault, M. (1990). The History of Sexuality, Volume 1: An Introduction, New York: Vintage Books.
Foucault, M. (1991). Discipline and Punish, 3rd edn, London: Penguin.
Foucault, M. (1997). The Ethics of the Concern of the Self as a Practice of Freedom, in P. Rabinow (ed.), Ethics: Subjectivity and Truth, vol. 1, New York: New Press, pp. 281–301.
Foucault, M. (2002). Archaeology of Knowledge, London and New York: Routledge Classics.
Gardner, L. (2011). When Every Edinburgh Show Gets Five Stars, Rating System Inflation Has Won, Guardian. Available at: https://www.theguardian.com/culture/2011/aug/21/critics-notebook-lyn-gardner [accessed 10 June 2016].
Gilbert, J. (2014). Common Ground: Democracy and Collectivity in an Age of Individualism, London: Pluto Press.
Gilroy, P. (1991). It Ain’t Where You’re From, It’s Where You’re At, Third Text, Vol. 5, No. 13, pp. 3–16. Available at: http://www.tandfonline.com/doi/abs/10.1080/09528829108576284 [accessed 25 May 2016].
Givens, W. (2017). Lindy Hop, Community and the Isolation of Appropriation, in R.J. Kowal, G. Siegmund and R. Martin (eds), Oxford Handbook of Dance and Politics, Oxford University PressHand.
Goldman, D. (2010). I Want to Be Ready, Michigan: University of Michigan Press.
Gotman, K. (2015). The (Spectral) Lure of the Past, Performance Research, Vol. 20, No. 4, pp. 62–70.
Grotowski, J. (1981). Towards A Poor Theatre, 2nd edn, Methuen & Co Ltd.
Gunderson, J. (2014). Lefebvre, Henri. The Production of Space (La production de l’espace). Translated by D. Nicholson-Smith. Oxford: Basil Blackwell, 1991. Original French version, 1974. Retrieved June 3, 2018, from https://sites.utexas.edu/religion-theory/bibliographical-resources/spatial-theory/annotated-bibliography-for-spatial-theory/theoretical-models-of-space/
Gunderson, J. (2014). Soja, Edward W. Third Space: Journeys to Los Angeles and Other Real-and-Imagined Places. Malden, Massachusetts: Blackwell Publishers, Inc., 1996. Retrieved June 8, 2018, from https://sites.utexas.edu/religion-theory/bibliographical-resources/spatial-theory/annotated-bibliography-for-spatial-theory/theoretical-models-of-space/
Hacking, I. (2001). Why Ask What? In The Social Construction of What?Massachusetts: Harvard University Press, pp. 1–35.
Hagendoorn, I. (2004). Some Speculative Hypotheses about the Nature and Perception of Dance and Choreography, Journal of Consciousness Studies, No. 11, pp. 3–4.
Hansen, P. and Callison, D. (eds) (2015). Dance Dramaturgy, New York: Palgrave MacMillan.
Haraway, D. (2016). Staying with the Trouble: Making Kin in the Chthulucene, Durham: Duke University Press.
Hargittai, E. (2008). ‘The Digital Reproduction of Inequality.’ In D. Grusky (Ed.), Social Stratification(pp. 936–944). Boulder, CO.
Harney, S. and Moten, F. (2013). The Undercommons: Fugitive Planning and Black Study. Available at: http://www.minorcompositions.info/wp-content/uploads/2013/04/undercommons-web.pdf [accessed 20 September 2018].
Harvey, D. (2007). Neoliberalism as Creative Destruction, Annals of the American Academy of Political and Social Science, Vol. 610, pp. 22–44.
Harvie, J. (2005). Staging the UK, Manchester: Manchester University Press.
Harvie, J. (2013). Fair Play: Art, Performance and Neoliberalism, New York: Palgrave MacMillan.
Hazzard-Donald, K. (2004). Dance in Hip-Hop Culture, in M. Forman and M.A. Neal (eds), That’s the Joint!: The Hip-Hop Studies Reader, New York: Routledge, pp. 505–516.
Heathcote, E. (2015). Where Will London’s Artists Work?, Apollo. Available at: http://www.apollo-magazine.com/where-will-londons-artists-work/ [accessed 17 June 2016].
Herrenstein Smith, B. (1983). Contingencies of Value, Critical Inquiry, Vol. 10, No. 1, pp. 1–35.
Higgins, C. (2005). Sadler’s Wells Chief Unveils Strategy to Give Dance a Lift, Guardian. Available at: https://www.theguardian.com/uk/2005/mar/07/arts.artsnews1 [accessed 9 August 2016].
Hill, L. (2014). Status Quo Preserved in Arts Council’s NPO Funding Round, Arts Professional. Available at: http://www.artsprofessional.co.uk/news/status-quo-preserved-arts-councils-npo-funding-round [accessed 13 August 2016].
Hoch, D. (2006). Toward a Hip-Hop Aesthetic, in J. Chang (ed.), Total Chaos: The Art and Aesthetics of Hip-Hop, New York: Basic Civitas , pp. 349–363.
Hodges Persley, N. (2015). Hip-hop Theater and Performance, in J. Williams (ed.), The Cambridge Companion to Hip Hop, Cambridge: Cambridge University Press, pp. 85–99.
Höfling, A. (2006). Resistance from the Inside: An Analysis of the jogo de dentro in Brazilian Capoeira Angola. Journal for the Anthropological Study of Human Movement, 14(2), 83–90.
Hoggard, L. (2016). Breakin’ Convention, Dance Review: Breakin’ Good with the Hip Hop World, Evening Standard. Available at: http://www.standard.co.uk/goingout/theatre/breakin-convention-dance-review-breakin-good-with-the-hip-hop-world-a3238831.html [accessed 4 August 2016].
hooks, B. (2006). Outlaw Culture: Resisting Representations, 3rd edn, Oxon: Routledge.
hooks, b. (2015). Yearning, Race, Gender and Cultural Politics, Oxon: Routledge.
Hughes, H. (1998). Theatre in London and the Inter-relationship with Tourism, Tourism Management, Vol. 19, No. 5, pp. 445–452. Available at: https://www.sciencedirect.com/science/article/pii/S0261517798000417.
Hunt, P. (2017). Buckingham Palace Repairs Funding Approved by MPs, BBC News. Available at: https://www.bbc.co.uk/news/uk-politics-39280770 [accessed 1 October 2018].
Huntington, C. (2007). Hip Hop Dance: Meanings and Messages, Jefferson and London: McFarland & Company.
Hutchinson, D. (2016). Local Authority Arts Funding ‘Cut by More than £56m’, The Stage. Available at: https://www.thestage.co.uk/news/2016/local-authority-arts-funding-cut-by-more-than-56m/ [accessed 3 July 2017].
Jackson, S. (2011). Social Works: Performing Art, Supporting Publics, New York: Routledge.
Jackson, S. (2012). Just-in-Time: Performance and the Aesthetics of Precarity, TDR: The Drama Review, Vol. 56, No. 4, pp. 10–31.
Jameson, F. (1988). Postmodernism and Consumer Society, in A. Kaplan (ed.), Postmodernism and its Discontents, London and New York: Verso, pp. 192–206.
Jameson, F. (1991). Postmodernism, Or the Cultural Logic of Late Capitalism, New York: Duke University Press.
Johnson, I.K. (2009). Dark Matter in B-boying: Race and Global Connection in Hip Hop, University of Southern California.
Jones, O. (2014). It’s the BBC’s Rightwing Bias that is the Threat to Democracy and Journalism, Guardian. Available at: https://www.theguardian.com/commentisfree/2014/mar/17/bbc-leftwing-bias-non-existent-myth [accessed 28 June 2016].
Kehoe, A. (1991). Christian contradictions and the world revolution: Letters to my son. Dublin: Glendale.
Kendzior, S. (2014). The Peril of Hipster Economics: When Urban Decay Becomes a Set Piece to be Remodelled or Romanticised,Aljazeera.Available at: https://www.aljazeera.com/indepth/opinion/2014/05/peril-hipster-economics-2014527105521158885.html [accessed 12 February 2019].
Kolb, A. (ed.) (2011). Dance and Politics, Bern: Peter Lang.
Kowal, R. J., Siegmund, G., & Martin, R. (Eds.). (2017). The Oxford Handbook of Dance and Politics. Oxford: Oxford University Press.
Kowal, R., Siegmund, G., & Martin, R. (Eds.). (2017). Introduction. In The Oxford Handbook of Dance and Politics(pp. 1–6). Oxford: Oxford University Press.
Kumar, A. (2012). Special Report: Want to Cleanse Your City of its Poor? Host the Olympics, CeasefireMagazine. Available at: https://ceasefiremagazine.co.uk/olympics-opportunity-cleanse-city/ [accessed 10 September 2016].
Lee, R. (2006). Expectant Waiting, in C. Bannerman, J. Sofaer, and J. Watt (eds), Navigating the Unknown: The Creative Process in Contemporary Performing Arts, London: Middlesex University Press, pp. 158–185.
Lees, L., Slater, T., & Wyley, E. (Eds.). (2010). The Gentrification Reader. New York and London: Routledge.
Lefebvre, H. (1974). La Production de l’Espace. L’Homme et la Société, Vol. 31, No. 1, pp. 15–32.
Lefebvre, H. (1991). The Production of Space, Oxford: Blackwell Publishers.
Lefebvre, H. (2009). Reflections on the Politics of Space, in N. Brenner and S. Elden (eds),Space, World: Selected Essays, Minneapolis: University of Minnesota Press, p. 169.
Lepecki, A. (2006). Exhausting dance: Performance and the Politics of Movement, Oxon and New York: Routledge.
Lepecki, A. (2010). The Body as Archive: Will to Re-Enact and the Afterlives of Dances, Dance Research Journal, Vol. 42, No. 2, pp. 28–48.
Lepecki, A. (2013). Choreopolice and Choreopolitics: or, the Task of the Dancer, The Drama Review, Vol. 57, No. 4, pp. 13–27.
Lepecki, A. (2015). Errancy as Work: Seven Strewn Notes for Dance Dramaturgy, in P. Hansen and D. Callison (eds), Dance Dramaturgy, New York: Palgrave Macmillan, pp. 51–66.
Lepecki, A. (2016). Singularities: Dance in the Age of Performance, Oxon and New York: Routledge.
Logan, B. (2014). Breakin’ Convention: A Comedy Critic’s Verdict on the Hip-Hop Festival,Guardian. Available at: https://www.theguardian.com/stage/2014/may/06/breakin-convention-street-dance-sadlers-wells-hip-hop [accessed 3 August 2016].
Lorey, I. (2015). State of Insecurity: Government of the Precarious, London and New York: Verso.
Maizland, L. (2017). Grenfell Tower, Explained: How a Deadly Fire in London Became a Political Crisis, Vox. Available at: https://www.vox.com/world/2017/6/20/15829416/london-fire-grenfell-tower-explained-political-crisis [accessed 16 March 2017].
Malnig, J. (2008). Ballroom, Boogie, Shimmy Sham, Shake, Illinois: Illinois.
Markula, P. and Pringle, R. (2006). Foucault, Sport and Exercise, Oxford: Routledge.
Martin, R. (1998). Critical Moves: Dance Studies in Theory and Politics, Durham: Duke University Press.
Martin, R. (2012). A Precarious Dance, a Derivative Sociality,The Drama Review, Vol. 56, No. 4, pp. 62–77.
Marx, K. (1963) [1852]. 18th Brumaire of Louis Bonaparte. New York: International Publishers.
Maxwell, R. (ed.) (2001). Culture Works, Minneapolis: Maxwell.
Mayor of London (2015). Take a Closer Look: A Cultural Tourism Vision for London 2015–2017. Available at: https://www.london.gov.uk/sites/default/files/cultural_tourism_vision_for_london_low_res_version.pdf [accessed 10 January 2018].
McCarren, F.M. (2013). French Moves: The Cultural Politics of Le Hip Hop, New York: Oxford University Press.
McKechnie, S. and Stevens, C. (2009). Knowledge Unspoken: Contemporary Dance and the Cycle of Practice-led Research, Basic and Applied Research and Practice-led Practice, in H. Smith and R. Dean (eds), Practice-led Research, Research-led Practice in the Creative Arts, Edinburgh: Edinburgh University Press, pp. 84–103.
McKinney, J. (2011). Empathy and Exchange: Audience Experience of Scenography, in Kinesthetic Empathy in Creative and Cultural Practices, Bristol: Intellect, pp. 221–235.
McKinney, J. and Butterworth, P. (2014). The Cambridge Introduction to Scenography, Cambridge: Cambridge University Press..
McRobbie, A. (2016). Be Creative, Cambridge: Polity.
Meyer, L.B. (1956). Emotion and Meaning in Music, Chicago: University of Chicago Press.
Midgelow, V. ed. (2019). The Oxford Handbook of Improvisation in Dance, Oxford and New York: Oxford University Press.
Morley, S. (2018). East Wall, Hofesh Schecter Company.Available at: http://www.hofesh.co.uk/productions/archive/east-wall/ [accessed 15 August 2018].
Mulgan, G. (1996). Beware the Jargon in Academic-Speak, Times Higher Education. Available at: https://www.timeshighereducation.com/news/beware-the-jargon-in-academic-speak/91656.article [accessed 2 October 2018].
Musa, Z. (2017). Olympicopolis at London’s Queen Elizabeth Park, Culturetrip. Available at: https://theculturetrip.com/europe/united-kingdom/england/london/articles/olympicopolis-at-londons-queen-elizabeth-olympic-park/ [accessed 8 February 2018].
Naukkarinen, O. (2012). Variations in Artification, Contemporary Aesthetics. Available at: http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=635 [accessed 11 August 2016].
Neil, M., & Forman, M. (2012). Thats The Joint. (M. Neil & M. Forman, Eds.) (second). New York: Routledge.
Nelson, R. (2006). Practice-as-Research and the Problem of Knowledge, Performance Research, Vol. 11, No. 4, pp. 105–116. Available at: http://www.tandfonline.com/doi/abs/10.1080/13528160701363556 [accessed 23 August 2014].
Nelson, R. (2013). Practice as Research in the Arts, London: Palgrave Macmillan.
Nereson, A. (2010). Krump or Die: Krumping and Racist Ideologies in the Production and Reception of Rize, Gnovis: A Journal of Communication, Culture and Technology. Available at: http://www.gnovisjournal.org/2010/11/30/krump-or-die-krumping-and-racist-ideologies-production-and-reception-rize/ [accessed 17 October 2017].
Noland, C. (2009). Agency and Embodiment: Performing Gestures, Producing Culture, Cambridge: Harvard University Press.
Norman, N. (2015). Hofesh Shechter’s Barbarians Review at Sadler’s Wells – Short on Thrills, The Stage. Available at: https://www.thestage.co.uk/reviews/2015/hofesh-shechters-barbarians-review-sadlers-wells-short-thrills/ [accessed 11 January 2017].
Oddey, A. (1996). Devising Theatre: A Practical and Theoretical Handbook, Oxon and New York: Routledge.
Oddey, A. and White, C. (eds) (2006). The Potentials of Spaces: The Theory and Practice of Scenography and Performance, Bristol: Intellect.
Osborn, J., Kearney, D. and Fogarty, M. (2015). The Multiple Legitimacies of Tentacle Tribe, a Dance Company, in P. Guerra and T. Moreira (eds), in Keep It Simple Make It Fast: An Approach to Underground Music Scenes, pp. 535–546.
Österlind, E. (2008). Acting Out of Habits – Can Theatre of the Oppressed Promote Change? Boal’s Theatre Methods in Relation to Bourdieu’s Concept of Habitus, Journal of Applied Theatre and Performance,Vol. 13, No. 1, pp. 71–82.
Osterweis, A. (2014). The Muse of Virtuosity: Desmond Richardson, Race, and Choreographic Falsetto, Dance Research Journal, Vol. 45, pp. 53–74.
Osumare, H. (2009). The Dance Archaeology of Rennie Harris, in J. Malnig (ed.), Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader, Illinois: University of Illinois Press, pp. 261–281.
Osumare, H. (2012). Global Breakdancing and the Intercultural Body, Dance Research, Vol. 34, No. 2, pp. 30–45.
Patent Office (2016). Intellectual Property Office: Case details for Trade Mark EU014662183, GOV.UK. Available at: https://www.ipo.gov.uk/tmcase/Results/4/EU014662183 [accessed 15 September 2016].
Pellegrino, G. ed. (2011). The Politics of Proximity: Mobility and Immobility in Practice, Farnham: Ashgate.
Pile, S. and Keith, M. (eds) (2013). Geographies of Resistance, London: Routledge. Available at: https://www.dawsonera.com/abstract/9781315824659.
Pine, A. and Kuhlke, O. (eds) (2013). Geographies of Dance, Plymouth: Lexington.
Poulantzas, N. (2000). State, Power, Socialism, London: Verso Classics.
Prickett, S. (2013). Hip-Hop Dance Theatre in London: Legitimising an Art Form, Dance Research, Vol. 31, No. 2, pp. 174–190.
Prickett, S. (2016). Constrained Bodies: Dance, Social Justice, and Choreographic Agency,Dance Research Journal, Vol. 48, No. 3, pp. 45–57. Available at: https://www.cambridge.org/core/product/identifier/S0149767716000309/type/journal_article [accessed 9 December 2018].
Pritchard, S. (2017). Artwashing and Gentrification (or the Deeply Interwoven Web of Arts and Corporate Interests), blog, Colouring In Culture. Available at: http://colouringinculture.org/blog/artwashinggentrificationcomplexweb [accessed 19 June 2017].
Pritchard, S. (2018). In My Beginning Is My End: Transcript of My Prose Poem and Film, performed at Cathedral Quarter Arts Festival, Belfast, blog, Colouring In Culture.Available at: http://colouringinculture.org/blog/inmybeginningismyend [accessed 10 November 2018].
Profeta, K. (2015). Dramaturgy in Motion: At Work on Dance and Movement Performance, Wisconsin: University of Wisconsin Press.
Pugalis, L. and Giddins, B. (2011). A Renewed Right to Urban Life: A Twenty-First Century Engagement with Lefebvre’s Initial ‘cry’,Northumbria Reserach Link. Available at: http://dx.doi.org/10.1080/13264826.2011.623785 [accessed 13 June 2018].
Quinlan, M. (2017). Gaga as Metatechnique: Negotiating Choreography, Improvisation, and Technique in a Neoliberal Dance Market, Dance Research Journal, Vol. 49, No. 2, pp. 26–43.
Rachwal, T. (2017). Precarity and Loss: On Certain and Uncertain Properties of Life and Work, Wiesbaden: Springer VS.
Rancière, J. (2004). The Politics of Aesthetics: The Distribution of the Sensible, New York: Continuum.
Rattrey, M. (2016). Review: Breakin’ Convention 2016 (@BConvention), Breakin’ Perception,Am Hip Hop Magazine. Available at: http://www.iamhiphopmagazine.com/breakin-convention-review-2016-breakin-perception/ [accessed 5 August 2016].
Reid, B. (2016).The Journey from Hip Hop Theatre to Visual Theatre and Photography.Available at: http://www.benjireid.com [accessed 20 June 2016].
Reynolds, D., & Reason, M. (2012).Kinesthetic Empathy in Creative and Cultural Practices. (D. Reynolds & M. Reason, Eds.). Bristol and Chicago: Intellect.
Ridout, N. and Schneider, R. (2012). Precarity and Performance: An Introduction,Drama Review, Vol. 56, No. 4, pp. 5–9.
Roberts, C. (2018). East Wall,Hofesh Schecter Company. Available at: http://www.hofesh.co.uk/productions/east-wall/ [accessed 25 July 2018].
Robinson, L. (2015). Performing the Surplus, Making a Spectacle: Male Street Dance Crews on Television Talent Shows, University of Surrey.
Roy, S. (2018). East Wall review – Hofesh Shechter’s Dance Army Lays Siege to Tower, Guardian. Available at: https://www.theguardian.com/stage/2018/jul/20/east-wall-review-hofesh-shechter-dance-tower-of-london [accessed 25 July 2018].
Santos, T. (2014). On Turbulence: In Between Mathematics and Performance, Performance Research, Vol. 19, No. 5, pp. 7–12.
Schloss, J. (2009). Foundation: B-boys, B-girls and Hip Hop Culture in New York, New York: Oxford University Press.
Schram, S. (2013). Occupy Precarity, Theory & Event, Vol. 16, No. 1.
Schroeder, F. (2015). Bringing Practice Closer to Research: Seeking Integrity, Sincerity and Authenticity, International Journal of Education Through Art, Vol. 11, No. 3, pp. 343–354.
Schulman, S. (2013). The Gentrification of the Mind Witness to a Lost Imagination, Berkeley: University of California Press.
Scott, A.B. (2001). Dance, in R. Maxwell (ed.), Culture Works: The Political Economy of Culture,Minneapolis: University of Minnesota Press, pp. 107–130.
Scott, L. and Jackson, V. (2008). Bulldozed: Innovative Strategies for Addressing the Mental Health Consequences of Gentrification, Social Work Community Forum 2008.Available at: http://scholarworks.gsu.edu/ssw_forum/3 [accessed 12 January 2016].
SeeingDance (2016). Hip Hop from Around the World and Around the Corner, SeeingDance.Available at: http://www.seeingdance.com/hip-hop-from-around-the-world-and-around-the-corner-13042016/ [accessed 17 June 2016].
Seetoo, C.-Y. (2013). The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective, University of California, Berkeley. Available at: https://escholarship.org/uc/item/5gg5d9cm.
Shapiro, R. (2004). The Aesthetics of Institutionalisation: Breakdancing in France, Journal of Arts Management, Law, and Society, Vol. 33, No. 4, pp. 316–335.
Shapiro, R. and Heinich, N. (2012). When is Artification? Researchgate, pp. 1–16. Available at: https://www.researchgate.net/publication/273921770_When_is_Artification [accessed 11 August 2016].
Shaw, J. and Byler, D. (2016). Precarity, in Cultural Anthropology. Available at: https://culanth.org/curated_collections/21-precarity [accessed 6 March 2018].
Shaw, K. (2008). Gentrification: What it Is, Why it Is, and What can be Done About it, Geography Compass, Vol. 2, No. 1, pp. 1–32.
Shenton, M. (2017). Pulling Lyn Gardner’s Blog Is Another Nail in the Coffin of Arts Journalism, The Stage. Available at: https://www.thestage.co.uk/opinion/2017/mark-shenton-pulling-lyn-gardners-blog-another-nail-coffin-arts-journalism/ [accessed 26 March 2017].
Smith, Barbara, H. (1983). Contingencies of Value, Critical Inquiry, Vol. 10, No. 1, pp. 1–35.
Smith, C. (2015). News: Funding Boost for Hip Hop Dance Theatre, Londondance.com. Available at: http://londondance.com/articles/news/arts-council-england-funding-boost-for-hip-hop/ [accessed 5 March 2016].
Smith, H. and Dean, R.T. (2009). Practice-led Research, Research-led Practice in the Creative Arts, Edinburgh: Edinburgh University Press.
Smith-Autard, J.M. (2010). Dance Composition,6th edn, London: Methuen Drama.
Soja, E. (1989). Postmodern Geographies: The Reassertion of Space in Critical Social Theory, London: Verso.
Soja, E. (1996). Thirdspace: Journeys to Los Angeles and Other Real and Imagined Spaces, Massachusetts: Blackwell Publishing.
Solga, K. (2013). Virtuosity on Virtu(e)osity and Theatrical Community, Contemporary Theatre Review, Vol. 23, No. 1, pp. 76–79.
Spalding, A. (2013). The Diary: Alistair Spalding, FT.com/Life & Arts, pp. 1–3. Available at: http://www.ft.com/cms/s/2/3678cbfa-e949-11e2-9f11-00144feabdc0.html#axzz3UNa5z3Tz %5Baccessed 1 January 2015].
St John, G. (2008). Victor Turner and Contemporary Cultural Performance, New York and Oxford: Berghahn.
Stalling Huntingdon, C. (2007). Hip Hop Dance: Meanings and Messages, Jefferson: McFarland & Company Inc.
Taşkale, A.R. (2012). Kettling and the Fear of Revolution, Critical Legal Thinking. Available at: http://criticallegalthinking.com/2012/03/23/kettling-and-the-fear-of-revolution/ [accessed 7 August 2016].
Tatchell, P. (2016). David Furnish, There’s No Equality in Snobbery,Guardian. Available at: https://www.theguardian.com/commentisfree/2016/apr/06/david-furnish-equality-snobbery-elton-john-honours-system [accessed 29 September 2016].
Taylor, J. (2018). What Will Parliament Repairs Cost – and Where will MPs Go?, The Week. Available at: http://www.theweek.co.uk/91366/what-will-parliament-repairs-cost-and-where-will-mps-go [accessed 1 October 2018].
Lees, L. (2014). Gentrification and What Can Be Done to Stop It, online video. Available at: https://www.youtube.com/watch?v=gMz1x5_yF2Q[accessed 16 March 2018].
Theodores, D. (2002). Rehabilitating Dance Criticism, SARMA Laboratory for Discursive Practices and Expanded Publication. Available at: http://sarma.be/docs/649 [accessed 20 March 2017].
Thornton, S. (1996). Club Cultures: Music, Media, and Subcultural Capital, Middletown: Weslyan University Press.
Thrift, N. (1996). Spatial Formations, London: Sage.
Trencsényi, K. and Cochrane, B. (eds) (2014). New Dramaturgy: International Perspectives on Theory and Practice, London and New York: Bloomsbury Methuen Drama.
Trencsényi, K. (2015). Dramaturgy in the Making, London and New York: Bloomsbury Methuen Drama.
Tucker, P. (2017). The Grenfell Tower Fire Was the End Result of a Disdainful Housing Policy, Guardian. Available at: https://www.theguardian.com/commentisfree/2017/jun/20/grenfell-fire-housing-policy-social-housing-tenants [accessed 28 November 2017].
Tufnell, M. and Crickmay, C. (1993). Body, Space, Image, Binsted: Dance Books.
Turner, V. (1966). Liminality and Communitas, in The Ritual Process: Structure and Anti-Structure, Ithaca, New York: Cornell Paperbacks, pp. 93–203.
Uno, R. (2004). The 5th Element, Theatre Communications Group.Available at: http://www.tcg.org/publications/at/apr04/element.cfm [accessed 2 September 2016].
Uno, R. (2006). Theatres Crossing the Divide: A Baby Boomers Defense of Hip-Hop Aesthetics, in Total Chaos: The Art and Aesthetics of Hip-Hop, New York: Basic Civitas , pp. 300–305.
Urry, J. (2009). Mobilities and Social Theory, in The New Blackwell Companion to Social Theory. pp. 477–495.
Vujanović, A. (2013). Notes on the Politicality of Contemporary Dance, in Dance, Politics & Co-Immunity, pp. 181–191. Available at: https://www.diaphanes.net/titel/notes-on-the-politicality-of-contemporary-dance-2134.
Vujanović, A. (2016). On Precarity and the Freedom from Security,Social Text Online.Available at: https://socialtextjournal.org/state-of-insecurity/ [accessed 12 April 2018].
Vulliamy, E. (2017). Apartheid London: Social Cleansing Ruined the Minestrone Streets I Grew Up In,Guardian. Available at: https://www.theguardian.com/uk-news/2017/jun/17/apartheid-notting-hill-grenfell-tower-development-social-cleansing [accessed 8 January 2019].
Wainwright, O. (2018). From Olympic Park to East Bank: How St Paul’s ‘Faux Pas’ Led to Design Rethink,Guardian. Available at: https://www.theguardian.com/artanddesign/2018/jun/05/goodbye-olympicopolis-hello-east-bank-more-plans-unveiled-for-troubled-site [accessed 5 October 2018].
Wainwright, S., Williams, C. and Turner, B. (2006). Varieties of Habitus and the Embodiment of Ballet, Qualitative Research, Vol. 6, No. 4, pp. 535–558.
Watson, J. (2018). Hip-Hop: Billion-Dollar Biz, abcNews.Available at: http://abcnews.go.com/Business/story?id=89840&page=1 [accessed 13 February 2018].
White, R., Gilet, S. and Alexander, A. (2002). What Is Unsteady State Heat Transfer? Available at: http://www.eng.fsu.edu/~schreiber/uol/exp240/whatisuss.html [accessed 1 November 2015].
Williams, H. (2018). Botis Seva: We Need a Massive Shift in the Dance Work put on Stage,Guardian. Available at: https://www.theguardian.com/stage/2018/jul/21/q-and-a-botis-seva-dance-hip-hop [accessed 5 January 2019].
Williams, J. (2007). ‘Tha Realness’: In Search of Hip-Hop Authenticity, University of Pennsylvania. Available at: https://repository.upenn.edu/cgi/viewcontent.cgi?article=1093&context=curej
Winship, L. (2016). Plans to Create New Dance Hub in East London Announced, Evening Standard. Available at: https://www.standard.co.uk/goingout/theatre/plans-to-create-new-dance-hub-in-east-london-announced-a3245281.html [accessed 8 November 2017].
Wismayer, H. (2017). Grenfell Was No Ordinary Accident, CityLab. Available at: https://www.citylab.com/equity/2017/08/grenfell-was-no-ordinary-accident/536907/ [accessed 27 November 2017].
Zsiga, E. (2013). The Sounds of Language: An Introduction to Phonetics and Phonology,Chichester: Wiley-Blackwell.