Robin Grove

An English lecturer at the University of Melbourne from 1964 –  2006, Robin has published widely on both dance and English literature. He was dance critic for The Australian 1986 – 92, The Age 1992 – 98 and editorial adviser to Brolga from 1994 – 2006, after which he became co-editor. He was also co-editor of The Critical Review. With Shirley McKechnie and Kate Stevens, he was one of three scholars whose research projects, funded by the Australian Research Council, resulted in the publication of Thinking in Four Dimensions: Creativity and Cognition in Contemporary Dance (Melbourne University Press, 2005). First trained as a musician, Robin worked with Laurel Martyn and Ballet Victoria for many years and both choreographed for that company and served on its board of directors.



Choreographic cognition: researching dance 1999–2008

An overview of the three linked choreographic cognition research projects Unspoken Knowledges (1999 – 2001), which looked at expanding industry productivity and value through strategic research into choreographic practice, Conceiving Connections (2002 – 2004), which looked at increasing industry viability through analysis of audience response to dance and Intention and Serendipity (2005 – 2008), which investigated improvisation, symbolism and memory in creating Australian contemporary dance.

Brolga 27

This issue of Brolga includes an exploration of the music of Menotti used in both Martha Graham and Gertrud Bodenweiser's version of Errand into the Maze, an analysis of Lucy Guerin's Aether (2005) and a site specific work by Sela Kiek, Circulate.

Brolga 25

Robin Grove, English lecturer at the University of Melbourne from 1964 – 2006, edits this issue of Brolga which presents a selection of topics that the journal promotes: dance history, cultural theory, discussion of new works and a re-investigation of past achievements.

Conceiving connections—further choreographic research

The Conceiving Connections project investigated how audiences respond to highly evolved dance-works. What elements encourage audiences to respond to dance works with insight, pleasure and understanding? How do previous knowledge, experience, and information about new works affect audience responses? What can we discover about the relationship between cognitive, aesthetic, emotional and kinaesthetic responses to particular dance works?