Currently PhD by Publication Route 2
Ba Hons Dance, MRes Choreography
Anna Macdonald is a dance and moving-image artist who uses the medium of the body as a way of exploring philosophical concepts. Her work predominantly takes the form of film, but also involves site-specific performance and installation, and is exhibited in galleries and video art festivals. Her work uses film to locate and re-frame basic movement patterns in everyday activities such as moving from ‘here to there’, ‘unfolding’ or ‘getting slower’. It is strongly influenced by Mark Johnson’s (2008) articulation of the notion of bodily ‘schema,’ which he describes as being physical patterns of experience that form the basis of how we construct meaning. Macdonald specializes in socially engaged practice. She works collaboratively with people from non-arts backgrounds to generate artworks that document and intensify their experiences in ways that can be understood by others. Her work moves easily between theoretical discourse and creative practice, and falls under the broad ambit of performative research (Smith & Dean 2009: 6).
Anna Macdonald has received International recognition for her work including being selected for; Art Currents, New York, VideodanzBA, Argentina, Dascamdans, Belgium, Miden Festival, Greece and being nominated for the International Video Dance awards in Barcelona. Her work has been exhibited nationally in galleries such as Sidney Kent Gallery, Peter Scott Gallery and Bluecoat Arts Centre. Recent public art works include commissions from; Artsdepot, London, Wandsworth Arts Festival and A Million Minutes curated by Central St Martins College, London. Her work was recently selected as a flagship example of socially engaged practice for an AHRC funded project curated by Creative Works, London. Alongside her free-lance work Anna is a part-time Senior Lecturer in Dance at Manchester Metropolitan University. Articles about her work can be found in Choreographic Practices Journal 4:2 and Body, Space & Technology Journal 11: 2.
A. Macdonald (2018). Touch, containment and consolation in This is For You. Journal of Dance and Somatic Practices. 9(2), pp.255-268.
A. Macdonald (2017). Going nowhere: Screendance and the act of dying. International Journal of Screendance. 8, pp.11-28.
A. Macdonald (2017). Holding and Curation. REPERTÓRIO: Teatro & Dança. pp.49-58.
A. Macdonald (2013). Things that start slowly. Body, Space and Technology. Vol 12,
A. Macdonald (2013). Editing I Will Not Hope. Choreographic Practices. 4(2), pp.189-203.
A. Macdonald (2015). This is for you: Containing the street. In: Sizourn, M. (ed) The street as a choreographic space: receptions, participations and transformations.. University of Rouen Press, Rouen.,
A. Macdonald (2014). Structure, familiarities and endings. In: Parts --Per Million. Gwasg y Bwthyn,
A. Macdonald Somatic Mapping and non-representational knowledge. Keele University, 13/6/2018.
A. Macdonald (2018). The Lines between Dance and Law. Warwick University, 24/3/2018.
A. Macdonald Screendance, dying and the in-between. University Limeric, 3/11/2016.
A. Macdonald Contingency, Containment and Curation. MMU: Cheshire, 29/4/2016.
A. Macdonald Not going anywhere: Screendance death and certainty. Burgundy, 28/4/2016.
A. Macdonald What next? Framing uncertainty in the material practices of medicine and art. Phoenix Art Gallery, Brighton, 7/3/2016.
A. Macdonald Art, containment and care. Deptford Lounge, London, 27/11/2015.
A. Macdonald, M. Jacob Striking through: writing practices and the discipline of research. Dartington, 23/6/2015.
A. Macdonald Holding the art: Falling for everything. In: https://motherhoodandcreativepractice.wordpress.com/. London South Bank University, 1/6/2015.
A. Macdonald Contingency and structure in the screendance edit: Analysing I will not hope’. University Limeric, 5/11/2014.
A. Macdonald ‘This is for you: witnessing the street’. The street as a choreographic space: receptions, participations and transformations’, 13/6/2014.
A. Macdonald Containing the city in 'This is for you’. University of Leeds, 4/4/2014.