Shantel is a practitioner-academic principally working with and through contemporary dance contexts and related theory and practices. Before joining the University of Surrey, she held positions at Trinity Laban, Bath Spa University, and the University of California, Irvine. Interested in the complexity of the corporeal, Shantel's work crosses a number of disciplines, though all principally centred around the topic of kinaesthesia; including, but not limited to, phenomenology, ethnography, critical race theory, performance philosophy, cultural studies, post-humanism, and feminist theory. She is interested in knowledge from the perspective of the mover, context, and discourse, and how meaning is made out of complex lived experiences in relation to the body. This interest includes investigating the relationship between kinaesthetic and visually self-reflective experiences in dance and other practices/contexts. Shantel's eclectic career in contemporary dance includes invaluable experience working with Claudia Gitelman & Don Redlich (Hanya Holm), and Donald McKayle. Her practice research has been presented internationally and her written research can also be found in publications such as Dance Research Journal, Choreographic Practices, Research in Dance Education, and Phenomenology and the Cognitive Sciences.
Areas of specialism
University roles and responsibilities
- Co-Director, Centre for Performance Philosophy
Shantel's research encompass intersections between dance and philosophy (performance philosophy, phenomenology, visual culture), choreography, dance pedagogy, kinaesthesia, kinaesthetic empathy, practice research, screen dance. She has experience with phenomenological, sociological (ethnography), cognitive science, and practice research methodologies.
Please see also: https://shantelehrenberg.weebly.com/current.html
This book, forthcoming with Palgrave MacMillan, expands knowledge about contemporary dancers’ embodied experiences in the practice. The work features interviews with UK-based professional-level contemporary, ballet, hip hop, and breaking dancers, the author’s twenty-plus years’ working in contemporary dance, and cross-disciplinary explication of kinaesthesia and visual self-reflection discourses. Expanding on the concept of a ‘kinaesthetic mode of attention’ leads to discussion of some of the key values and practices which nurture and develop this mode in the contemporary dance field. Zooming in on entanglements with video self-images in dance practice provides further insights regarding kinaesthesia’s historicised polarisation with the visual. It thus provides opportunities to re-reflect with reflections, opening up to a disruptive set of playful diffractions in becoming contemporary dancer, particularly amongst an increasingly complex landscape of visual and theoretical technologies.
BA (Hons) Dance Programme Leader; Dance Choreography I & II; Collaborative Choreography; Contemporary Dance Practices; PTY Placement Tutor; BA Dissertation Project
Previously taught (BA): Investigating Choreographic Practices; Arts & Society; Dance, Politics, & Identity; Research Methodologies; (MA): Performing Theories, Research Methodologies, Dissertation