drawings by Katrina Brown

About Figures Series

Updated 19 March 2018
Figures Series ran from 2016 to early 2018. It was conceived as an expanded choreographic project comprising public art works – Ah kissing and Breathing Line: gifts for the future and written choreographic scores by Rosanna Irvine as well as multiple articles, reviews and interviews with other artists working in the various intersections of choreography, dance, visual art and participation.

Future performance of both public art works will be announced on this website as well as my main website. The scores remain available through creative commons license. This website remains as a public resource.

[earlier text]
Figures Series
is the umbrella title for a growing collection of works ranging across participatory performances, choreographic scores, reviews, writings and interviews

Figures Series questions what 21st century choreography is and what it can do

Figures Series operates across and between dance, visual arts and participatory practices. It’s interested in works that seep into the public realm and works that invite the experience – or imaginary possibility – of more radical and political ways of being together (even when quietly so)

The site will gradually become an expanded choreographic work and a resource populated with scores, images, articles, interviews and reviews.

Figures Series is dedicated to the memory of Rosemary Butcher.

You are invited to take part
Do A Score
Go to ‘scores’ in main menu to select a score. Just follow the instructions in a way that makes sense to you.


Look out for calls to participate in live performance works


to receive new posts by email go to contact page

Creative Commons License
All content is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

Rosanna Irvine
Rosanna is a Glasgow-based choreographer working in an expanded field of choreography. Her work operates in and between dance and visual art and includes performance, installation, digital media and writing – including written choreographic scores. Works are presented in theatre, gallery and public spaces as well as on the page and online. She is drawn to the relational aspects of choreographic making, to the quietening of a sense of individual desire towards a sense of collectivity that extends to audience and the material world. Her interests lie particularly in the capacities of choreographic processes to open spaces for a contemporary politics of being together.

She works independently and in collaboration with choreographer Katrina Brown. Recent work has been presented nationally and internationally including at Het Veem Theatre, Amsterdam; KARST Gallery, Plymouth; Tramway, Glasgow; Nottdance Festival, Nottingham; Konteksty International Festival of Ephemeral Art, Sokolovsko, Poland; Siobhan Davies Studio, London; Nightingale Theatre, Brighton; Art Claims Impulse Gallery, Berlin; Exeter International Short Film Festival and Drake Circus Shopping Centre, Plymouth.

Rosanna gained a PhD from Middlesex University undertaken while research artist at Dance4 (2010-2014) and prior to that an MA from Dartington College of Arts. Her PhD thesis addresses Dance4’s programming of European conceptual dance in their Nottdance Festival and her own practice to propose a ‘non-representational poetics’ of choreography.

A bit of background
Rosanna grew up in Glasgow as a second generation Irish migrant in the social (and sociable) reality of tenement life, trained at School for New Dance Development in Amsterdam, lived and presented her work in New York and London. During this earlier period (when she was known as Liz Irvine) she was co-artistic director with Martin Coles of Mobile Image Construction and danced with Rosemary Butcher Dance Company.  She later lived in the quiet of Devon, bringing up her children, and working in education and community dance returning to art making in 2007. She has trained extensively in Ki-Aikido (2nd Dan), is a qualified shiatsu practitioner and has an ongoing practice of yoga. These experiences inform her approach to choreography. Rosanna returned to Glasgow in 2016.

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