Writing

2022

‘Participant-Centred skateboarding in the West Bank, occupied Palestine: An Analysis of the Work of SkatePal’ in Jim Cherrington and Jack Black (Eds.), Sport and Physical Activity in Catastrophic Environments. London: Routledge, 193-208.

with Whalley, J.B. (2022), ‘Not pressure: A conversation between Dani Abulhawa and Joanne ‘Bob’ Whalley’ in Choreographic Practices 12(2), 153-164.  

‘Porous Choreographies of Living and Dancing’ [editorial] in Choreographic Practices 13(1), 3-8.

2020

‘Skill-less Tricks: A score for moving through walls’ in Choreographic Practices Journal, 11(2).

‘Sonia Boyce & The Skateboarding Scene of Digbeth, Birmingham’, Vague, Issue 18, Dec 2020.

‘Laura Thornhill-Caswell Interview’, Vague, Issue 14, May 2020.

Skateboarding and Femininity: Gender, Space-Making and Expressive Movement, London, Routledge, 2020.

‘Feint Lines: Notes on the Creation of a Skateboard Choreography’, Urban Pamphleteer, 8, 2020.

2017

‘Smoothing Space in Palestine: Building a skatepark and a socio-political forum with the SkatePal charity’ in Journal of Urban Cultural Studies, 4(3).

'(En)gendering ‘Undisciplined’ Space: Reflections on Accumulations’s Curation of ‘Precarious Assembly’' (written in collaboration with Sara Spies) in Ashton, J. (ed.) Feminism & Museums. Museums Etc. 

2016

‘Locating Rhythms: Improvised Play in the Built Environment’ in M. Maclean, W. Russell, and E. Ryall (eds.) Philosophical Perspectives on Play

 ‘Knowledgeable Artefacts: The role of performance documentation in PaR’ in Networking Knowledge: Journal of the MeCCSA Postgraduate Network, 9(3)

'"Crack on Wheels" Barbara Odanaka: Skateboard Moms and Sisters of Shred' Girl Skate UK

2015

'SkatePal Palestine Skatepark: Building Palestine's Biggest Skatepark' (written in collaboration with Joshua Perkin) Sidewalk 

‘To Be Helmshore: Navigating the undercurrents of landscape and history’ in Leighton-Boyce, H. The Event of the Thread

2008

'Female Skateboarding: Re-writing Gender’ in Platform eJournal of Theatre and Performing Arts, 3(1), 56-72