Research activity per year

Personal profile

Research Interests

Choreographic practice; Participatory practice; Site specific practice; Mentoring and facilitating; Film and installation making; Articulating and documenting her practice; Somatic practice with people with a range of experience- from beginner to professional



Known for working in a variety of contexts and media, Rosemary has created large-scale site-specific works with cross-generational casts, solos for herself and other performers as well as video installations and short films for BBC.

Recent works include Under the Vaulted Sky(2014) commissioned by The Stables for Milton Keynes International Festival, Liquid Gold is the Air (2015) – a three screen video installation and winner of the Light Moves Festival prize, Without (2013), commissioned by and created with Echo Echo Dance Theatre Company, a seven-screen video installation with sound score by Graeme Miller. It captures a panoramic view of the city of Derry/Londonderry as 400 of its inhabitants dance and move through the streets. Rosemary and artist Simon Whitehead recently created Calling Tree, a durational performance cycle of songs, movement and messages, in and around a mature tree in Tottenham as part of LIFT 2016 and in tall London Plane trees for Bloomsbury Festival and The Place Autumn 2016. Passage for Par (2018) involved 30 women slowly crossing the vast expanse of Par Sands at low tide and was commissioned by CAST for Groundwork,  programme of international wrok across Cornwall. Her latest work Circadian (2019) took place over 24 hours on Lowestoft beach at FIrst Light Festival.   

 Rosemary also writes, guest teaches and lectures internationally. Recipient of both a Bonnie Bird Award and a Jerwood Choreographic Research Project Award in 2013, she is an Artsadmin Artist, a Work Place artist, a Senior Research Fellow at C-DaRE Coventry University, and holds an honorary doctorate from Roehampton University and is an honorary Fellow at Trinity Laban.


Vision Statement


First and foremost I try to remain a maker of works for strangers to experience. My work, whether it be a film installation or live, is created for and in many contexts, from the streets of Derry Northern Ireland to the boughs of an ancient oak tree in Tottenham. The performers maybe hundreds or just one, trained or untrained, young and old.

The variety of my practice raises many specific questions for each project and audience but also more over arching questions of what remains the same, and what is at the heart of what I am doing in all senses, regardless of the changing media or constituencies. I am curious about the individual and the ensemble or collective, the creating of a community and illustration of it in the works themselves, the way the work engages a knowing audience in comparison to someone who stumbles across it, the responsibility I have for the casts and the audiences experience, the role language plays in facilitating movement and how our physical and sensorial knowing of the world shapes language. I’m curious about how the radical -politically and artistically- can be inherent in the so called dance world as can its opposite and how we might tackle some evident and hidden inequalities.


Dive into the research topics where Rosemary Lee is active. These topic labels come from the works of this person. Together they form a unique fingerprint.
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