Contributor

Lee Slinger

Editorial Advisory Committee, Editor Emerita, Contributor

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Lee Slinger, Ph.D., is a Toronto-based researcher, teacher and writer. Her academic interests are in how people use the past to construct identities in the present and ideas of ownership about that knowledge. Her award-nominated dissertation examined the memory of the Tudor era in eighteenth-century Britain. Before graduate studies, she worked in sponsorships at a Québec television station. More recently, she has taught art history and writing skills at OCAD University and Ryerson University and done free-lance writing and copy editing. Her love of dance has always been a part of her life. Since attending L’École supérieure de ballet du Québec in Montréal, she has participated in a variety of recreational classes, studied dance at York and become a devoted audience member. She has been editor at The Dance Current since 2015.

Lee Slinger's Work

Honing Resiliency

While the pandemic has put constraints on post-secondary training, dance programs are working to future-proof students’ careers By Lee Slinger

Lee Slinger speaks to students and instructors about how dance educators can encourage resilience in a generation of students.

Posted February 2, 2021

Honing Resiliency

By Lee Slinger Volume 24, Issue 1

While the pandemic has put constraints on post-secondary training, dance programs are working to future-proof students’ careers.

William Yong in his own work Steer, with visual design by Jerome Delapierre / Photo by David Hou

Collective Copyright

Navigating authorship within contemporary dance By Lee Slinger

As dance artists navigate projects and performances, they encounter differing ideas of authorship. The evolving relationship between artists and digital media sharing have also shaped how these concepts are understood. Slinger spoke with several contemporary dance artists about their understandings of ownership, authorship and the role of intellectual property in their art-making processes. Slinger also weighs in with Carys Craig, a scholar of intellectual property, who argues that the legal system imposes binaries, such as choreographer/performer or work/performance, on creative work that do not speak to how dance is created, performed and shared.

Posted November 30, 2018

Collective Copyright

By Lee Slinger Volume 21, Issue 5

Dance has a long and tenuous relationship with ideas of intellectual ownership that is becoming even more complex as digital media is incorporated into artistic practice. How are contemporary dance artists navigating their understandings of ownership, authorship and the role of intellectual property in their art-making processes?