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This paper employs fictional techniques to convey the competing discourses of parenting and ‘serious’ climbing in relation to time and risk as they are experienced by heterosexual couples with at least one child and a history of commitment to traditional climbing. The resultant story is constructed from data produced by topical life-history interviews with seven white-British, middle-class couples and is interrupted, but not overlaid, by a late-modern and Foucauldian analytic thread through which we posit that the parents must negotiate a number of discourses of modernity in their pursuit of an authentic identity. The story, however, is intended more as dais for sociological dialogue, to allow the situated reader to inhabit the lifeworld and respond to its imagery. The story replicates the parents’ leisure time and space on a typical weekend and shows the contradictory and gendered nature of the discourses experienced by these climbers.

In this article, Emily Coates proposes the concept of “intercultural kinesis” to describe the transnational collaborations; temporary, embodied onstage communities; and surprising juxtapositions of cultural heritages present in three productions brought to Yale University by the World Performance Project: Dean Moss and Sungmyung Chun's Nameless forest, Maria Jerez's The Case of the Spectator, and the Rude Mechs' The Method Gun.

This paper is a confessional tale, which summarizes the author's doctoral research journey into parents who rock climb. The historical moments in qualitative research are used to frame an evolving interpretive approach, showing the relationship between theoretical and philosophical thought, and the empirical process. The paper uses personal reflections to relive the author's journey, from choosing a topic through to the representation of data. In doing this the author shows how she came across the use of ethnographic fiction, which she found to be a useful and creative approach to writing up data. The author concludes that using postmodern forms of representation in outdoor education research would provide engaging and emotive recollections of both personal and collective narratives.

In this article, Emily Coates discusses the work of three choreographers—Opiyo Okach, Yasmeen Godder, and Yvonne Rainer—whose work was shown at Yale University's Festival of International Dance in 2008. She examines their work from both global and local perspectives, suggesting various ways in which gesture, choreography, and dance knowledge circulates by physical exchange among dancers performing internationally. She describes these choreographers' work as joining tradition with innovation toward an integrated, globalized world.

This publication compiled by Joan Ormrod and Belinda Wheaton is the result of a conference on adventure sports held at Manchester Metropolitan University, UK, supported by the Leisure Studies Assoc...

The authors of this article are members of Yale’s World Performance Project (WPP) creative team. We write together as we make dance-theatre work together—collectively, collaboratively, and experimentally. We seek to change the way in which performance scholarship is created, published, and evaluated. To that end, we are moving beyond the single-author model of traditional humanistic scholarship. We are adopting instead the multiple-author style that is typical of the sciences, whereby all those who participate in the project sign the article and share the credit as well as the labor of producing it. We lay no claim to the specialized empirical methods of scientists, but we want to learn from their social practices of collaborative experimentation, discussion, and publication.