(1) Though interest in it is awakening, as shown by the recent article published at worldwidedance, a UK dance organisation.

(2) I am very grateful to the following photographers for giving me their time and for answering my questions: Nick Gurney, Chris Nash, Hugo Glendinning, Vipul Sangoi, Simon Richardson. All five are known internationally for their work with dancers and dance companies (and for their very different photographic style) but inevitably, as photographers, they also do other photographic work; for example, Chris has worked in fashion, Hugo has done portrait and editorial, with a string of portraits of several celebrities. When asked about dance photography as a genre, not all of them agreed on its being a distinct one – only Vipul and Simon did, but they ALL said of themselves that they were photographers interested in dance and that this affected their work as photographers (Interviews gathered in London between 15th May and 8th June 2006).

(3) But see Rye 2005 on the ‘documentation trap’

(4) see note 2 above. I tend to agree with Sangoi’s and Richardson’s views, and thus I do acknowledge the existence of dance photography as a distinct genre. Therefore I will refer to it as a such throughout this chapter.

(5) I was in Indonesia in 2004 and 2006 researching contemporary dance performance in connection with one of the projects of the AHRC Research Centre for Cross-cultural Music and Dance Performance on Indonesian dance and music heritage

(6) An earlier version of this chapter was presented at the ASEASUK 2006 annual conference at St Anthony’s, Oxford, as part of the panel on Visuality and Performativity co-convened by me and Matthew Cohen. The sentence in inverted commas directly quotes the call for papers circulated by us in advance of the conference, thus demonstrating how my paper responds to the call.

(7) I am not listing photographers from Bali as the most successful photographers in Bali tend to be expatriates of European and American origin who specialise in a sub-genre of dance photography, dance-as-the traditional-art-of-Bali-the-tourist-paradise, a kind of photography that is easily bought by international picture libraries such as Corbis or Getty and is then re-used in commercial work. The images are pretty standard though occasionally there are interesting ones eg. Balinese dancer in full costume wearing sun-glasses and talking on a mobile phone and so on (see image below).

(8) Martha Graham had a great influence in Indonesia and on the development of its modern and contemporary dance. See Murgiyanto 1998, 112-113.

(9) I am grateful to ASEASUK for the award of a Small Grant in February 2006 which enabled my research on Didik Nini Thowok and his cross gender performance.

(10) Unfortunately no photographer is acknowledged, but Didik reassured me that they had been taken by known collaborators linked with his dance foundation in Yogyakarta.

(11) This is something that transpired from the interview I had with Nash in May 2006, when he referred to work done with Shobana Jeyasingh and Wendy Houston and ideas for choreography that were first explored through photography.

(Source: Garuda inflight magazine, July 2004. Leonard Lueras)