The Oxford Handbook of DANCE AND WELLBEING
Edited by VICKY KARKOU, SUE OLIVER, and SOPHIA LYCOURIS
Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries.
Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America.
© Oxford University Press 2017
First issued as an Oxford University Press paperback, 2020
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above.
You must not circulate this work in any other form and you must impose this same condition on any acquirer.
Library of Congress Cataloging-in-Publication Data
Names: Karkou, Vicky, editor. | Oliver, Sue, 1952– editor. | Lycouris, Sophia, 1961– editor. Title: The Oxford handbook of dance and wellbeing / edited by Vicky Karkou, Sue Oliver and Sophia Lycouris.
Other titles: Handbook of dance and wellbeing
Description: New York, NY : Oxford University Press, 2017.
Identifiers: LCCN 2016050561 | ISBN 9780199949298 (hardback) | ISBN 9780197526330 (paperback) | ISBN 9780190655112 (epub)
Subjects: LCSH: Dance—Psychological aspects. | Dance—Social aspects. | Dance—Physiological aspects. | Dance therapy. | Well-being. | BISAC: MUSIC / Genres & Styles / Dance.
Classification: LCC GV1588.5 .O84 2017 | DDC 792.8—dc23
LC record available at https://lccn.loc.gov/2016050561
The image used for the cover of the book is created by Professor Raymond MacDonald and it is titled: “Dance in the Sun then Head to water”; used with permission.
1 3 5 7 9 8 6 4 2
Printed by Sheridan Books, Inc., United States of America
Devoted to our life and dance partners for supporting us in the making of this book.
Foreword by Raymond MacDonald xiii
Foreword by Sharon Chaiklin xvii
List of Editors xix
List of Contributors xxi
About the Companion Website xxxix
Introduction 1
Vicky Karkou, Sue Oliver, and Sophia Lycouris
PART I: DANCE AND THE BODY
Introduction to Part I 9
Vicky Karkou and Sue Oliver
1. The Dancing Queen: Explanatory Mechanisms of the ‘Feel-Good Effect’ in Dance 13
Corinne Jola and Luis Calmeiro
2. Dance in the Body, the Mind, and the Brain: Neurocognitive Research Inspired by Dancers and their Audience 41 Bettina Bläsing
3. Subjective and Neurophysiological Perspectives on Emotion Perception from Dance 57 Marie-Helene Grosbras, Matthew Reason, Haodan Tan, Rosie Kay, and Frank Pollick
4. Evidence-Based BIODANZA Programmes for Children (TANZPRO-Biodanza) in Schools and Kindergartens: Some Effects on Psychology, Physiology, Hormones, and the Immune System 77 Marcus Stueck and Alejandra Villegas
5. Dancing to Resist, Reduce, and Escape Stress 99 Judith Lynne Hanna
6. Body Memory and its Recuperation through Movement 115
Heidrun Panhofer
7. Listening to the Moving Body: Movement Approaches in Body Psychotherapy 129 Laura Hope Steckler
8. Authentic Movement as a Practice for Wellbeing 149 Jane Bacon
9. Authentic Movement and the Relationship of Embodied Spirituality to Health and Wellbeing 165 Zoë Avstreih
10. Reimagining Our Relationship to the Dancing Body 179 Andrea Olsen
PART II: DANCE WITHIN PERFORMATIVE CONTEXTS
Introduction to Part II
Vicky Karkou and Sophia Lycouris: With a Contribution by Taira Restar on Her Work with Anna Halprin
197
11. A Greater Fullness of Life: Wellbeing in Early Modern Dance 205 Michael Huxley and Ramsay Burt
12. Therapeutic Performance: When Private Moves into Public 219 Thania Acarón
13. Portals of Conscious Transformation: From Authentic Movement to Performance 239 Marcia Plevin
14. Butoh Dance, Noguchi Taiso, and Healing 255 Paola Esposito and Toshiharu Kasai
15. Flow in the Dancing Body: An Intersubjective Experience 273 Louise Douse
16. Common Embrace: Wellbeing in Rosemary Lee’s Choreography of Inclusive Dancing Communities 293 Doran George
17. Wellbeing and the Ageing Dancer 311
Jan Bolwell
18. Being in Pieces: Integrating Dance, Identity, and Mental Health 329
Mark Edward and Fiona Bannon
19. Writing Body Stories 349
June Gersten Roberts
20. (Im)possible Performatives: A Feminist Corporeal Account of Loss 369
Beatrice Allegranti
PART III: DANCE IN EDUCATION
Introduction to Part III 393
Vicky Karkou and Sue Oliver: With Contributions by Julie Joseph, Jo Bungay-Orr, and Foteini Athanasiadou
21. Provoking Change: Dance Pedagogy and Curriculum Design 399
Ann Kipling Brown
22. Pedagogies of Dance Teaching and Dance Leading 415
Jayne Stevens
23. Creative Dance in Schools: A Snapshot of Two European Contexts 429
Sue Oliver, Monika Konold, and Christina Larek
24. Moving Systems: A Multidisciplinary Approach to Enhance Learning and Avoid Dropping Out 447
Claire Schaub-Moore
25. Dance/Movement and Embodied Knowing with Adolescents 459
Nancy Beardall
26. Movement Therapy Programme with Children with Mild Learning Difficulties in Primary Schools in Saudi Arabia: Links between Motion and Emotion 479
Abdulazeem Alotaibi, Vicky Karkou, Marietta L. van der Linden, and Lindesay M. C. Irvine
27. Dance Movement Therapy, Student Learning, and Wellbeing in Special Education 493
Sue Mullane and Kim Dunphy
28. The Wellbeing of Students in Dance Movement Therapy Masters Programmes 517
Hilda Wengrower
29. Cultivating the Felt Sense of Wellbeing: How We Know We Are Well 535
Anna Fiona Keogh and Joan Davis
PART IV: DANCE IN THE COMMUNITY
Introduction to Part IV
Vicky Karkou and Sue Oliver: With Contributions by Carolyn Fresquez and Barbara Erber
549
30. Free to Dance: Community Dance with Adolescent Girls in Scotland 555
Anna Kenrick, Carolyn Lappin, and Sue Oliver
31. Methods of Promoting Gender Development in Young Children Through Developmental Dance Rhythms: A Kestenberg Movement Profile (KMP) Dance/Movement Therapy Approach 573
Susan Loman
32. Together We Move: Creating a Laban-Style Movement Choir 589
Cynthia Pratt
33. Touching Disability Culture: Dancing Tiresias 607
Petra Kuppers: With contributions by Lisa Steichmann, Jonny Gray, Melanie Yergeau, Aimee Meredith Cox, Nora Simonhjell, Neil Marcus, Elizabeth Currans, Amber DiPietra, and Stephanie Heit
34. Building Relations: A Methodological Consideration of Dance and Wellbeing in Psychosocial Work with War-Affected Refugee Children and Their Families 631
Allison Singer
35. Reconstructing the World of Survivors of Torture for Political Reasons through Dance/Movement Therapy 647
Maralia Reca
36. Haunted by Meaning: Dance as Aesthetic Activism 661
Sherry B. Shapiro
37. Cultural Adaptations of Dance Movement Psychotherapy Experiences: From a UK Higher Education Context to a Transdisciplinary Water Resource Management Research Practice 681
AthinÁ Copteros, Vicky Karkou, and Tally Palmer
38. Capoeira in the Community: The Social Arena for the Development of Wellbeing 699
André Luiz Teixeira Reis and Sue Oliver
39. The 5Rhythms® Movement Practice: Journey to Wellbeing, Empowerment, and Transformation 717
Mati Vargas-Gibson, Sarena Wolfaard, and Emma Roberts
PART V: DANCE IN HEALTHCARE CONTEXTS
Introduction to Part V
Vicky Karkou and Sue Oliver: With Contributions by Chan Nga Shan and Ania Zubala
40. Dance Movement Therapy in Healthcare: Should We Dance Across the Floor of the Ward? 739
Iris Bräuninger and Gonzalo Bacigalupe
41. Dance as Art in Hospitals 757
Diane Amans
42. The BodyMind Approach: Supporting the Wellbeing of Patients with Chronic Medically Unexplained Symptoms in Primary Healthcare in England 769
Helen Payne
43. Dance Therapy: Primitive Expression Contributes to Wellbeing 789
Alexia Margariti, Periklis Ktonas, Thomas Paparrigopoulos, and Grigoris Vaslamatzis
44. Dance Movement Therapy: An Aesthetic Experience to Foster Wellbeing for Vulnerable Mothers and Infants 803
Elizabeth Loughlin
45. Dance Movement Therapy and the Possibility of Wellbeing for People with Dementia 821
Heather Hill
46. Emotions in Motion: Depression in Dance-Movement and Dance-Movement in Treatment of Depression 839
Marko Punkanen, Suvi Saarikallio, Outi Leinonen, Anita Forsblom, Kristo Kaarlo Matias Kulju, and Geoff Luck
47. (Dis-)Embodiment in Schizophrenia: Effects of Mirroring on Self-Experience, Empathy, and Wellbeing 863
Sabine C. Koch, Janna Kelbel, Astrid Kolter, Heribert Sattel, and Thomas Fuchs
48. Dance/Movement Therapy and Breast Cancer Care: A Wellbeing Approach 883
Ilene A. Serlin, Nancy Goldov, and Erika Hansen
49. Attending to the Heartbeat in Dance Movement Psychotherapy: Improvements in Mood and Quality of Life for Patients with Coronary Heart Disease 903
Mariam Mchitarian, Joseph A. Moutiris, and Vicky Karkou
Foreword
Sharon Chaiklin, BC- DMT
Past President, American Dance Therapy Association, Columbia, MD, USA
The scope of this large tome is beyond the usual. It is clearly a reference book to which one can go for numerous reasons such as to gather information, to question, to rethink, and to stimulate new possibilities. The co-editors have made use of their many years of experience in dance, research, therapy, and teaching to formulate the vast scope that dance brings to the newly developing areas called ‘wellbeing’. They have called upon a large network of practitioners from several countries to offer their unique perspectives on a wide range of subjects that nevertheless focuses on movement, the body, and dance in relation to the ideas of aspects of wellbeing.
The nature of dance itself is naturally therapeutic as it makes use of the totality of the human being: the physical self, the creative self, the expressive self, and the emotional self. By examining it in more detail to discover how it may be used more purposefully in multiple settings is a fruitful endeavour. This is certainly accomplished in many chapters offered under the categories of the body, performance, education, community, and health. The authors describe how each of their areas of expertise is used to enable growth and self-satisfaction. Some make use of various forms of research in describing the results while others are more of a narrative. However, all have a point of view which pinpoints an aspect of the work which leads to the idea of wellbeing.
Wellbeing is developing as an idea in many fields, such as public policy, psychology, psychiatry, and physical and mental health. It is generally described as satisfaction with life as long as basic needs are met economically, if one has health and strong personal relationships and there is a sense of purpose and accomplishment that sustains one in daily life. Each of the authors has examined, through the lens of their practice, how the use of their knowledge and skills make use of dance in its many forms, and the possible implications that provide depth to their work in meeting one or more aspects of the above description of wellbeing.
My own experiences as a performer and long-time practitioner of dance therapy in mental-health settings, as well as teaching my profession in graduate schools and workshops internationally, resonate with many of the ideas and possibilities set forth within
the many chapters. Some of them stimulated new thinking about areas less familiar to me. It would be my assumption that even those who are knowledgeable in the art of dance, will find much to hold their interest as they explore the work of others in related but different areas.
It has been a vast task to gather so much information into one handbook, for which the editors are to be commended. It not only their vision but their openness to many unusual possibilities that may be beneficial to the reader. What makes this book of particular value is that there is recognition that words do not always do service to the topic of movement. Movement is an ephemeral art form that cannot be recorded on a piece of paper satisfactorily. In recognition of this, the editors have therefore gathered a large array of videos connected to the various chapters, which are then made accessible. To see what the author is describing adds a whole new dimension to understanding and learning. To my knowledge, this is a powerful addition that has not been available before.
The understanding of all that dance has to offer has been slow in acceptance among the many systems that provide multi-services to people of all ages and many needs. In some countries it has been suspect, as the body is usually disconnected from the thinking self and is not thought to provide more than functional or sexual use. In others, dance might be more acceptable as part of the culture but not yet integrated as offering more in-depth personal resources for a variety of needs. For those who believe in its incredible possibilities in providing aid for such problems as learning disabilities, depression, social isolation, chronic pain, and a multitude of other issues that cry out for attention, we are patiently hoping that the larger world will soon understand the power of dance. This addition to the literature will offer the opportunity for others to learn what dance has to offer and therefore include it as an idea whose time has come.
Editors
Vicky Karkou, PhD, is Professor of Dance, Arts and Wellbeing at Edge Hill University, Ormskirk, UK. She is a qualified researcher, educator, dance teacher, and dance movement psychotherapist, having worked with vulnerable children and adults in schools, voluntary organizations, and the NHS. Her main research and teaching area is in the arts for wellbeing. She has an honorary doctorate of medicine from Riga Stradins University in recognition of her contribution to the development of arts therapies training in Latvia. She is well published in national and international journals, and is the co-editor for the international journal Body, Movement and Dance in Psychotherapy. She travels extensively as a speaker at conferences and educational programmes around the world and as a consultant in those fields.
Sue Oliver, PhD, M.Ed., BA, PGCE, Cert. Dance in Ed., is a freelance dance tutor and researcher. Based in Scotland, she left her post as senior teacher and dance tutor for her local education authority to concentrate on her research in creative dance and wellbeing, focusing on children, adolescents, and latterly older adults, including seated movement to music in daycare settings. Current projects include dance for people with Parkinson’s disease, and community-based choreographic projects.
Sophia Lycouris, PhD, is Reader in Interdisciplinary Choreography at the University of Edinburgh, Edinburgh College of Art, with responsibility for Interdisciplinary Creative Practices, Masters and PhD programmes. Her research specialism is in haptic experiments.
Contributors
Thania Acarón, PhD (University of Aberdeen), MEd (New York University), DMP, is a performer, choreographer, and dance movement therapist from Puerto Rico, and is currently based in Scotland and Wales. She obtained her PhD on the role of dance in violence prevention, and is currently working as a performing arts lecturer at University of Wales Trinity Saint David. Thania offers international workshops on movement, wellbeing, and interdisciplinary, practice and is co-artistic director of Orphaned Limbs Collective. <http://www.thania.info>; <http://www.orphanedlimbs.com>
Beatrice Allegranti, PhD, is Reader in Dance Movement Psychotherapy and Director of the Centre for Arts Therapies Research at the University of Roehampton. She is Senior Registered Dance Movement Psychotherapist and Clinical Supervisor, ADMPUK. Her international experience encompasses choreography and film-making, as well as clinical practice and supervision. Her clinical experience spans UK NHS work in adult mental health, dementia, special needs, autism, and training staff in dementia units to engage with service users through kinaesthetic empathy in treatment. Beatrice’s feminist research investigates the boundaries and politics of moving bodies in performance, psychotherapeutic, and scientific contexts. She is passionate about the power of the arts as a vehicle for not just showing, but of ‘knowing’, giving us a way to understand the complexity of human experiences in a multilayered and creative way. She has numerous publications.
Abdulazeem Alotaibi, PhD (Queen Margaret University, Edinburgh), is head of physical education and kinaesiology at Qassim University, Alqassim, Saudia Arabia, and has an MSc in kinaesiology. His special interest is in movement therapy with children who have mild learning difficulties.
Diane Amans is a freelance dance artist, lecturer, and consultant offering professional development, arts and health projects, evaluation, and mentoring. She is course tutor on the annual Introduction to Community Dance Practice summer school organized by People Dancing: Foundation for Community Dance, and runs a similar course for the Japan Contemporary Dance Network in Osaka. In the UK she delivers training and follow-up mentoring for dance artists, volunteers, and activity leaders working with groups in a range of settings around the country. Her published work spans dance in communities and arts and health sectors, including dance with older people. She is a 2014 Winston Churchill Fellow, and has worked with community dance practitioners in Australia and New Zealand.
Foteini Athanasiadou, MSc, RDMP, has worked as a primary school teacher in Anatolia College, Greece, for three years. She has been involved in NGO activities, working with deprived children with emotional difficulties on a voluntary base. She has also worked with dementia suffers, children on the autistic spectrum, and adults on the autistic spectrum as a dance movement psychotherapy student.
Zoë Avstreih, PhD, is Professor Emeritus (Naropa University), the Founder and Director of the Center for the Study of Authentic Movement, a Board Certified dance/ movement therapist (American Dance Therapy Association), a licensed professional counsellor in Colorado, and a licensed psychoanalyst and creative arts therapist in New York State. Currently, she devotes her professional time to offering retreats and training opportunities for mature individuals to immerse in the practice of Authentic Movement for personal and professional development. A pioneer in the development of Authentic Movement, she lectures and teaches internationally and has published widely in the field.
Gonzalo Bacigalupe, EdD (University of Massachusetts at Amherst), MPH (Harvard University), is Professor of the Master of Science in Family Therapy Program and the PhD in the Department of Counseling and School Psychology, College of Education and Human Development at the University of Massachusetts in Boston. He is a Visiting Senior Researcher at the National Research Center for Integrated Management of Natural Disasters, and Visiting Professor at the Catholic University of Valparaiso in Chile. He is a representative of the APA International Relations in Psychology Committee, and is member of several editorial boards and co-editor of Psicoperspectivas, an open-source Chilean psychology journal dedicated to the interface of the individual with society.
Jane Bacon is Professor of Dance, Performance, and Somatics at the University of Chichester, and has a private practice as a Jungian analyst, focusing trainer, and Authentic Movement practitioner. She teaches Authentic Movement, and is co-director of the Choreographic Lab and co-editor of the journal Choreographic Practices. Her key interest is in creative processes—artistic, psychological, and spiritual approaches such as ‘focusing’, ‘active imagination’, and ‘mindfulness’. Her work is widely published.
Fiona Bannon, PhD, is Chair of Dance in Higher Education in the UK, and is based at the University of Leeds, working with students exploring collaborative practice, choreography, research methods, and improvisation. Her main work with doctoral researchers touches on investigations of varied arts practice as research. Her current research includes the preparation of a manuscript, ‘Approaching collaborative practices: ethical considerations in performance and dance’. She is part of the team currently exploring the relaunch of World Dance Alliance-Europe.
Nancy Beardall, PhD, BC-DMT, LMHC, CMA, is Dance/Movement Therapy Coordinator in the Graduate School of Arts and Sciences at Lesley University, Cambridge, Massachusetts. As a dance/movement therapist, consultant, Certified
Movement Analyst, and educator, her work has focused on dance, dance/movement therapy, and cognitive, social/emotional, and relational development using dance/ movement therapy and the expressive arts in the public schools. Her communitybuilding programmes through the expressive arts have involved students, parents, and community members. She is a co-author of Marking Connections: Building Community and Gender Dialogue in Secondary Schools. She is active in the American Dance Therapy Association, and currently serves on the Approval Committee, Educator’s Committee, and ADTA Standards Task Force.
Bettina Bläsing, PhD, is a post-doctoral researcher and responsible investigator at the Center of Excellence Cognitive Interaction Technology (CITEC) at Bielefeld University, Germany. Her academic background is in biology, leading to work as a scientific editor and science journalist for various newspapers. As scientific coordinator at Leipzig University she conducted postdoctoral work in Leipzig before joining the Neurocognition and at Bielefeld University, Germany. Her main research interests are mental representations of body, movement, and space, the control and learning of complex movements and manual actions, and expertise in dance.
Jan Bolwell is a choreographer, dance educator, performer, and playwright. She is Director of Wellington’s Crows Feet Dance Collective, a community dance company for mature women. Since its inception in 1999 she has created twenty-five works for the company, including ‘The Armed Man’ in commemoration of World War I, and ‘Hãkari: The Dinner Party’, which examines the lives of ten iconic historic and contemporary women from Asia and the Pacific. She has also written and performed in five plays, all of which have toured extensively throughout New Zealand. Jan works as a tertiary dance educator. She writes education resources for the Royal New Zealand Ballet, and is an adviser to Te Kura, New Zealand’s national distance education school.
Iris Bräuninger, PhD (University of Tübingen), MA (Laban Centre/City University London), completed her dance studies (TELOS Dance Theatre) in Stuttgart. She is a certified psychotherapist (ECP), registered senior dance therapist, supervisor (BTD, ADMTE), and KMP notator. She worked as a postdoctoral researcher at the University of Deusto, Spain. She is a lecturer and tutor at the DMT Master Program at the Universidad Autonoma Barcelona, Spain. She has published numerous articles and two books. Iris has more than twenty years of clinical practice in hospital and psychotherapeutic settings, and was formerly a researcher and deputy head of the Dance Movement, Music and Physio Therapy Department, Psychiatric University Hospital, Zürich. She is currently affiliated to the University of Applied Sciences of Special Needs Education, Zürich.
Jo Bungay-Orr, MSc (Queen Margaret University), studied dance from the age of three at the Susan Robinson School of Ballet, and completed her training at the Royal Ballet School. She worked and performed as a professional ballet dancer under her maiden name, Bungay, primarily with the Scottish Ballet, before embarking on her studies in dance movement psychotherapy. Jo has mainly worked with children in mainstream
schools, but also has experience with adult mental health groups in Glasgow. She now lives with her husband in Scotland, where they provide support to vulnerable young people who are leaving care.
Ramsay Burt, PhD, is Professor of Dance at De Montfort University, Leicester, UK. His publications include aspects of gender, race, and modernity. In 2013–14, with Professor Christy Adair, he undertook a two-year funded research project in British Dance and the African Diaspora which culminated in an exhibition at the International Slavery Museum in Liverpool. With Susan Foster, he is founder editor of Discourses in Dance. Since 2008 he has been a regular visiting teacher at PARTS in Brussels.
Luis Calmeiro, PhD, MSc, is a lecturer in sport and exercise psychology at Abertay University, Dundee. His research focuses on stress, cognitive appraisals, coping mechanisms when performing under pressure, and the study of health-related behavioural and psychosocial correlates of physical activity and wellbeing. He maintains a number of national and international collaborations, and his work has been published in peerreviewed journals in the areas of sport and exercise psychology and public health.
Chan Nga Shan is a dancer, dance instructor, choreographer, and dance movement psychotherapist. After graduating from the Hong Kong Academy for Performing Arts, She began her career by working in different media with different artists, including visual arts, films, site-specific dance, musical and theatrical performances, and international commercial events with renowned brands. As a dancer, she has always been fascinated with the power of movements, and began her journey to discover the knowledge of dance movement psychotherapy. Her main area of interest is in non-pharmaceutical interventions for mental illness. She has worked with adults showing symptoms of schizophrenia, dementia, and autism, and with children with special needs. Shan is recently volunteering in Kenya and China, providing DMP sessions for children suffering from HIV and children who have had traumatic experiences.
Athiná Copteros, PhD, MSc, is a registered dance movement psychotherapist having completed her MSc at Queen Margaret University, Edinburgh. She has recently completed her doctoral studies at Rhodes University, Grahamstown, South Africa. Her work currently focuses on the relationality between people and ecology and the role that body and movement can play in healing the split within and between ourselves, each other and our environment. Coming from a country with a history of colonialism and apartheid, social justice is critical to her work, and involves a focus on creating effective agency. Her PhD with a transdisciplinary group of researchers explores ways of working within transdisciplinary complex social–ecological systems using DMP.
Joan Davis is a certified BMC® practitioner, an Authentic Movement practitioner, and a Hakomi Sensorimotor Trauma Psychotherapist based in Wicklow, Ireland. She pioneered contemporary dance in Ireland in the 1970s and 1980s, and has experimented with collaborative art as a professional artist and therapist. She has authored
two books on Authentic Movement and performance, and has developed and taught somatic practice for many years. In 2012 she began Origins, a three-year somatically based training programme, approved by ISMETA, of the human developmental and evolutionary process from preconception to standing.
Louise Douse, PhD, is a Lecturer in Dance at the University of Bedfordshire, specializing in dance and technology, on which she has presented papers at several international conferences. She is Secretary of the Laban Guild in the UK, and continues to develop her research in the area of movement analysis and optimal experience. Louise has also recently been granted funding from her institution for research in the area of, and motivation in, student learning, with the aim of developing an interactive digital tool for skill development and personal goal setting.
Kim Dunphy, PhD, has worked as a dance educator and therapist in a range of settings, including community groups, schools, hospitals, and disability services. She has lectured on dance education at Deakin and Melbourne Universities, and on dance movement therapy at RMIT University. She is a partner in Making Dance Matter, a consultancy which contributes to evidence for the efficacy of dance-movement and other expressive arts therapies. Her PhD thesis (Deakin University, Melbourne) investigated ‘The role of participatory arts in social change in East Timor’.
Mark Edward, PhD, is a performance artist, dance maker, and educator. He has worked for Rambert Dance Company and Senza Tempo Dance Theatre, and with Penny Arcade in her seminal work Bad Reputations. His principle research areas include gender, sexuality, ageing, and wellbeing in performance. He has published in scholarly and non-academic books and journals in these areas. At the core of his investigations is the idea of self in research, or, as he puts it, ‘mesearch’. Mark was awarded a PhD in 2016 for his mesearching into ageing in dance and drag queen performance cultures. He continues to deliver his mesearch at various conferences throughout the world, and creates work for various companies and arts organizations.
Barbara Erber, MSc (Dance Movement Psychotherapy), also holds a Diploma in Integrative Bodywork. She first trained in various forms of music therapy. Illnesses in her teens and early twenties led her on a profound healing journey, which inspired a passionate discovery of psychotherapy and the world of the body and movement. She has been working with traumatized adults and children in various settings, focusing on the relationship between trauma and physical symptoms. Her life and work are profoundly influenced by the discipline of Authentic Movement. She recently embarked on a PhD, studying how fear of self-expression is processed in Authentic Movement.
Paola Esposito, PhD (Brookes University), MA (Goldsmiths College), is an Early Career Research and Teaching Fellow in Medical Anthropology at the Institute of Social and Cultural Anthropology, University of Oxford. Her main research interest is the social articulation of the lived body through performative and therapeutic practices. She is
currently working on integrating visual and graphic methods in the teaching and learning of Medical Anthropology.
Anita Forsblom, PhD, is a music therapist, supervisor, dance/movement therapist, and Fellow of the Bonny Method of Guided Imagery and music, granted by the Association for Music and Imagery (USA). She is a private practitioner of music therapy and dance/ movement therapy in Finland, and is interested in people’s experiences of music listening, and therapy processes in music therapy and dance movement therapy.
Carolyn Fresquez received an MSc in Dance Movement Psychotherapy (DMP) from Queen Margaret University in Edinburgh, Scotland, and is a registered member of the Association for Dance Movement Psychotherapy, United Kingdom (ADMP UK). She received her undergraduate degree in Creative Studies, Literature from the University of California, Santa Barbara. She believes strongly in a mind–body connection, in movement’s capacity for transformation, and in the power of a therapeutic relationship. She has experience working with a variety of people and clients in many different artistic, therapeutic, and educational capacities. She lives with her family in Albuquerque, New Mexico.
Thomas Fuchs, MD, PhD, is a psychiatrist and philosopher, and Jaspers Professor and head of the section ‘Phenomenological Psychopathology and Psychotherapy’ at the Department of Psychiatry in Heidelberg, Chairman of the Section ‘Philosophical Foundations of Psychiatry’ of the German Psychiatric Association (DGPPN), and Fellow of the Marsilius-Kolleg (Centre for Advanced Interdisciplinary Studies) at the University of Heidelberg. His major research areas are phenomenological psychopathology, psychology and psychotherapy; coherence and disorders of self-experience, phenomenology and cognitive neuroscience, and history and ethics of medicine and psychiatry.
Doran George, PhD (UCLA), has published extensively on somatic training in late-twentieth-century contemporary dance. He trained at the European Dance Development Center (NL). He has secured public and other funding (for example, Arts Council of England, British Council) for choreography that interrogates the construction of (trans)gender, queer, and disabled identities. He also applies dance in non-arts contexts; for example, in residency with the Alzheimer’s Association. He produces academic and professional symposia and conferences, while in universities, art colleges, and professional dance, and teaches critical and studio courses in dance, performance, and cultural studies.
June Gersten Roberts, is a senior lecturer in dance at Edge Hill University, Liverpool, where she teaches dance theory and choreography. Her dance videos and tactile installations explore sensory experiences, closely observing texture, skin, and incidental movement. She works across the disciplines of video, dance, writing and textile arts, exploring the haptic image, body and touch. Collaborative projects with dancers and visual artists include performances, videos and installations created for galleries, hospitals, libraries and museums.
Nancy Goldov, PsyD, BC-DMT, is a psychologist and board-certified dance/ movement therapist, in Seattle, Washington. She provides dance/movement therapy, psychoanalytic psychotherapy, Eye Movement Desensitization and Reprocessing, and neuropsychological testing to adults. Her dissertation research, on the effects of medical dance/movement therapy on body image in women with breast cancer was supported, in part, by a grant from the Marian Chace Foundation of the American Dance Therapy Association. She is the Washington State Public Education Coordinator for the American Psychological Association, and is also a dancer and musician.
Marie-Helene Grosbras, PhD, holds the research chair of Laboratoire de Neurosciences Cognitives at Aix Marseille University. Her research interests include the relationships between the control of action and the control of perception, with a particular interest in social perception. More precisely, she studies how the brain mechanisms involved in those processes can change as a function of experience, brain damage, or development. She uses a variety of psychophysics and brain-imaging techniques in healthy humans (functional magnetic resonance imaging, electroencephalography, and non-invasive brain stimulation).
Judith Lynne Hanna, PhD (Columbia), is an affiliate research scientist in the Department of Anthropology at the University of Maryland, College Park, USA, and a consultant in the arts, education, health, public policy, and the United States Constitution’s First Amendment protection of speech, including dance. See www.judithhanna for publications on dance and the body, within performative contexts, in education, and in the community. As a dancer, anthropologist, and critic, she examines dance in its many manifestations and in diverse locations internationally. Her work has been published widely in thirteen countries and in several languages.
Erika Hansen, EdD (Counselling Psychology), has focused on military sexual trauma and predictive variables of PTSD among victims and perpetrators. She is a case manager in the CDCR prison population, and has worked in the mental health field as a crisis counsellor, detox counsellor, case manager, resident assistant, mentor, intake worker, and domestic violence crisis counsellor. She focuses on building relationships with safety, using existential, social construction approaches aimed to empower the clients with emphasizing their human potential
Heather Hill, PhD, is a dance movement therapist and professional member of the DanceMovement Therapy Association of Australia. Much of her work is with people living with dementia, in the role of consultant in dementia care, offering experiential/embodied training in person-centred care practice. She continues to work as a dance movement therapist and teacher. She has published extensively and contributed several chapters to books in the fields of nursing, dementia, and dance movement therapy, as well as authoring her own.
Michael Huxley, PhD, is Reader in Dance at De Montfort University, Leicester, UK. His work has been widely published in books and journals, and his published research has been on early modern dance and dance history. He has been a senior member of various boards, committees, and teams, and is currently Director of De Montfort University’s
Centre for Interdisciplinary Research in Dance. His most recent publication is The Dancer’s World 1920–1945: Modern Dancers and Their Practices Reconsidered.
Lindesay M. C. Irvine, PhD, MSc, BA, FHEA, RNT, RGN, is a senior lecturer in nursing at Queen Margaret University, Edinburgh. Her main academic interests are in how and why people learn and change through education, along with a continuing enthusiasm for helping people achieve the best they can by facilitating their learning. She supervises and facilitates students at all levels of study, and is particularly interested in using person-centred approaches as a means of engaging students in developing their own learning with relevance to their professional practice or learning contexts.
Corinne Jola, PhD, is a lecturer in psychology at Abertay University, Dundee, Scotland, and is a trained choreographer (MA, Laban Trinity College, London), dancer (IWANSON, School of Contemporary Dance, Munich), and cognitive neuroscientist (PhD, University of Zurich), and has held a number of post-doctoral posts in the field of arts, especially interdisciplinary approaches. She has published extensively, and has collaborated and trained with the dance company EG|PC in Amsterdam. Her own artistic installations and choreographic work was presented across the UK and in Switzerland, and her teaching spans the intersection of dance and science to artists across Europe (for example, Impulse Tanz Festival, Vienna, Tanzfabrik, Berlin, and FAA, Bataville in France).
Julie Joseph, MSc (Queen Margaret University), is Chief Executive of Common Thread, a Scottish company offering therapeutic residential care and education to some of the country’s most vulnerable young people. She has worked with adolescents for more than fifteen years, and as a movement psychotherapist she works with young people within the care sector and secondary schools. Her work is strongly influenced by attachment and trauma models. She is presently engaged in her PhD study, which focuses on the effect of dance movement psychotherapy on adolescents with symptoms of moderate depression.
Toshiharu Kasai is a professor and the director of Master course of Clinical Psychology, Sapporo Gakuin University, Japan. He is also a Certified Dance Therapist and Vice president of Japan Dance Therapy Association. As a Butoh dancer he is known as Itto Morita of Butoh GooSayTen, performing around the world since 1980s.
Rosie Kay trained at London Contemporary Dance School, and after a career as a performer formed the Rosie Kay Dance Company in 2004. She has created award-winning theatre work that includes ‘Soldiers: The Body Is The Frontline’ (2010 + 2015), based on extensive research with military, which toured the UK and internationally, ‘Sluts of Possession’ (2013), in collaboration with the Pitt Rivers Museum, ‘There is Hope’ (2012), exploring religion, and ‘Double Points: K’, in collaboration with Emio Greco|PC. Sitespecific works include ‘Haining Dreaming’ (2013), ‘The Great Train Dance’ (2011), on the Severn Valley Railway, and ‘Ballet on the Buses’. Kay was the first Leverhulme Artist in Residence at the School of Anthropology and Museum Ethnography,
Another random document with no related content on Scribd:
you back here this evening not later than nine. I shall have gone through the accounts by then, and...'
"At this point the door was shut and witness heard nothing more. But she reiterated the statements which she had already made to the police, and which I have just retold you, about Mr. Jessup staying late at the office and her taking him in some sandwiches, when he told her that he was expecting Mr. Leighton at about nine o'clock and did not wish to be disturbed by anybody else. Witness was asked to repeat what the deceased had actually said to her with reference to this matter, and she laid great stress on Mr. Jessup's harsh and dictatorial manner, so different, she said, to his usual gentlemanly ways.
"'"I don't want to see anybody else—not any of you," that's what he said,' Mrs. Tufnell replied, with an air of dignity, and then added: 'As if Ann Weber or I had ever thought of disturbing him when he was at work!'
"Witness went on to relate that, after she had taken in the tray of tea and sandwiches, she went upstairs and found Ann Weber sitting in her room by herself. Mark, the girl explained, had gone off, very disappointed that they couldn't all go together to the cinema. Mrs. Tufnell argued the point for a moment or two, as she didn't see why Ann should have refused to go if she wanted to see the show. But the girl seemed to have turned sulky. Anyway, it was too late, she said, as Mark had gone off by himself: he had booked the places and didn't want to waste them, so he was going to get another friend to go with him.
"Mrs. Tufnell then settled down to do some sewing, and Ann turned over the pages of a stale magazine. Mrs. Tufnell thought that she appeared restless and agitated. Her cheeks were flushed and at the slightest sound she gave a startled jump. Presently she said that she had some silver to clean in the pantry, and went downstairs to do it. Some little time after that there was a ring at the front-door bell, and Mrs. Tufnell heard Ann going through the hall to open the door. A quarter of an hour went by, and then another.
"Mrs. Tufnell began to wonder what Ann was up to. She put down her sewing and started to go downstairs. The first thing that struck her was that all the lights on the stairs and landing were out; the house appeared very
silent and dark; only a glimmer came from one of the lights downstairs in the hall at the foot of the stairs.
"Mrs. Tufnell went down cautiously. Strangely enough, it did not occur to her to turn on the lights on her way. After she had passed the first-floor landing she heard the sound of muffled voices coming from the hall below. Thinking that she recognised Ann's voice, she called to her: 'Is that you, Ann?' And Ann immediately replied: 'Coming, aunt.' 'Who are you talking to?' Mrs. Tufnell asked, and as Ann did not answer this time, she went on: 'Is it Mr. Leighton?' And Ann said: 'Yes. He is just going.'
"Mrs. Tufnell stood there, waiting. She was half-way down the stairs between the first floor and the hall, and she couldn't see Ann or Mr. Leighton, but a moment or two later she heard Ann's voice saying quite distinctly: 'Well, good-night, Mr. Leighton, see you to-morrow as usual.' After which the front door was opened, then banged to again, and presently Ann came tripping back across the hall.
"'You go to bed now, Ann,' Mrs. Tufnell said to her. 'I'll see Mr. Jessup off when he goes. He won't be long now, I dare say.'
"'Oh, but,' Ann said, 'Mr. Jessup has been gone some time.'
"'Gone some time?' Mrs. Tufnell exclaimed. 'He can't have been gone some time. Why, he was expecting Mr. Leighton, and Mr. Leighton has only just gone.'
"Ann shrugged her shoulders. 'I can only tell you what I know, Mrs. Tufnell,' she said acidly. 'You can come down and see for yourself. The office is shut up and all the lights out.'
"'But didn't Mr. Leighton see Mr. Jessup?'
"'No, he didn't. Mr. Jessup told Mr. Leighton to wait, and then he went away without seeing him.'
"'That's funny,' Mrs. Tufnell remarked, dryly. 'What was Mr. Leighton doing in the house, then, all this time? I heard the front-door bell half an
hour ago and more.'
"'That's no business of yours, Aunt Sarah,' the girl retorted pertly. 'And it wasn't half an hour, so there!'
"Mrs. Tufnell did not argue the point any further. Mechanically she went downstairs and ascertained in point of fact that the door of the office and the show-room on the ground floor were both locked as usual, and that the key of the office was outside in the lock. This was entirely in accordance with custom. Mrs. Tufnell, through force of habit, did just turn the key and open the door of the office. She just peeped in to see that the lights were really all out. Satisfied that everything was dark she then closed and relocked the door. Ann, in the meanwhile, stood half-way up the stairs watching. Then the two women went upstairs together. They had only just got back in their room when the front-door bell rang once more.
"'Now, whoever can that be?' Mrs. Tufnell exclaimed.
"'Don't trouble, aunt,' Ann said with alacrity. 'I'll run down and see.' Which she did. Again it was some time before she came back, and when she did get back to her room, she seemed rather breathless and agitated.
"'Some one for Mr. Jessup,' she said in answer to Mrs. Tufnell's rather acid remark that she had been gone a long time. 'He kept me talking ever such a while. I don't think he believed me when I said Mr. Jessup had gone.'
"'Who was it?' witness asked.
"'I don't know,' the girl replied. 'I never saw him before.'
"'Didn't you ask his name?'
"'I did. But he said it didn't matter—he would call again to-morrow.'
"After that the two women sat for a little while longer, Mrs. Tufnell sewing, and Ann still rather restlessly turning over the pages of a magazine. At ten o'clock they went to bed. And that was the end of the day as far as the household of Mr. Jessup was concerned.
"You may well imagine that all the amateur detectives who were present at the inquest had made up their minds by now that Arthur Leighton had murdered Mr. Seton Jessup, and robbed the till both before and after the crime. It was a simple deduction easily arrived at and presenting the usual features. A flirty minx, an enamoured young man, extravagance, greed, opportunity, and supreme temptation. Amongst the public there were many who did not even think it worth while to hear further witnesses. To their minds the hangman's rope was already round young Leighton's neck. Of course, I admit that at this point it seemed a very clear case. It was only after this that complications arose and soon the investigations bristled with difficulties.
§4
"After a good deal of tedious and irrelevant evidence had been gone through the inquest was adjourned, and the public left the court on the tiptoe of expectation as to what the morrow would bring. Nor was any one disappointed, for on the morrow the mystery deepened, even though there was plenty of sensational evidence for newspaper reporters to feed on.
"The police, it seems, had brought forward a very valuable witness in the person of the point policeman, who was on duty from eight o'clock onwards on the evening of the sixteenth at the corner of Clerkenwell Road and Fulton Gardens. No. 13 is only a few yards up the street. The man had stated, it seems, that soon after half-past eight he had seen a man come along Fulton Gardens from the direction of Holborn, go up to the front door of No. 13 and ring the bell. He was admitted after a minute or two, and he stayed in the house about half an hour. It was a dark night, and there was a slight drizzle; the witness could not swear to the man's identity. He was slight and of middle height, and walked like a young man. When he arrived he wore a bowler hat and no overcoat, but when he came out again he had an overcoat on and a soft grey hat, and carried the bowler in his hand. Witness noticed as he walked away up Fulton Gardens towards Finsbury this time he took off the soft hat, slipped it into the pocket of his overcoat, and put on the bowler. About ten minutes later, not more, another visitor
called at No. 13. He also was slight and tallish, and he wore an overcoat and a bowler hat. He turned into Fulton Gardens from Clerkenwell Road, but on the opposite corner to the one where witness was standing. He rang the bell and was admitted, and stayed about twenty minutes. He walked away in the direction of Holborn. Witness would not undertake to identify either of these two visitors; he had not been close enough to them to see their faces, and there was a good deal of fog that night as well as the drizzle. There was nothing suspicious looking about either of the men. They had walked quite openly up to the front door, rung the bell, and been admitted. The only thing that had struck the constable as queer was the way the first visitor had changed hats when he walked away.
"Witness swore positively that no one else had gone in or out of No. 13 that night except those two visitors. How important this evidence was you will understand presently.
"After this young Tufnell was called. He was a shy-looking fellow, with a nervous manner altogether out of keeping with his dark expressive eyes— eyes which he had obviously inherited from his mother and which gave him a foreign as well as a romantic appearance. He was said to be musical and to be a talented amateur actor. Every one agreed, it seems, that he had always been a very good son to his mother until his love for Ann Weber had absorbed all his thoughts and most of his screw. He explained that he was junior clerk to Mr. Jessup, and as far as he knew had always given satisfaction. On the sixteenth he had also noticed that the guv'nor was not quite himself. He appeared unusually curt and irritable with everybody. Witness had not been in the house all the evening. When his mother told him that neither she nor Ann could go to the cinema with him he went off by himself, and after the show he went straight back to his digs near the Alexandra Palace. He only heard of the tragedy when he arrived at the office as usual on the morning of the seventeenth. His evidence would have seemed uninteresting and unimportant but for the fact that while he gave it he glanced now and again in the direction where Ann Weber sat beside her aunt. It seemed as if he were all the time mutely asking for her approval of what he was saying, and presently when the coroner asked him whether he knew the cause of his employer's irritability, he very obviously looked at Ann before he finally said: 'No, sir, I don't!'
"After that Ann Weber was called. Of course it had been clear all along that she was by far the most important witness in this mysterious case, and when she rose from her place, looking very trim and neat in her navy-blue coat and skirt, with a jaunty little hat pulled over her left eye, and wearing long amber earrings that gave her pretty face a piquant expression, every one settled down comfortably to enjoy the sensation of the afternoon.
"Ann, who was thoroughly self-possessed, answered the coroner's preliminary questions quite glibly, and when she was asked to relate what occurred at No. 13, Fulton Gardens on the night of the sixteenth, she plunged into her story without any hesitation or trace of nervousness.
"'At about half-past eight,' she said, 'or it may have been later—I won't swear as to the time—there was a ring at the front-door bell. I was down in the pantry, and as I came upstairs I heard the office door being opened. When I got into the passage I saw Mr. Jessup standing in the doorway of the office. He had his spectacles on his nose, and a pen in his hand. He looked as if he had just got up from his desk.'
"'"If that's young Leighton," he said to me, "tell him I'll see him tomorrow. I can't be bothered now." Then he went back into the office and shut the door.
"'I opened the door to Mr. Leighton,' witness continued, 'and he came in looking very cold and wet. I told him that Mr. Jessup didn't want to see him to-night. He seemed very pleased at this, but he wouldn't go away, and when I told him I was busy he said that I couldn't be so unkind as to turn a fellow out into the rain without giving him a drink. Now I could see that already Mr. Leighton he'd had a bit too much, and I told him so quite plainly. But there! he wouldn't take "No" for an answer, and as it really was jolly cold and damp I told him to go and sit down in the servants' hall while I got him a hot toddy. I went down into the kitchen and put the kettle on and cut a couple of sandwiches. I don't know where Mr. Leighton was during that time or what he was doing. I was in the kitchen some time, because I couldn't get the kettle to boil as the fire had gone down and we have no gas downstairs. When I took the tray into the servants' hall Mr. Leighton was there, and again I told him that I didn't think he ought to have any more whisky, but he only laughed, and was rather impudent, so I just put the tray
down, and then I thought that I would run upstairs and see if Mr. Jessup wanted anything. I was rather surprised when I got to the hall to see that all the lights up the stairs had been turned off. There's a switch down in the hall that turns off the lot. The whole house looked very dark. There was but a very little light that came from the lamp at the other end of the hall, near the front door. I was just thinking that I would turn on the lights again when I saw what I could have sworn was Mr. Jessup coming out of his office. He had already got his hat and coat on, and when he came out of the office he shut the door and turned the key in the lock, just as Mr. Jessup always did. It never struck me for a moment that it could be anybody but him. Though it was dark, I recognised his hat and his overcoat, and his own way of turning the key. I spoke to him,' witness continued in answer to a question put to her by the coroner, 'but he didn't reply; he just went straight through the hall and out by the front door. Then after a bit Mr. Leighton came up, and I told him Mr. Jessup had gone. He was quite pleased, and stopped talking in the hall for a moment, and then aunt called to me and Mr. Leighton went away.'
"Witness was then questioned as to the other visitor who called later that same evening, but she stated that she had no idea who it was. 'He came about nine,' she explained, 'and I went down to open the door. He kept me talking ever such a time, asking all sorts of silly questions; I didn't know how to get rid of him, and he wouldn't leave his name. He said he would call again and that it didn't matter.'
"Ann Weber here gave the impression that the unknown visitor had stopped for a flirtation with her on the doorstep, and her smirking and pert glances rather irritated the coroner. He pulled her up sharply by putting a few straight questions to her. He wanted to pin her down to a definite statement as to the time when (1) she opened the door to Mr. Leighton, (2) she saw what she thought was Mr. Jessup go out of the house, and (3) the second visitor arrived. Though doubtful as to the exact time, Ann was quite sure that the three events occurred in the order in which she had originally related, and in this she was, of course, corroborating the evidence of the point policeman. But there was the mysterious contradiction. Ann Weber swore that Mr. Leighton followed her up from the servants' hall just after she had seen the mysterious individual go out by the front door. On the
other hand, she couldn't swear what happened while she was busy in the kitchen getting the hot toddy for Mr. Leighton. She had been trying to make the fire burn up, and had rattled coals and fire-irons. She certainly had not heard any one using the telephone, which was in the office, and she did not know where Mr. Leighton was during that time.
"Nor would she say what was in her mind when first she saw her employer lying dead over the desk and exclaimed: 'My God! He has killed him!' And when the coroner pressed her with questions she burst into tears. Except for this her evidence had, on the whole, been given with extraordinary self-possession. It was a terrible ordeal for a girl to have to stand up before a jury and, roughly speaking, to swear away the character of a man with whom she had been on intimate terms.... The character, did I say? I might just as well have said the life, because whatever doubts had lurked in the public mind about Arthur Leighton's guilt, or at least complicity in the crime, those doubts were dispelled by the girl's evidence. For I need not tell you, I suppose, that every man present that second day at the inquest had already made up his mind that Ann Weber was lying to save her sweetheart. No one believed in the mysterious impersonator of Mr. Jessup. It was Arthur Leighton, they argued, who had murdered his employer and robbed the till, and Ann Weber knew it and had invented the story in order to drag a red herring across the trail.
"I must say that the man himself did not make a good impression when he was called in his turn. As he stepped forward with a swaggering air, and a bold glance at coroner and jury, the interest which he aroused was not a kindly one. He was rather a vulgar-looking creature, with a horsey get-up, high collar, stock-tie, fancy waistcoat, and so on. His hair was of a ginger colour, his eyes light, and his face tanned. Every one noticed that he winked at Ann Weber when he caught her eye, and also that the girl immediately averted her glance and almost imperceptibly shrugged her shoulders. Thereupon Leighton frowned and very obviously swore under his breath.
"Questioned as to his doings on the sixteenth, he admitted that 'the guv'nor had been waxy with him, because,' as he put it with an indifferent swagger, 'there were a few pounds missing from the till.' He also admitted that he had not been looking forward to the evening's interview, but that he
had not dared refuse to come. In order to kill time, and to put heart into himself, he had gone with a couple of friends to the Café Royal in Regent Street, and they all had whiskies and sodas till it was time for him to go to Fulton Gardens. His friends were to wait for him until he returned, when they intended to have supper together. Witness then went to Fulton Gardens and saw Ann Weber, who told him that the guv'nor didn't wish to see him. This, according to his own picturesque language, was a little bit of all right. He stayed for a few minutes talking to Ann, and she gave him a hot toddy. He certainly didn't think he had stayed as long as half an hour, but then, when a fellow was talking to a pretty girl ... eh? ... what? ...
"The coroner curtly interrupted his fatuous explanations by asking him at what time he had left his friends, and at what time he had met them again subsequently. Witness was not very sure; he thought he left the Café Royal about half-past eight, but it might have been earlier or later. He took a bus to the bottom of Fulton Gardens. It was beastly cold and wet, and he was very grateful to Ann for giving him a hot drink. He denied that he had been drinking too much, or that he had demanded the hot drink. It was Ann Weber who had offered to get it for him. Jolly pretty girl, Annie-bird, and not shy. Witness concluded his evidence by swearing positively that he had waited in the servants' hall all the while that Ann Weber got him the toddy; he had followed her down, and not gone upstairs or seen anything of Mr. Jessup all the time he was in the house. When he left Fulton Gardens he tried to get a bus back to Regent Street, but many of them were full and it was rather late before he got back to the Café Royal.
"It was very obvious that as the coroner continued to put question after question to him, Arthur Leighton became vaguely conscious of the feeling of hostility towards him which had arisen in the public mind. He lost something of his swagger, and his face under the tan took on a greyish hue. From time to time he glanced at Ann Weber, but she obstinately looked another way.
"Undoubtedly he felt that he was caught in a network of damnatory evidence which he was unable to combat. The day ended, however, with another adjournment; the police wanted a little more time before taking drastic action. The public so often blame them for being in too great a hurry
to fasten an accusation on the flimsiest grounds that one is pleased to record such a noteworthy instance when they really did not leave a single stone unturned before they arrested Arthur Leighton on the charge of murder. They did everything they could to find some proof of the existence and identity of the individual whom Ann Weber professed to have seen while Leighton was still in the house. But all their efforts in that direction came to naught, whilst Leighton himself denied having had an accomplice just as strenuously as he did his own guilt.
"He was brought up before the magistrate, charged with the terrible crime. No one, the police argued, had so strong a motive for the crime or such an opportunity. Alternatively, no one else could have admitted the mysterious impersonator of Mr. Jessup into the house, the accomplice who did the deed, whilst Leighton engaged Ann Weber's attention, always supposing that he did exist, which was never proved, and which the evidence of the police constable refuted. People who dabbled in spiritualism and that sort of thing were pleased to think that the mysterious personage whom the housemaid saw was the ghost of poor old Jessup, who was then lying murdered in his office, stricken by Leighton's hand. But even the most psychic-minded individual was unable to give a satisfactory explanation for the ghost having changed hats while he walked away from that fateful No. 13.
"Altogether the question of hats played an important role in the drama of Leighton's arrest and final discharge. The magistrate did not commit him for trial, because the case for the prosecution collapsed suddenly like a pack of cards. It was the question of hats that saved Leighton's neck from the hangman's rope. You remember, perhaps, that in his evidence he had stated that before starting to interview his irate employer he had been with some friends at the Café Royal in Regent Street, and that subsequently he met these friends there for supper. Well, although it appeared impossible to establish definitely the time when Leighton left the Café Royal to go to Fulton Gardens, there were two or three witnesses prepared to swear that he was back again at a quarter to ten. Now this was very important. It seems that his friends, who were waiting at the Café Royal, were getting impatient, and at twenty minutes to ten by the clock one of them—a fellow named Richard Hurrill—said he would go outside and see if he could see
anything of Leighton. He strolled on as far as Piccadilly Circus where the buses stop that come from the City, and a minute or two later he saw Leighton step out of one. He seemed a little fuzzy in the head, and Hurrill chaffed him a bit. Then he took him by the arm and led him back in triumph to the Café Royal.
"Now mark what followed," the funny creature went on, whilst all at once his fingers started working away as if for dear life on his bit of string. "A hat—a soft grey hat—with an overcoat wrapped round it, were found in the area of a derelict house in Blackhorse Road, Walthamstow, close to the waterworks, and identified as the late Mr. Seton Jessup's overcoat and hat. I don't suppose that you have the least idea where Blackhorse Road, Walthamstow, is, but let me tell you that it is at the back of beyond in the northeast of London. If you remember, the point policeman had stated that the first visitor had called at No. 13 Fulton Gardens at half-past eight, and stayed half an hour. He then walked away in the direction of Finsbury. That visitor, the police argued, was Arthur Leighton, who had murdered Mr. Jessup and sent the telephone message to Fitzjohn's Avenue; then, hearing Ann Weber moving about downstairs and frightened at being caught by her, he had put on the deceased's hat and coat and slipped out of the house. Ann, however, had recognised him. She had involuntarily given him away when the housekeeper asked her whom she was talking to, so she invented the story of having seen what she thought was Mr. Jessup in order to save her sweetheart.
"It was a logical theory enough, but here came the evidence of the hat. The man who walked away from Fulton Gardens at nine o'clock, whom the point policeman saw changing his hat in the street at that hour, could not possibly have gone all the way to Walthamstow, either by bus or even part of the way in a taxi, and back again to Piccadilly Circus all in the space of forty-five minutes. And Leighton, mind you, stepped out of a bus when his friend met him, and I can tell you that the police worked their hardest to find a taxi-man who may have picked up a fare that night in the neighbourhood of Clerkenwell and driven out to Walthamstow and then back to Holborn. That search proved entirely fruitless. On the other hand, Leighton had paid his bus fare from Holborn, and the conductor vaguely recollected that he had got in at the corner of Clerkenwell Road. Well, that
being proved, the man couldn't have done in the time all that the prosecution declared that he did.
"After he was discharged, the Press started violently abusing the police for not having directed their attention to the second visitor who called at Fulton Gardens ten minutes or so after the first one had left. But this person appeared as elusive and intangible as the mysterious wearer of Mr. Jessup's hat and coat. The point policeman saw him in the distance, and Ann Weber admitted him into the house and chatted with him for over twenty minutes. She didn't know him, but she declared that she could easily recognise him if she saw him again. For some time after that the poor girl was constantly called upon by the police to see, and if possible identify, the mysterious visitor. Half the shady characters in London passed, I believe, before her eyes during the next three months. But this search proved as fruitless as the other. The murder of Mr. Seton Jessup has remained as complete and as baffling a mystery as any in the annals of crime. Many there are—you amongst the number—who firmly believe that Arthur Leighton had, at any rate, something to do with it. I know that the family of the deceased were convinced that he did. Mr. Aubrey Jessup, the eldest son of the deceased, who was one of the executors under his father's will, and who had gone through the accounts of the business, had noted certain irregularities in Leighton's books; he also declared that various sums which had come in on the sixteenth after banking hours were missing from the safe. Moreover, young Leighton himself had admitted that 'the guv'nor was waxy with him because a few pounds were missing from the till.' All these facts no doubt had influenced the police when they applied for a warrant for his arrest, but there was no getting away from the evidence of that hat and coat found ten miles and more away from the scene of the crime, and of the bus conductor who could swear that out of forty-five minutes which the accused had to account for he had spent twenty in a bus."
"It is all very mysterious," I put in, because my eccentric friend had been silent for quite a long time, while his attention was entirely taken up by the fashioning of a whole series of intricate knots. "I am afraid that I was one of those who blamed the police for not directing their investigations sooner in the direction of the second visitor. He seems to me much more mysterious than the first. We know who the first one was——"
"Do we?" he retorted with a chuckle. "Or rather, do you?"
"Well, of course, it was Arthur Leighton," I rejoined impatiently. "Mrs. Tufnell saw him——"
"She didn't," he broke in quickly. "The house was pitch-dark; she heard voices and she asked Ann whether she was speaking to Mr. Leighton."
"And Ann said yes!" I riposted.
"She said yes," he admitted with an irritating smile.
"And Leighton himself in his evidence——"
"Leighton in his evidence," the funny creature broke in excitedly, "admitted that he had called at the house, he admitted that he remembered vaguely that Ann Weber told him that Mr. Jessup had decided not to see him, and that to celebrate the occasion he got the girl to make him a whisky toddy. But, apart from these facts, he only had the haziest notions as to the time when he came and when he left or how long he stayed. Nor were his precious friends at the Café Royal any clearer on that point. They had all of them been drinking, and only had the haziest notion of time until twenty minutes to ten, when they got hungry and wanted their supper."
"But what does that prove?" I argued with an impatient frown.
"It proves that my contention is correct; that the first visitor was not Leighton, that it was some one for whom Ann Weber cared more than she did for Leighton, as she lied for his sake when she told her aunt that she was speaking to Leighton in the hall. The whole thing occurred just as the police supposed. The first visitor called, and while Ann Weber was down in the kitchen getting him something to eat and drink, he entered the office, probably not with any evil intention, and saw his employer sitting at his desk with the safe containing a quantity of loose cash invitingly open. Let us be charitable and assume that he yielded to sudden temptation. Mr. Jessup's coat, hat, and stick were lying there on a chair. The stick was one of those heavily-weighted ones which men like to carry nowadays. He seizes the stick and strikes the old man on the head with it, then he collects
the money from the safe and thrusts it into his pockets. At that moment Ann Weber comes up the stairs. I say that this man was her lover; she had returned to him, as she did once before. Imagine her horror first, and then her desire—her mad desire—to save him from the consequences of his crime. It is her woman's wit which first suggests the idea of telephoning to Fitzjohn's Avenue: she who thinks of plunging the house in darkness. And now to get the criminal out of the house. It can be done in a moment, but just then Mrs. Tufnell opens her door on the second floor and begins to grope her way downstairs. It is impossible to think quickly enough how to meet this situation. Instinct is the only guide, and instinct suggests impersonating the deceased, to avoid the danger of Mrs. Tufnell peeping in at the office door. The criminal hastily dons his victim's hat and coat, and he is almost through the hall when Mrs. Tufnell calls to Ann: 'Is it Mr. Leighton?' And Ann on the impulse of the moment replies: 'Yes, it is! He is just going.' And so the criminal escapes unseen. But there is still the danger of Mrs. Tufnell peeping in at the office door, so Ann invents the story of having seen Mr. Jessup walk out of the house some time before. So for the moment danger is averted; the housekeeper does peep in at the door, but only in order to satisfy herself that the lights are out; and the women then go upstairs together.
"Ten minutes later there is another ring at the bell. This time it is Arthur Leighton, and Ann Weber has sufficient presence of mind not to let him see that there is anything wrong in the house. She asks him in, she tells him Mr. Jessup cannot see him, she gets him a drink, and sends him off again. I don't suppose for a moment that at this stage she has any intention of using him as a shield for her present sweetheart; but undoubtedly the thought had by now crept into her mind to utilise Leighton's admitted presence in the house for the purpose of confusing the issues. Nor do I think that she had any idea that night that Mr. Jessup was dead. She probably thought that he had only been stunned by a blow from the stick; hence her exclamation when she realised the truth: 'My God, he has killed him!' Then only did she concentrate all her energies and all her wits to saving her sweetheart—even at the cost of another man. Women are like that sometimes," the Old Man in the Corner went on with a chuckle, "the instinct of the primitive woman is first of all to save her man, never mind at whose expense. The cave-man's instinct is to protect his woman with his fists—but she, conscious of
physical weakness, sets her wits to work, and if her man is in serious danger she will lie and she will cheat—ay, and perjure herself if need be. And those flirtatious minxes, of which Annie-bird is a striking example, are only cavewomen with a veneer of civilisation over them.
"She did save her man by dragging a red herring across his trail, and she left Fate to deal with Leighton. Once embarked on a system of lies she had to stick to it or her man was doomed. Fortunately she could rely on the other woman. A mother's wits are even sharper than those of a sweetheart."
"A mother?" I ejaculated. "Then you think that it was——?"
"Mark Tufnell, of course," he broke in, dryly. "Didn't you guess? As he could not go with his beloved to the cinema he thought he would spend a happy evening with her. What made him originally go into the office we shall never know. Some trifle no doubt, some message for his employer—it is those sorts of trifles that so often govern the destinies of men. Personally I think that he was very much in the same boat as young Leighton: some trifling irregularities in his accounts. The deceased, speaking so harshly to Mrs. Tufnell that night, first directed my attention to young Tufnell. He didn't want to see any of them that night: he was irritated with Mark quite as much as with Leighton, but out of consideration for the housekeeper whom he valued he said little about her son. Perhaps he had ordered the young man to come to his office; as I said just now, this little point I cannot vouch for. But if I have not succeeded in convincing you that the first visitor at No. 13, Fulton Gardens was Mark Tufnell, that it was he who went out in Mr. Jessup's hat and overcoat, changed hats in the street, and wandered out as far as Walthamstow in order to be rid of the pièces de conviction, then you are less intelligent than I have taken you to be. Mark Tufnell, remember, lives in the north of London; he was supposed to have gone to the cinema that night, therefore the people with whom he lodged thought nothing of his coming home late."
"That poor mother!" I ejaculated, "I wonder if she suspects the truth."
"She knows it," the funny creature said, "you may be sure of that. There was a bond of understanding between those two women, and they never once contradicted each other in their evidence. A worthless young
blackguard has been saved from the gallows; my sympathy is not with him, but with the women who put up such a brave fight for his sake."
"Do you know what happened to them all subsequently?" I asked.
"Not exactly. But I do know that Mr. Seton Jessup in his will left his housekeeper an annuity of £50. I also know that young Tufnell has gone out to Australia, and that if you ever dine with a friend at the Alcyon Club you will notice an exceptionally pretty waitress who will make eyes at all the men. Her name is Ann Weber!"
XIII
A MOORLAND TRAGEDY
§1
The Old Man in the Corner had finished his glass of milk and ceased to munch his bun; from the capacious pocket of his huge tweed coat he extracted a piece of string, and for a while sat contemplating it, with his head on one side, so like one of those bald-headed storks at the Zoo.
"I always had a great predilection for that mystery," he said à propos of nothing at all. "It still fascinates me."
"What mystery?" I asked; but as usual he took no notice of my question.
"It was more romantic than the common crimes of to-day; in fact, I don't know if you will agree with me, but to me it has quite an eighteenth-century atmosphere about it."
"If you were to tell me to what particular crime you refer," I said coldly, "I might tell you whether I agree with you or not."
He looked at me as if he thought me an idiot, then he rejoined dryly:
"You don't mean to say that you have never thought of the Moorland Tragedy!"
"Yes," I said, "often!"
"And don't you think that the story is as romantic as any you have read in fiction recently?"
"Yes, I do think that the story is romantic, but only because of its mise en scène. The same thing might have occurred in a London slum, and then it would have been merely sordid. Of course, it is all very mysterious, and I, for one, have often wondered what has become of that Italian—I forget his name."
"Antonio Vissio. A queer creature, wasn't he? And we can well imagine with what suspicion he was regarded by the yokels in the neighbouring villages. Yorkshire yokels! Just think of them in connection with an exotic creature like Vissio. He had a curious history, too. His people owned a little farm somewhere in the mountains near Santa Catarina in Liguria, and during the war an English intelligence officer—Captain Arnott—lodged with them for a time. They were, it seems, extraordinarily kind to him. The family consisted of a widow, two daughters, and the son, Antonio. As he was the only son of a widow, he was, of course, exempt from military service, and helped his mother to look after the farm. His passion, however —and one, by the way, which is very common to Italian peasants—was shooting. There is very little game in that part of Italy, and it means long tramps before you can get as much as a rabbit or a partridge; but there was nothing that Antonio loved more than those tramps with a gun and a dog, and when Captain Arnott had leisure, the two of them would go off together at daybreak and never return till late at night.
"Some time in 1917 Captain Arnott was transferred to another front. He got his majority the following year, and after the war he retired with the
rank of Lieut.-Colonel. He hadn't seen the Vissio family for some time, but he always retained the happiest recollections of their kindness to him, and of Antonio's pleasant companionship. It was not to be wondered at, therefore, that when, in 1919, that terrible explosion occurred at the fort of Santa Catarina, which was only distant a quarter of a mile from the Vissios' farm, Colonel Arnott should at once think of his friends, and, as he happened to be at Genoa on business at the time, he motored over to Santa Catarina to see if he could ascertain anything of their fate. He found the village a complete devastation, the isolated farms for miles around nothing but masses of wreckage. I don't know how many people—men, women, and children—had been killed, there were over two hundred injured, and those who had escaped were herding together amongst the ruins of their homes. It was only by dint of perseverance and the exercise of an iron will that Captain Arnott succeeded at last in finding Antonio Vissio. There was nothing left of the farm but dust and ashes. The mother and one of the girls had been killed by the falling in of the roof, and the younger daughter was being taken care of by some sisters in a neighbouring convent which had escaped total destruction.
"Antonio was left in the world all alone, homeless, moneyless; Italy is not like England, where at times of disaster money comes pouring at once out of the pockets of the much-abused capitalists to help the unfortunate. There was no money poured out to help poor Antonio and his kindred.
"Colonel Arnott was deeply moved at sight of the man's loneliness. He worked hard to try and get him a job in England, right away from the scenes of the disaster that must perpetually have awakened bitter memories. Finally he succeeded. A friend of his, Lord Crookhaven, who owned considerable property in the North Riding, agreed to take Vissio as assistant to one of his gamekeepers, a fellow named William Topcoat. Of course this was an ideal life for Antonio. He could indulge his passion for shooting to his heart's content, and, incidentally, he would learn something of the science of preserving, and of the game laws as they exist in all the sporting countries.
"I don't suppose that Antonio ever realised quite how unpopular he was from the first in his new surroundings. The Yorkshire yokels looked upon
him as a dago, and the fact that he had not fought in the war did not help matters. During the first six months he did not speak a word of English, and even after he had begun to pick up a sentence or two, he always remained unsociable. To begin with, he didn't drink: he hated beer and said so; he didn't understand cricket, and was bored with football. He didn't bet, and he was frightened of horses. All that he cared for was his gun; but he went about his work not only conscientiously, but intelligently, took great interest in the rearing of young birds, and was particularly successful with them.
"After he had been in England a year he fell madly in love with Winnie Gooden. And that is how the tragedy began.
§2
"An Italian peasant's idea of love is altogether different to that of an English yokel. The latter will begin by keeping company with his sweetheart: he will walk out with her in the twilight, and sit beside her on the stile, chewing the end of a straw and timidly holding her hand. Kisses are exchanged, and sighs, and usually no end of jokes and chaff. On the whole the English yokel is a cheerful lover. Not so the Italian. With him love is the serious drama of life; he is always prepared for it to turn to tragedy. His love is overwhelming, tempestuous. With one arm he fondles his sweetheart, but the other hand is behind his back, grasping a knife.
"So it was with Antonio Vissio. Winnie Gooden was the daughter of one of the gardeners at Markthwaite Hall, Lord Crookhaven's residence. She was remarkably pretty, and I suppose that she was attracted by the silent, rather sullen Italian, who, by the way, was extraordinarily good-looking. Dark eyes, a soft creamy skin, quantities of wavy hair; every one admitted that the two of them made a splendid pair when they walked out together on Sunday afternoons. Thanks to the kindness of Colonel Arnott, Vissio had succeeded in selling the bit of land on which his farm had stood, so he had a good bit of money, too, and though James Gooden, the father, was said to be averse to the idea of his daughter marrying a foreigner, it was thought that Winnie would talk her father over easily enough, if she really meant to
have Antonio; but people didn't think that she was seriously in love with him.
"During the spring of 1922 Mr. Gerald Moville came home from Argentina, where he was said to be engaged in cattle-rearing. He was the youngest son of Sir Timothy Moville, whose property adjoined that of Lord Crookhaven. His arrival caused quite a flutter in feminine hearts for miles around, for smart young men are scarce in those parts, and Gerald Moville was both good-looking and smart, a splendid dancer, a fine tennis and bridge player, and in fact, was possessed of the very qualities which young ladies of all classes admire, and which were so sadly lacking in the other young men of the neighbourhood. The fact that he had always been very wild, and that it was only through joining the Air Force at the beginning of the war that he escaped prosecution for some shady transaction in connection with a bridge club in London, did not seriously stand against him, at any rate with the ladies; the men, perhaps, cold-shouldered him at first, and he was not made an honorary member of the County Club at Richmond, but he was welcome at all the tea and garden parties, the dances, and the tennis matches throughout the North Riding, and in social matters it is, after all, the ladies who rule the roost.
"The Movilles, moreover, were big people in the neighbourhood, whom nobody would have cared to offend. The eldest son was colonel commanding a smart regiment—I forget which; one daughter had married an eminent K.C., and the other was the wife of a bishop; so for the sake of the family, if for no other reason, Gerald Moville was accepted socially and his peccadilloes, of which it seems there were more than the one in connection with the bridge club, were conveniently forgotten. Besides which it was declared that he was now a reformed character. He had joined the Air Force quite early in the war, been a prisoner of the Germans until 1919, when he went out to Argentina, where he had made good, and where, it was said, he was making a huge fortune. This rumour also helped, no doubt, to make Gerald Moville popular, even though he himself had laughingly sworn on more than one occasion that he was not a marrying man: he was in love with too many girls ever to settle down with one. He certainly was a terrible flirt, and gave all the pretty girls of the neighbourhood a very good time; he had hired a smart little two-seater at
