Dr Mark Hamilton

As Director of Foundation and Perspectives, Mark is responsible for coordinating delivery of Regent’s foundation course and our first year Perspectives modules. 

Regent's Foundation year helps students gain a solid grounding in academic skills and principles, as well as an introduction to their chosen subject area. Some modules are taken with students heading towards the same or related subject areas, while others are taken with a blend of students. 

Regent's Level 4 Perspectives modules are Learning Perspectives, London Perspectives and Global Perspectives. The first is completed by all students and the second two by all students not studying a language. They are future-focussed modules that enable our students to begin developing fluency across disciplines. Students develop essential skills for university study, investigate connections between courses, and explore a range of contemporary issues.
   

• 2017-2011: Doctor of Philosophy - Theatre and Film Studies, University of Canterbury, NZ
• 2013-2016: Post Graduate Certificate in Higher Education – Distinction, Regent's University London
• 2018-2019: Foundation Certificate - Psychotherapy & Counselling, Regent's University London
• 2018-2019: Foundation Certificate - Anatomy & Physiology, Morley College London
• 1990-1992: Master of Philosophy - Drama and Theatre Arts, University of Birmingham, UK
• 1987-1990: BA Special Honours 1st Class - Drama and Theatre Arts, University of Birmingham, UK

• June 2024 – September 2024: Lecturer, Te Pukenga - Unitec, Auckland, New Zealand
• Jan 2023 – June 2024: Freelance Education Facilitator, Auckland, New Zealand
• Jan 2022- Nov 2022: Academic Director, Future Skills
• April 2021 - Jan 2022: Learning and Teaching Specialist, Future Skills
• September 2019 – July 2020: Principal Lecturer, Regent's University London
• August 2011 – August 2019: Senior Lecturers, Regent’s University London

Monographs:

• (2013) Martial Dance Theatre: Intercultural Negotiation, Masculine Identities. LAP Lambert Academic Publishing. ISBN-13: 978-3-659-34660-6 

Journals:

• (2018) “Shamanic Striptease” Dance, Movement and Spiritualities, Vol:5, Iss:1 publisher: Intellect (UK)
• (2018) “Ruptures in Reformation” Indian Theatre Journal. Vol:1, Iss:2, publisher: Intellect (UK)
• (2017) “At work on two registers: mukabele, a private and public discipline” Dance, Movement and Spiritualties, Vol:3 Iss:3, publisher: Intellect (UK)
• (2017) “In Prakriti: Feminocentric Form” Indian Theatre Journal. Vol:1, Iss:1, publisher: Intellect (UK)
• (2016) “Taera, Awenga: Sexuality, Power” Te Kaharoa – The e-Journal on Indigenous Pacific Issues, Vol:9 Iss:1, publisher: Auckland University of Technology (NZ)
• (2014) “A Queer & Permissive Text: Towards a Situated Knowledge of CVN-Kalarippayattu” Theatre, Dance and Performance Training
• (2012) “Answer the Question” - Training Grounds - Theatre, Dance and Performance Training Vol:3 Iss:1 publisher: Routledge (UK)
• (2009) “Mika's Haka in Mika HAKA: Playing the Other”, Platform Vol: 4 Iss: 2 publisher: University of London (UK)
• (2009) “Safe Savage: Maori & Malayali Martial Dance Theatre”, Theatre Forum Journal Iss: 35 publisher: UC San Diego (USA)

Book Chapters:

• (2019). “Adavu: drilling through time” in Time and Performer Training. ed: Edited by M. Evans, K. Thomaidis, L. Worth. publisher: Routledge (UK) 
• (2009). “Gnosis in Showbiz” in Ethical Encounters: Boundaries of Theatre, Performance and Philosophy. ed: D. Meyer-Dinkgrafe & D. Watt publisher: Cambridge Scholars Press (UK)

• Interdisciplinary pedagogy
• Performativity in Learning and Teaching
• Intersectionality and Decolonialisation

• 2019 Public Workshop-Seminar Series, £1905, Regent's University London, HASS Research Fund
• 2017 Intercorporeal Healing: Shamanic Striptease, Maynooth University, Ireland, £220, Regent’s University London, HASS Research Fund
• 2016 ‘Taera me Awenga: Sexuality & Power in Torotoro's Legacy Kahaka 2016: Auckland University of Technology, NZ, £67 Regent’s University London, HASS Research Fund
• 2016 All That Glitters Is Not Gold: New Zealand Studies Network, RUL, £80, Regent’s University London, HASS Research Fund
• 2016 Asian Performance Conference UK: University of Lincoln, £70, HASS Research Fu    
• 2016 NAVADISHA 2016: New dynamics in South Asian Dance, MAC, Birmingham, (UK), £140, HASS Research Fund
• ‘Neo-Natya: Using Ancient Indian Practices to Train Today’s Actor’, £2000, Regent’s University London, HASS Research Fund
• 2012 Senate Research Fund, Regent's University London
  Fieldwork: Forms of Grace:  Art & Science in Kalarippayattu - A Local & Global Performance Practice, July-August 2012 £890
• Senate Research Fund, Regent's University London
  Fieldwork: Forms of Grace:  Art & Science in Kalarippayattu - A Local & Global Performance Practice, July-August 2012
• 2012 Conference Presentation -£6000, Regent's University London, HASS research fund.
• 2011 Research Travel Grant – NZ$4000, Asia New Zealand Foundation: Cultural Award Field Research: Kerala (India)
• 2007-2010 Doctoral Scholarship – NZ$90,000, University of Canterbury (NZ), PhD Candidate, Department of Theatre and Film Studies
• 2009 Research Travel Grant - NZ$1000, Centre for Fine Arts, Music, and Theatre & Film, University of Canterbury (NZ), NZ Postgraduate Conference Victoria University (NZ)
• Research Travel Grant – NZ$1000, Centre for Fine Arts, Music, and Theatre & Film, University of Canterbury (NZ), Postcolonial Studies Research Network University of Otago
• Research Travel Grant – NZ$2000, NZ Postgraduate Study Abroad Award Education New Zealand Trust, Field Research: Kerala (India)
• Research Travel Grant – NZ$3000, Asia New Zealand Foundation: Cultural Award
  Field Research: Kerala (India)
• 2008 Event Grant - NZ$6000, Asia New Zealand Foundation: Cultural Award, Martial Dance Theatre Symposium
• Research Travel Grant – NZ$2000, NZ Postgraduate Study Abroad Award Education New Zealand Trust, Field Research: Kerala (India)
• Research Travel Grant – NZ$3000, Asia New Zealand Foundation: Cultural Award
  Field Research: Kerala (India)

• 2017, Regent’s Award for Excellence in Teaching
• 2009, Victoria University Award for Outstanding Oral Presentation for “Mika's Haka in Mika HAKA: Playing the Other”. NZ Postgraduate Conference: Victoria University, Wellington 20- 21 November.
• 2009, Nomination for Best Arts Documentary Qantas Film and Television Award (NZ) for Mika Haka Kids 16 May 2009
• 2007, Best Performance University of Canterbury Postgraduate Showcase for Martial Dance Theatre Presentation 29 August 2007
• 2001, Best Cabaret Act Award Melbourne Fringe Festival for Mika's Tribal Hollywood 20-24 September 2001

• Senior Fellow, Higher Education Academy

Dr Hamilton is a close research collaborator with the following colleagues:

• Dr Nadine George: National School of Performing Arts (Denmark); National Theatre School, Malmö Theatre Academy, University of Luleå (Sweden); & Royal Scottish Conservatoire (Scotland)
• Daniel P Cunningham: Arts Ed (City, University of London); & Rose Bruford College of Theatre and Performance.
• Shane Shambhu: East 15 Acting School (University of Essex).
• Jo Walsh: New Zealand Studies Network.

Seminar Research Presentations:

• (2019) Enter Creatrix: Ceremony Cycle (Regent’s University, London)
• (2018) Deep Synthesis: Interactive Movement Practice (Artworks, London
• (2018) Vital Actions: Interactive Yoga Practice (Artworks, London)
• (2018) Higher Level: Ecstatic Dance Practice (Artworks, London)
• (2017) Homeo-Ecstatic Remedies: Performance Training (Hackney Showrooms, London)
• (2009) Presenting and Publishing Research University of Canterbury (NZ), Learning Skills Centre Seminar Series. 4 August 2009. Martial Dance Theatre University of Canterbury (NZ).
• (2009) Theatre & Film Studies Postgraduate Seminar Series. Samudra Performing Arts University of Canterbury (NZ)
• (2009) New Zealand South Asia Centre Postgraduate Workshop.
• (2007) Martial Dance Theatre University of Canterbury (NZ)
• (2007) Centre for Music, Theatre & Film Studies Public Seminar Series.
• (2007) Martial Dance Theatre University of Canterbury (NZ)
• (2007) University of Canterbury Postgraduate Showcase.

Theatrical Research Presentations:

• (2017) Performer: Creatrix: Cosmic Mother The Study Society, Colet House, London (UK), 6 July 2017.
• (2017)  Director: Salvation: Shamanic Striptease London — Battersea Arts Centre, 31 December 2016; The Fly Pit, 10 January 2017; Rich Mix, 21 January 2017; Royal Vauxhall Tavern, 7 February 2017; Hackney Show Rooms, 1 April 2017; Battersea Arts Centre, 11-13 April 2017; Rose Theatre, 19 April 2017; Royal Vauxhall Tavern, 20 May 2017; Iceland — The Freezer (Rif), 21 August 2017; Club Kiki (Reykjavik), 24 August 2017; London — Camden People’s Theatre, 12 September 2017
• (2008) Producer/Lighting Designer Martial Dance Theatre (90 mins), James Hay Theatre, Christchurch: October 2008. Featuring: Torotoro Urban M!ori Dance Crew (Auckland, NZ), Samudra Performing Arts (Kerala, India),Capaoeira Mandinga Aotearoa (Auckland/Christchurch NZ), Aruande Capoeira (Dunedin, NZ), Capoeira Cordao de Ouro (Gold Coast, Australia).

Moving Image Research Presentations:

• (2008) Producer (Documentary) Moving as One (20 mins.) Directors: Muriel McGlone and Coralie Winn.
  Topic: Martial Dance Theatre Symposium (Christchurch (NZ): September-October 2008)
  Debut: Thiruvananthapuram (Kerala), Tagore Theatre: 25 January 2009.
• Assistant Producer (Documentary) Mika Haka Kids (53 mins.)
  Director: Maramena Roderick
  Topic: Mika HAKA theatre production (New Zealand, Australia, UK 2002-2004)
  Debut: Maori Television Service (NZ), 1 October 2008.
• (2007) Producer (Dance Film) Safe Savage (5 mins.)
  Directors: Muriel McGlone and Coralie Winn
  Topic: Bujitsu practitioner Sensei Jory Pine Akuhata (Ngati Porou)
  Debut: University of Copenhagen, 22 August 2008.

• Playing with Plurality, London Conference in Critical Thought: University of Westminster, 2018.
• Intimately Touching Bodies, Embodied Practice and Performance in the Arts: Christchurch Canterbury University, 2018
• Trance Discipline: Performativity as Perpetual Process Provocative Pedagogies: University of Lincoln, UK, 2017
• The Vertical and Horizontal Dimensions of the Moment of Mystical Experience Performance Philosophy and Spirituality: Guildford University, UK, 2017.
• Labouring for Love: Economic Ecstasy, Bodily Undoing: Bath Spa University, UK, 2017.
• ‘Confessions of a Cockney Temple Dancer and a Yorkshire Temple Dancer,’ TAPRA Asian Performance and Diaspora Working Group: University of East London, 2017
• ‘Play-Fights: A Kind of Straight-Acting,’ Defiant Embodiments: Brunel University (UK), 2017
• ‘Intercorporeal Healing: Shamanic Striptease,’ Maynooth University (Ireland), 2017
• ‘Taera me Awenga: Sexuality & Power in Torotoro's Legacy,’ Kahaka 2016: Auckland University of Technology (NZ), 2016
• ‘He Tanetanga i Rāwāhi: Haka Abroad,’ All That Glitters Is Not Gold: New Zealand Studies Network, Regent’s University London, 2016
• ‘Ruptures in Reformation: Embodiment Revealed,’ Asian Performance Conference UK: University of Lincoln, 2016
• ‘Navanatya: Using Bharatanatyam to Create New Drama,’ Practising Tradition in Performer Training, Grotowski Institute, Wroclaw, Poland, 2016
• ‘Navanatya: Using Bharatanatyam to Create New Drama,’ Asian Performance & Diaspora One-Day Symposium, University of East London, 2016
• ‘Lay Ritual: The Theoaesthetics of Grotowski's Lineage, ’ Exploring the Extraordinary Conference, York (UK) 2015
• ‘Adavu: Drilling Through Time’ Theatre and Performance Research Association, University of Worcester (UK) 2015
• ‘In Prakriti: Feminocentric Form,’Confluence and Congruence, University of Roehampton (UK), 2015
• ‘Across the Ages: Child Players and Reconstruction of Original Practice,’ Meta-Play: Early Modern Drama and Metatheatre, University of Kent, Canterbury, 2015
• ‘Steely Blows and Silken Caresses: Maori and Indian martial dance theatre’ Corp Real 2015, National University of Ireland Galway (Eire), 2015
• ‘SaVAge Klub: An International Collective,’ Re¦Collectives, Espacio Gallery, London (UK), 2015.
• (2014) “Voice, Personality, Energy: The Work of Nadine George,” w. Jessica Swallow. University of London (UK) 7 June 2014
• (2014) “Artists’ Talk” & “Lady Vendredi: Peformance Presentation” w. MAS Productions. The State of Magick/The Magickal State, De Monfort University (UK) 23-24 May 2014
• (2013) “Yorkshire SaVAge: White British Indigineity” w. Rosanna Raymond. Indigeneity in the Contemporary World: Performance, Politics, Belonging - Department of Drama & Theatre, Royal Holloway, University of London (UK) 24–27 October 2013
• (2013) “Maoribethans: Who’s Co-opting Who?” New Elizabethans 1953-2013: Nation, Culture, and Modern Identity - The School of Advanced Study University of London (UK) 13-15 June 2013
• (2013) “SaVAge SEAnce: An Invitation to Activate Your Ancestry.” with Rosanna Raymond et al Hostings 12: GHost-dance II - Central St. Martins College of Arts and Design (UK) 21 May 2013
• (2013) “Cross-cultural Adoption: The Politics and Metaphysics of Being Between Worlds,” with Leigh Tredger. On Collaboration - Performing Arts Dept, Middlesex University (UK) 18 May 2013
• (2013) “The Voice of a Thousand Waters: Pluralism in Vocal Practice. ” University of London (UK) 20 April 2013
• (2013) “For the World(s): A Lexicon for Inter-ontological Communication.” Performance Philosophy Conference – University of Surrey (UK) 11-13 April 2013
• (2013) “White Skin, White Masks: When Intercultural Researchers Teach Acting,” with Leigh Tredger. CPR: The Colloquium of Performance Research, The Royal Central School of Speech and Drama (UK), 17-18 January 2013
• (2012) “Extraordinary Renditions: Evaluating Intercultural Practice-based Performance Research” with Leigh Tredger
  Contemporary Ethnography & Traditional Performance: University of Chester (UK), 13-14 July 2012
• (2012) “Beyond Ventriloquism: Transmitting a Holistic Vocal Practice” with Jessica Swallow. Sharing Practice Symposium – Kingston University (UK): 13 June 2012
• (2012) “X-ova: Artefacts, Embodiment, and Sensual Spaces” with Rosanna Raymond
  Seeing and Being Seen: Postcolonial Visual Culture and Performance Symposium - University of Northampton (UK): 25 May 2012
• (2012) “Extraordinary Renditions of Hereditary Arts.” Exploring Boundaries and Crossing Borders: Theatre and Performance Research Association (C20-C21 Performer Training Working Group) Interim Event - University of London (UK): 10 May 2012
• (2009). “Mika's Haka in Mika HAKA: Playing the Other”, New Zealand Postgraduate Students' Conference Victoria University (NZ): 21 November 2009
• (2009). “Posing a Threat? Torotoro Maori Dance Crew (NZ) & Samudra Performing Arts (India)”Postcolonial Studies Research Network University of Otago (NZ):
• (2008). “Gnosis in Showbiz”, Theatre and Performance Research Association University of Leeds (UK).
• (2008). “Safe Savage: Maori & Malayali Martial Dance Theatre” Performance Studies International University of Copenhagen (Denmark).
• (2008). “Mika's haka” Australasian Assoc. for Theatre, Drama and Performance Studies University of Otago (NZ).

Professional Development  

Core Skills for Learning and Research (BA Acting and Global Theatre, Film & Screen Writing and Production: Year 1): Introducing tools for lifelong learning.  

Global Perspectives (Common Module, Year 1): Facilitating intercultural dialogue and collaboration.  

Development of Major Performance Project (BA Acting and Global Theatre, Year 3): Supporting graduating students to realise a full-scale theatre production.  

Professional Seminar (BA Acting and Global Theatre, Year 3): Structuring, nurturing and supporting students' career planning.  

Creative Process (MA Business): Fostering understandings of creativity for business and commerce.  

Being a Reflective Practitioner (PGCHE): Helping colleagues analyse the teaching process.  

Performance Studies - through practice, research and analysis  

Roots of Theatre and Performance (BA Acting and Global Theatre, Year 1): Investigating theatre's relationship to ritual, sport and play.  

Mapping World Performance (BA Acting and Global Theatre, Year 2): Detailed comparison of practices from contrasting contexts.  

Study Abroad Portfolio (BA Acting and Global Theatre, Year 2): Individual research of performance experienced in a new cultural context.  

World Stages: Global and Local (Acting and Global Theatre, Year 3): Investigation of the influence of globalisation on local performances.  

Theatre Studies - through examination of productions  

Theatre Appreciation (Liberal Arts): Examining audience experiences as responses to key production aspects.  

Theatre Experience (Foundation Certificate: Acting): Examining performance as the collaboration of specialist practioners.  

Stages and Styles (Foundation Certificate: Acting): Exploring how theatre manifests in different cultural contexts.  

From Shakespeare’s Globe to the West End (Liberal Arts): Investigating continuities and changes in London theatre practice.  

Shakespeare in International Performance (BA Acting and Global Theatre, Year 3): Exploring how different cultures have engaged with Shakespeare's works.  

Contemporary London Theatre (Liberal Arts): Examining innovations reforming London theatre practice.  

International Theatre (Liberal Arts): Investigating how cultural practices travel to reach local stages.