Running, Resistance, and Recollection: A conversation with ourselves through time


  • Katye Coe Dancer / Coventry University
  • Hetty Blades Coventry University



Running, practice, vent, gallery, performance, memory


(to) constantly vent is a performance work by Katye Coe. A solo or group of runners travel in continuous loops, venting through events, exhibitions, meetings, and the surrounding spaces. The work was commissioned for What_Now (2013) in London and re-commissioned for the Dancer As Agent conference (2013) at DOCH in Stockholm where it was a constant or persistent intervention through a conference all about the agency of the dancer. This outing bought with it wider conversations and meetings that have changed its (and Coe’s) practice and thinking. Continuing its journey, the work was then enacted at Performing Process: Sharing Practice symposium (2014) at Coventry University, and was later re-situated in the Hayward Gallery (2014-15), where the work occurred for 12-weeks as part of Volumes Project in the exhibition, MIRRORCITY.

Reflecting on the experience of venting in the Hayward Gallery, in this writing Coe and Hetty Blades, who also performed the work, recall their experiences, and respond to their questions about the practice through their fragmented memories and writing from others about running and memory.

Author Biographies

Katye Coe, Dancer / Coventry University

Katye Coe is a freelance dance artist based in the UK. She is a Senior Lecturer in Dance at Coventry University and the founder director of Decoda. 

Hetty Blades, Coventry University

Hetty Blades is a Postdoctoral Research Assistant in the Centre for Dance Research (C-DaRE) at Coventry University.


NVA. 2011. 'Why We Run.'

John Sutton. 2010. ‘Memory’. Stanford Encyclopedia of Philosophy.

Gregg Whelan. 2012. ‘Running Through a Field: Performance and Humanness.’ Performance Research 17 (2): 110-120.




How to Cite

Coe, Katye, and Hetty Blades. 2017. “Running, Resistance, and Recollection: A Conversation With Ourselves through Time”. Performance Philosophy 2 (2):331-41.