Rosemary’s interest in site-specific work for large mixed age casts have led her to make works in sites such as the ruined Haughmond Abbey, Shrewsbury (Haughmond Dances, 1990), Fort Dunlop Tyre Depot (Ascending Fields, 1992), the Festival Hall Ballroom (her work Stranded won a Time Out/Dance Umbrella London Performance Award in 1991), and The Banqueting Hall at the Royal Naval College, Greenwich (The Banquet Dances, 1999). Her new commission from Greenwich Dance Agency and Dance Umbrella will be premiered in Dance Umbrella 2009 and is planned to include a new choral work for a large choir and 50 dancers of all ages.

In contrast to her large cast works, that can include community casts of 250 people, she has continued to make solos for herself, and for others including The Galliard for Gill Clarke and Silver for Simon Whitehead. Both featured in Charged, an evening of solos with the Balanescu Quartet performing live which toured in 1997. In 1999 she commissioned five makers from different fields to create solos for her in One to One, most notably Language Lesson by Graeme Miller and Time Lapses by Sue MacLennan.

Rosemary has collaborated with filmmaker Peter Anderson on several works including four films for broadcasting: boy, greenman (ACE/BBC2), Infanta (BBC2) (all produced by MJW) and Dancing Nation, a documentary for the Foundation for Community Dance about the power of dance in different people’s lives. She also collaborated with Peter on an evening of work combining projection and live work including the solo Brink and a large-scale intergenerational work Passage which premiered at the South Bank 2001 and toured nationally. In 2003 she made Snow with award winning filmmaker David Hinton (ACE/BBC/NPS). This work was entirely created from found archive footage.

Rosemary’s interest in new contexts and sites for her work and her commitment to reaching new audiences has led her to develop several installation works that are interactive. Apart from the Road (2001) featuring 9-10 year olds, was created in collaboration with film and installation maker Nic Sandiland and poet Chrissie Gittens for Barking Library. It then toured to Whitechapel and Hammersmith libraries in 2003-2004. Rosemary and Nic’s largescale, interactive video installation Remote Dancing was premiered at the Royal Festival Hall, the South Bank Centre (2004) and is currently touring nationally and in Europe including the Netherlands, France, Slovenia.

Rosemary is regularly commissioned to make work for dance companies including: Ricochet Dance Company (Treading the Night Plain, 1997-98); Transitions Dance Company (3 Studies in Courtship, 1998) and for Ch4pter, Liverpool (Beached, 2002 and 2006).

Through her work at ResCen she has developed a unique way of reflecting on her work through a collaborative partnership with writer Niki Pollard. Together they have developed an on-going dialogue between choreographer and observer in which new thinking about the creative process of the artist is stimulated and questioned through open exchange between both the creator and observer. They have co-authored several written works including ‘How to hoard: writing field notes of rehearsals’, a paper first presented at the Dance and Performance Ethnography Forum, De Montfort University (2004), ‘Delving and doubled seeing on a choreographer’s practice’, Digital Creativity vol. 15, number 2, 2003, and Beached: a commonplace book (London: ResCen Publications, 2006).

This way of reflecting on, and articulating process led to the Suchness of Heni and Eddie a hybrid performance/lecture demonstration in which Rosemary talks to the audience as the performance takes place. It has toured all the major UK institutions offering undergraduate and postgraduate Dance degrees, as well as non-educational venues and festivals such as Nottdance06. She has recently published an interactive DVD the Suchness of Heni and Eddie with PARIP, University of Bristol and ResCen.