This paper develops the dancers' choreographic notebook as a cross-disciplinary documentational device in the representation and analysis of multi-sensual qualitative sources. Drawing upon fieldwork collected during a London-based research placement with the dance company BalletBoyz, I endeavour to extend critical debates around the body and performance within human geography to examine the 'more-than-representational' 1 methodological possibilities affiliated with performativity and its allied body of literature. In performing this methodological approach, I first hope to encourage experimental and creative documentational methods for conducting vibrant, engaging geographies of the body. Second, I affirm the centrality of sensuous, embodied accounts in the research process. Finally, this paper seeks to equip others in their investigations into re-imagining what 'physical' thinking might look like. In documenting the body, I hope a space may be created to rethink the ontology of the body beyond the dualisms of absence or present.

Publisher: Wiley This is the peer reviewed version of the following article: Veal, C 2017, 'Microbodily mobilities: choreographing a geographies and mobilities of dance and disability' Area, vol (in press), pp. (in press), which has been published in final form at 10.1111/area.12377. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Self-Archiving.

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The emergence of air power as the pre‐eminent method of warfare prompted a decision, made at the highest level, to form a new arm of the British military. The Central Landing Establishment was founded as parachuting headquarters in 1940, and tasked with developing and implementing the means for training and delivering airborne forces to the ground. With woeful shortfalls in aerial knowledge, experimentation proved crucial. The paper examines the recruitment and synthetic ground training of the British Parachute Regiment at Ringway Aerodrome (1940–1946), and their experimental exchanges with “specialists” in the art of falling. More specifically, in the absence of a recognised landing technique, and with associated high injury rates, Ringway turned to movement theorist Rudolf Laban to advance its embodied aerial practice. The paper will explore how militaries have long recognised the centrality of such embodied and aesthetic regimes to the doing of geopolitics. In particular, it foregrounds the multifaceted, micro‐bodily practices – operating through complex interconnected spatialities – that comprise the waging of war. In turn, it asserts the significance of the aesthetic in understanding how geopolitics takes place and is implemented in the world. In doing so, the paper unpacks the “art” within the art of war.