“I loved Amaara Raheem's account of losing a shoe at Peckham station” Lyn Gardner, The Guardian, 2013
2024-25, Marion Orme Page Regional Fellow, State Library of Victoria
2024, Wind Meeting, Performance Research: A Journal of Performing Arts. Vol. 28 - Issue 2 On Meeting.
2023, Southern Oceanic Choreographic Practices. Choreographic Practices (Journal). Vol. 14. Issue 2 (co-edited by Dance Research Australia and Amaara Raheem).
2022, Fortunes of the Forest: Plant Readings (Annotated Bibliography) Un Magazine 16.2, with Caitlin Franzmann
2022, Editor & Facilitator, On Dance Documentation, Hi-Viz Satellite, Bendigo, Singapore and online
2022 Co-editor, Choreographic Practices (Journal), Intellect Books. Currently working on a special edition: Southern Oceanic Choreographic Practices. Published Oct 2023
2021, The Old Rules Don’t Apply, SF MOMA Open Space, commissioned by Claudia La Rocco
2020, Submerged, New Topographies of the Body, Dancehouse Diary #12
2021, Speaking Dancer In-Residence, PhD, RMIT University
2019 Kolour, Writing in the Expanded Field, ACCA, 2019
2019 Speaking Dancer in-residence, Researching (in/as) Motion A Resource Collection, University of Finland, 2019
2018 Letter to the Editors, with Mick Douglas: Performance Research Journal 23.5: ‘On Generosity’
2018 Autobiography: Me, Myself and You: Performance Research Journal 23.2: ‘On Writing & Performance’
2018 Syllabus on Embodied Knowledge: GPS Issue 2.1 Syllabi for the Future: A Playlist editors: PSi Future Advisory Board
2016 Taking a Line for a Walk, review of artwork by David Thomas and Laurene Vaughn, Performing Mobilities Journal
2014 The Sky is Falling, the Money’s all Gone, in response to online curriculum with Lucky Pierre, Chicago / London
2013 London Stories, writing for 1:1:1 festival based on true stories told by migrants, Battersea Arts Centre, London
”There is a lot of strong writing in the first Expanded Field publication. I especially liked Amaara Raheem’s piece 'Kolour'. It’s not easy to write in the second person and there’s not many writers I’d let speak for me. It feels to me that Raheem dreamed this piece into words from a very rich and vivid place where thought, feeling, history and mythology collide. Her writing is light, but comes from a deep and meditative place of long memory. It’s textural without being flowery. It feels both soft and sharp, the writing pours through cracks of our built environment. There’s a gentle subversion of authority embedded, and a tenuous and tangential engagement with Eva Rothschild’s works, which opens many entries for considering her departures.” (Writer and Participant, 2019)
