Summer Seminar on Publication 2016

Futures of Dance Studies

Past Summer Seminar participants have been selected to submit essays for a Dance Studies in/and the Humanities published volume, The Futures of Dance Studies.

Daniel Callahan is an Assistant Professor in the Department of Music at Boston College. After receiving his PhD from Columbia University, he was the Mellon Postdoctoral Fellow in Music and the Humanities at the University of Chicago from 2012 to 2014. His book project, The Dancer from the Music, explores the embodiment of canonical concert music in US modern dance across the twentieth century.

Rachel Carrico is the 2015-16 Mellon Postdoctoral Fellow in Dance Studies In / And the Humanities at Stanford University. She holds a Ph.D. in Critical Dance Studies from the University of California–Riverside and an M.A. in Performance Studies from NYU. Her research explores the aesthetic, political, and social histories of second lining, an African diaspora dance form rooted in New Orleans’s black parading traditions. Carrico’s scholarship has been published in TDR: The Drama Review and TBS: The Black Scholar (forthcoming), awarded the Society of Dance History Scholars’ Selma Jeanne Cohen Award, and supported by grants from such entities as the UC President’s Dissertation Year Fellowship Program, the UC Center for New Racial Studies, and the Center for Gulf South Research at Tulane University. Also a practitioner, Carrico recently completed the Limón Institute’s dance teacher training. In 2008, she co-founded Goat in the Road Productions in New Orleans, with whom she has directed two international artist residencies and launched Play/Write, a youth playwriting festival, in New Orleans schools. Carrico is also a contributor to New Orleans’s Data News Weekly and a consultant for the forthcoming documentary film on New Orleans vernacular dance, Buckumping by Lily Keber. She parades annually with the Ice Divas Social and Pleasure Club.

Rebecca Chaleff is a doctoral candidate in the department of Theater and Performance Studies at Stanford University, minoring in Feminist, Gender, and Sexuality Studies. She has received generous support for her research at Stanford from the Ric Weiland Graduate Fellowship, the Graduate Research Opportunity Award, and the Marilyn Yalom Research Fund. Her dissertation project analyzes how choreographic legacies function as political tools that shape temporalities, script histories, and capitalize on affect within a global marketplace. As a dancer, she has performed with Pat Catterson, the Merce Cunningham Dance Company Repertory Understudy Group, Douglas Dunn and Dancers, and the Margaret Jenkins Dance Company, among others, and is also currently a member of GERALDCASELDANCE and Molissa Fenley and Company. In 2012, she co-founded the Becky Collective with Rebecca Ormiston to create collaborative dance-theater productions. Rebecca has published several performance reviews in TDR/The Drama Review and Performance Research.

Clare Croft is a dance theorist, dance historian, and dramaturg. She is the author of the recently published book, Dancers as Diplomats: American Choreography in Cultural Exchange (Oxford 2015), and is the editor/curator of the hybrid print/Web project, Meanings and Makings of Queer Dance, which is forthcoming from Oxford in 2017. Her writing has appeared in academic journals, including Theatre Journal and Dance Research Journal, and she has been a regular contributor to daily newspapers, including The Washington Post (2002-2005) and the Austin American-Statesman. Croft is an Assistant Professor at the University of Michigan in the Department of Dance where she teaches in the BFA programs in Dance and in Interarts and in the MFA Dance program. She holds a PhD from the University of Texas-Austin.

Joanna Dee Das is a dance historian who has taught at Barnard College, Stanford University, and Williams College. She received her PhD in history from Columbia University and in 2014-15, was the Andrew W. Mellon Postdoctoral Fellow in Dance Studies in/and the Humanities at Stanford University. Her book manuscript, Katherine Dunham: Dance and the Creation of Diaspora is under contract with Oxford University Press, and she has published numerous articles about African diasporic dance, musical theater dance, and the politics of performance in leading scholarly journals and anthologies. She has won several fellowships and awards for her research, including the Jacob K. Javits Fellowship in Ethnic/Cultural Studies and an Academic Quality Fund grant from the Center for the Study of Ethnicity and Race at Columbia University. Before and during graduate school, she worked as a professional dancer and choreographer in New York City, where she performed at Dance Theater Workshop (now NYLA), the Cunningham Studio, WAXWorks, and DanceNow/NYC. Dr. Das is also committed to educating the broader public about the importance of dance to social justice movements. In 2015, she co-organized the public symposium “Black Lives Matter: The Relevance of Katherine Dunham for Today’s Artist-Activists” as part of the 2015 Dunham Workshop in Tampa, Florida. Her love for dance and dance history has also led to some fun side gigs, including curating an exhibit on the history of American Ballet Theatre for the Library of Congress and serving as a historical consultant for The Rockettes.

Kathryn Dickason is a doctoral candidate in Religious Studies at Stanford University. She focuses on western medieval Christianity (c. 1200-1450), with particular interests in embodiment, performance, iconography, gender, early dance history, and medievalism. Currently she is writing a dissertation on the religious significance of dance in the Middle Ages. Her publications (past and forthcoming) appear in Dance Chronicle, Dance Research Journal, Proceedings of the Society of Dance History Scholars, Journal of Anglican and Episcopal History, and European Drama and Performance Studies, as well as edited volumes under contract with Boydell & Brewer and Oxford University Presses.

Victoria Fortuna is an Assistant Professor of Dance at Reed College; she previously taught at Oberlin College as a Mellon Postdoctoral Fellow. Her research interests include Latin American concert dance, dance as a mode of political and community organization, and cultural histories of dance in transnational perspective. Victoria’s manuscript, Moving Otherwise: Dance, Violence, and Memory in Buenos Aires (under contract with Oxford University Press), examines the relationship between Buenos Aires, Argentina based contemporary dance practices and histories of political and economic violence from the 1960s to the present. Her writing has appeared in Performance Research, e-misférica, and Conversations Across the Field of Dance Studies, and is forthcoming in the Oxford Handbook of Dance and Politics and Dance Research Journal. She has received grants and awards from Fulbright, the Society of Dance History Scholars. the American Society for Theatre Research, and the Latin American Studies Association. Victoria holds a BA from Brown University and a PhD in Performance Studies from Northwestern University.

Alana Gerecke is a Trudeau Scholar and a doctoral candidate in the English Department at Simon Fraser University (Vancouver, Canada). Her dissertation examines the spatial and social politics of contemporary dance set in public, urban places along the North American west coast. She has been published in The Dance Current, Dance Research Journal, Performance Research, Canadian Theatre Review, and in Renegade Bodies: Canadian Dance in the 1970s (Dance Collection Danse, 2012). A professional contemporary dancer, Gerecke is an active independent dance artist and a movement facilitator. A company member with EDAM Dance (2006-2013), she was also co-founder of the Behind Open Doors Arts Collective (2004-2013), and has presented her choreographic works at various local venues.

Amanda Jane Graham is the Mellon Postdoctoral Fellow in Dance Studies at Northwestern University, where she teaches between Art History, Dance, and the Kaplan Institute for the Humanities. Graham has her MA and PhD in Visual and Cultural Studies from the University of Rochester, a MA in Communication and Culture from York University, and a MS in Education from Brooklyn College. Graham’s dissertation, “The Myth of Movement: Trisha Brown and Lucinda Childs Dancing on the New York City Grid, 1970-1980” examined post-Judson site-situated choreography representative of Manhattan’s shifting economic, political, and architectural landscape. Derived from her dissertation, Graham’s current book project Dance on Display: A Performance History of the Visual Art Museum in America investigates dance’s ambivalent history with art museums (1930-present). She is currently co-curating a Symposium at the Block Museum of Art titled Performed in the Present Tense in conjunction with the exhibition A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s–1980s. Graham has published articles on dance, visual art, and culture and media in Dance Chronicle, Latin American Perspectives, and InVisible Culture. Her article “Space Travel: Trisha Brown’s Locus” will appear in Art Journal this summer.

Jasmine Elizabeth Johnson is Assistant Professor of African & Afro-American and Women’s, Gender, and Sexuality Studies at Brandeis University. She earned her Ph.D. in African Diaspora Studies at UC Berkeley and served as Postdoctoral Fellow in African American Studies at Northwestern University.
Johnson’s work examines the politics of black movement including dance, diasporic travel, and gentrification. Interdisciplinary in nature, her work is situated at the intersection of diaspora theory, dance, performance studies, ethnography, and black feminism. Currently, Johnson is completing her book manuscript, Rhythm Nation: West African Dance and the Politics of Diaspora, forthcoming from Oxford University Press. Her work has been supported by a number of fellowships and grants, including the Ford Foundation and the National Endowment for the Humanities.
Johnson is a founding member of The Collegium for African Diaspora Dance and serves on the Society of Dance History Scholars board. She is also a dancer and performs internationally.

Adanna Kai Jones is recent PhD graduate of the Critical Dance Studies program at the University of California, Riverside (UCR). In March 2016, she completed her dissertation on the contentious ways winin’ (a rolling hip dance) mediates Trinidadian and Caribbean identities within the US Diaspora. She received her BFA in Dance from Mason Gross School of the Arts, Rutgers University and has since performed in professional dance companies based in NJ and NYC, including Julia Ritter Performance Group and Souloworks with Andrea E. Woods. She is currently working on co-organizing a biennial retreat for women of color, especially focusing on community building, healing, and surviving the micro-aggressions many continually experience within academia.

Laura Karreman is a Ph.D. candidate at the research centre Studies of Performing Arts & Media at Ghent University, Belgium. As part of the research project ‘Capturing dance movements’, funded by Research Foundation Flanders (FWO), she examines the implications of motion capture technology for dance analysis and dance transmission. She received a B.A. degree in Theatre, Film and Television studies from Utrecht University and earned her Research M.A. degree in Art Studies at the University of Amsterdam, where she wrote a thesis on the performative quality of body metaphors in contemporary performance. Laura Karreman previously worked as a dramaturg and researcher in the Dutch art field and she was performing arts advisor for the Amsterdam Art Fund. She taught at the honours programme of ArtEZ Institute for the Arts in Arnhem and at the Theatre Studies department of Utrecht University.

Anusha Kedhar (Critical Dance Studies, UC Riverside ’11) is an Assistant Professor of Dance at Colorado College. Her research examines the intersection of race, neoliberalism, migration, and the dancing body. Drawing on several years of ethnographic fieldwork in the UK and India, her current book project examines how transnational South Asian dancers navigate the inequity, volatility, and precarity of neoliberalism through choreography and other bodily practices. The book argues that while global capitalism has made South Asian dancers increasingly precarious, expendable, and vulnerable, this condition of precarity has also enabled them to navigate neoliberalism in creative and unexpected ways. Her scholarly writing has been published by Dance Research JournalThe Feminist Wire, and The New York Times. Kedhar was a Fulbright Scholar to India and is currently on the Board of Directors for the Congress on Research in Dance (CORD). She is also an established artist and choreographer in the field of Indian dance. Kedhar has trained for over 30 years in Bharata Natyam and has worked with various contemporary Indian dance artists in the UK and US, including Subathra Subramaniam, Mayuri Boonham, and Shobana Jeyasingh (London), Mavin Khoo (Malta), Johanna Devi (Berlin), and Meena Murugesan (Los Angeles). Her choreography has been presented in Los Angeles, London, Malta, and Colorado.

Hannah Kosstrin, Ph.D., is a dance historian working at the intersection of dance, Jewish, and gender studies. At The Ohio State University, she is Assistant Professor in the Department of Dance and is affiliated with the Melton Center for Jewish Studies. Her book Honest Bodies: Anna Sokolow and the Politics of Modern Dance (under contract with Oxford University Press) examines Jewishness and gender in Anna Sokolow’s choreography in the U.S., Mexico, and Israel between the 1930s-1960s. She has published in Dance Research Journal, Dance Chronicle, The International Journal of Screendance, and Dance on Its Own Terms: Histories and Methodologies edited by Melanie Bales and Karen Eliot (Oxford UP), with work forthcoming in Meanings and Makings of Queer Dance edited by Clare Croft, and the Routledge Encyclopedia of Modernism. She is project director for KineScribe, a Labanotation iPad app supported by the National Endowment for the Humanities and Reed College. From 2004-2007 she worked with Columbus Movement Movement which was named one of Dance Magazine’s “25 to Watch” in 2007, and from 2010-2014 she was Visiting Assistant Professor of Dance at Reed College. Kosstrin is Treasurer of the Congress on Research in Dance, and is a member of the Society of Dance History Scholars Editorial Board and the Dance Notation Bureau Professional Advisory Committee.

Lizzie Leopold is currently a PhD Candidate at Northwestern University, pursuing an Interdisciplinary PhD in Theater and Drama. She also holds a BFA in Dance from the University of Michigan and a Masters in Performance Studies from New York University.  Her dissertation, “Commodifying Choreography: The Sale, Licensing, and Appraisal of Concert Dance Repertory as Global Marketplace,” looks at dance valuation practices and intersections of dance-making and business structures.  Publications include “Staging Stars and Stripes: (Re)Choreographing the American Flag” as a part of Dance in American Culture forthcoming from Florida State University Press and “The Merchant of Venice’s Missing Masque: May I Have This Dance?” as a part of a Dance/Shakespeare collection forthcoming from Oxford University Press. Leopold is the founder and Artistic Director for the Leopold Group, a Chicago based modern dance company, and has danced with the Lyric Opera of Chicago.  She has served on the Board of Governors for the University of Michigan’s School of Music, Theater and Dance and currently serves as the graduate representative to the Congress on Research in Dance.

Gillian Lipton’s research focuses on the aesthetics of grace in American theatrical dance through scholarship, archival work, and performance. She is currently working with dance pioneer, Arthur Mitchell, to develop his archive and related research projects at Columbia University with the support of the Ford Foundation. Working at the intersection of dance and the visual arts, she has also recently collaborated on several performance projects at the Museum of Modern Art in New York including Yoko Ono: One Woman Show, James Lee Byars: 1/2 an Autobiography, and Lygia Clark: The Abandonment of Art and performed with visual artist, Monika Weiss. Lipton currently teaches at Barnard College, and has taught at NYU and Queens College, CUNY. She received her Ph.D. in Performance Studies from NYU and her B.A. from Brown University.

Dr Royona Mitra is the author of Akram Khan: Dancing New Interculturalism (Palgrave; 2015). She is a Senior Lecturer in Theatre at Brunel University London where she teaches dance theatre, intercultural performance and critical theory. She has a PhD (2011) in dance/performance studies and an MA in Physical Theatre (2001) from Royal Holloway, University of London.
Her research interests include dance theatre practices, intercultural performance, body and diaspora, and contemporary experiments in South Asian dance. She has published in Dance Research Journal, Feminist Review, Women and Performance: A Journal of Feminist Theory and has contributed to edited book projects on performance, culture and identity. Her work on the contemporary female South Asian dancer has been published in The Feminism and Visual Culture Reader by Routledge.

Ariel Osterweis recently joined the faculty of The Sharon Disney Lund School of Dance at the California Institute of the Arts (CalArts), where she will teach dance history, aesthetics, and pedagogy. She has also taught at Skidmore College, Wayne State University, and UC Berkeley. Osterweis earned her PhD in Performance Studies at UC Berkeley and her BA in Anthropology at Columbia University. Her book manuscript, Body Impossible: Desmond Richardson and the Politics of Virtuosity (working title), is under contract with Oxford University Press and examines issues of race, class, gender, and sexuality in contemporary dance. Osterweis also researches Sub-Saharan African dance and mixed-race, feminist, and transgender performance that disavows dance-based virtuosity. Publications appear in Dance Research Journal, TDR/The Drama Review, Women and Performance, e-misférica, Theatre Survey, The Oxford Handbook of Dance and the Popular Screen (Oxford University Press, 2014), and Choreographies of 21st Century Wars (Oxford University Press, 2016). Osterweis danced with Complexions Contemporary Ballet, Mia Michaels R.A.W., and Heidi Latsky, choreographs, and has served as dramaturg for John Jasperse and Narcissister. She is on the Board of Directors of the Society of Dance History Scholars and is Book Reviews Editor for Dance Research Journal.

VK Preston is Visiting Assistant Professor of Theatre Arts and Performance Studies at Brown University, where she teaches contemporary political and engaged performance, performance historiography (1500-1850), and performance scholarship. Her research interests include dance in the seventeenth-century circum-Atlantic world, gender, and performance studies. VK is an affiliate of the international research group Early Modern Conversions. She recently completed her Ph.D. from Stanford University’s doctoral program in the Department of Theater and Performance studies, with a Ph.D. minor from the Department of History, and she is the recipient of an early career fellowship from the Australian Research Council’s History of Emotions project.

Heather Rastovac Akbarzadeh is a Ph.D. candidate in Performance Studies at the University of California, Berkeley with a Designated Emphasis in Women, Gender, and Sexuality (Ph.D. expected in May 2016). She received her B.A. from the University of Washington in Near Eastern Languages and Civilization (Persian language and literature) with minors in Dance and Anthropology. Heather’s doctoral research extends upon nearly two decades as a dancer and choreographer among Iranian communities in the United States. Her dissertation project examines the lives and artistic works of diasporic Iranian dancers and performance artists residing in North America and France. Through ethnography, discourse analysis, and movement analysis, Heather investigates the racialized and gendered economies of Iranian performance in transnational art markets and among diasporic audiences. She examines these artists’ works in relation to Euro-American geo-/biopolitics and (neo)liberal discourses on immigration, citizenship, war, and the dancing/performing body. In addition to her research on diasporic Iranian dancers and performance artists, Heather further surveys transnational reconfigurations of Orientalism in “World Dance” markets and representations of the Middle East and Islam in performance and popular culture. At UC Berkeley, Heather has taught a wide range of undergraduate lecture and studio-based courses that draw from her interdisciplinary research interests, which include Critical Dance Studies, Performance Studies, Transnational Feminist Theories, Queer Theory, Iranian & Middle Eastern Studies, Postcoloniality, and Critical Ethnic Studies. Heather has presented her research at a variety of international academic conferences, including the Congress on Research in Dance, Society of Dance History Scholars, Performance Studies International, American Society for Theatre Research, Popular Culture Association / American Culture Association, and the International Conference on Islamophobia Studies.

Jose Luis Reynoso is Assistant Professor of Critical Dance Studies at the University of California Riverside. He was the Andrew Mellon Postdoctoral Fellow in Dance Studies at Northwestern University (2012-2014). He completed his Ph.D. in Culture and Performance (2012) and a M.F.A in Choreography (2006) at UCLA. He also holds a M.A. (2003) and a B.A. (2000) in Psychology from California State University Los Angeles.
Dr. Reynoso writes and teaches about the politics, history, theory, and practice of dance and other forms of cultural production focusing primarily on the U.S., Mexico and other countries in Latin America. He is interested in how corporeal experiences in general and dance practices in particular produce social, cultural and ideological values that participate in the formation of individual and collective identities. His work examines processes through which race, class, gender and sexuality mediate explicit and/or implicit power relation in the formation of artistic categorizations and identifications.  His book project argues that distinctive embodied “mestizo” modernisms, combinations of concert dance and vernacular forms of expressive culture, participated as integral part of a rhetoric of modernization sustaining the construction of post-revolutionary Mexico.
Dr. Reynoso’s academic and choreographic work as well as his dance performances have been presented nationally and internationally at conferences organized by the Congress on Research in Dance, the Society of Dance History Scholars, Dance under Construction, the Latin American Studies Association, DanzaTeorica, and at venues as diverse as senior citizen centers, bars, art galleries, outdoor locales, and the proscenium stage.

Elizabeth Schwall is a doctoral candidate at Columbia University in Latin American and Caribbean History. Her dissertation examines the politics of Cuban dance from 1930 – 1990. Professors Pablo Piccato and Lynn Garafola (Dance) supervise her work. She received the Quinn Write Up Fellowship for the 2015-2016 academic year and has been a visiting graduate student at the Center for Iberian and Latin American Studies at the University of California, San Diego 2014-2016. A Graduate Research Fellowship from the Cuban Heritage Collection at the University of Miami, a Mellon Traveling Fellowship from Columbia University, and several summer research grants from the Institute for Latin American Studies at Columbia University have supported her dissertation research in Cuba, the United States, Mexico, and Puerto Rico. She has contributed book reviews to Dance Research Journal, New West Indian Guide/ Nieuwe West-Indische Gids, and Cuban Studies (forthcoming), as well as entries to the Routledge Encyclopedia of Modernism and Dictionary of Caribbean and Afro-Latin American Biography. She has also written on current Cuban dance developments for Cuban Art News.
She received her Masters from Columbia in 2012, with a thesis on dance in Mexico, 1930s – 1960s and her A.B. in History with certificates in Latin American Studies and Dance from Princeton University in 2009. As a senior at Princeton, Elizabeth worked with Jeremy Adelman on her thesis on modern dance, ballet, and politics in post-1959 Cuba. As a junior, she received the Carter Kim Combe (’74) History Prize for her junior paper on ballet and nation building in 1960s Cuba.
Her broader interests include performance in the Caribbean and Latin America, cultural diplomacy during the Cold War, the relationship between anthropology and artistic production, and the histories of migration and community building through art.

Noémie Solomon is Andrew W. Mellon postdoctoral fellow in Dance Studies at Brown University. Previously, she was Mellon Postdoctoral fellow in the English department at McGill University, where she researched dance in Québec after 1948 around questions of movement, minority, and belonging. She holds a PhD in Performance Studies from New York University where her dissertation, Unworking the Dance Subject, was awarded the Michael Kirby Memorial Prize for Distinguished Doctoral Dissertation in 2012. She edited DANSE: An Anthology and DANSE: A Catalogue, which gather key texts on contemporary choreography across French and English languages (Les Presses du réel, 2014; 2015). She initiated and collaborated on a series of dramaturgical and curatorial initiatives in the dance field internationally, including: Dance on Time (iDANS, Istanbul, 2009); Self-Methodologies (Tanzquartier, Vienna, 2011); the Photomusée de la danse (Festival d’Avignon, 2011); Solos and Solitudes (Danspace Project, NYC, 2012-13); Dancing is talking / Talking is dancing (MoMA PS1, NYC, 2014).

Dr. Melissa Templeton is a Visiting Assistant Professor of Dance at the University of California, Riverside where she teaches classes in dance history and theory. Her current research combines her interests in postcolonial theory, race, and dance studies. In particular, her work focuses on African Diaspora dance practices in Montreal and their connections to Canadian colonialism, multicultural policy, Québec nationalism, and racial construction in Canada. Dr. Templeton’s work has been published in Dance Collection Danse Magazine and she has several forthcoming dance-related entries in the Routledge Encyclopedia of Modernism. Additionally, Dr. Templeton has presented her research regularly across the U.S., Canada, and in Europe. Prior to working in the dance program at UCR, Dr. Templeton was Lecturer of Dance at the University of Nebraska, Lincoln, and Visiting Assistant Professor of Dance at Texas A&M International University where she taught Limón-based dance technique courses, choreography, and dance history. Dr. Melissa Templeton completed her Ph.D. in Critical Dance Studies at UCR in 2012 and her research received support from the Social Sciences and Humanities Research Council of Canada.

Born and raised in Italy, Giulia Vittori earned her PhD in Theater and Performance Studies from Stanford University in 2015. Her interdisciplinary research ranges from dance and theatre to the visual arts and philosophy. Her awarded dissertation, “Performing Shapes: Composing the Gap between Performer and Image” studies the embodiment of the image in contemporary Western theatre and dance, focusing on the experience of the performer and the phenomenon of gesture. Believing in the complementarity of theory and practice, she adopts performance-as-research methodologies in her teaching and art projects. Her work as a performer, choreographer, and director includes contemporary and devised theatre; site-specific and community work; dance-theatre; and solo performance.

Sarah Wilbur is a cross-sector dance maker (M.F.A.) and doctoral candidate in culture and performance studies in the UCLA Department of World Arts and Cultures/Dance. She studies dance production and institutional policy together, as practical and cooperative discourses that shape opportunities in the US dance field. Her research theorizes infrastructure as an embodied doing by cross-examining the vocational maneuvers of lifelong dance artists and major arts policy enactments across the fifty-year lifespan of the U.S. National Endowment for the Arts (NEA). Sarah’s teaching and performance practice frequently engage non-arts institutions. She currently co-facilitates a dance program for veterans living with severe mental illness for the Greater Los Angeles VA Healthcare System. Recent publications include: Performance Research, e-misférica, The Drama Review, Art, Health, & the Military, and the Journal of Emerging Dance Scholarship.

Emily E. Wilcox is assistant professor of modern Chinese studies in the Department of Asian Languages and Cultures at the University of Michigan. Her research focuses on dance in twentieth- and twenty-first-century Asia, with a focus on the People’s Republic of China. In 2014-15, she was the recipient of a Humanities Fellowship from the American Council of Learned Societies for her first book project, National Movements: Socialist Postcoloniality and the Making of Chinese Dance. Her second book project, Choreographing Cold War Asia is the recipient of a 2016-17 Transregional Research Junior Fellowship from the Social Science Research Council. Emily is co-editor of an anthology in progress titled Dancing East Asia and is curator of the digital humanities dance image collection “Pioneers of Chinese Dance,” sponsored by the University of Michigan Asia Library. She is a Board Member of the Society for Dance History Scholars and President of the Association for Asian Performance. Her articles appear in Asian Theatre Journal, Body and Society, TDR: The Drama Review, Routledge Encyclopedia of Modernism, Wudao pinglun (The dance review), and other venues.

Hentyle Yapp’s research broadly engages the theoretical and methodological implications of queer, disability, and critical race studies for questions regarding the state. His current book project examines a site commonly over determined by state discourse: China. By attending to cross-media art practices and the global art market, Yapp traces how contemporary China circulates in transnational discourse to produce more nuanced understandings of the role of the state. His next project directly analyzes the law and its deployment across the humanities. In addition to his academic work, Yapp is an artist. Having danced professionally for experimental and contemporary companies in New York and Taipei, he continues to choreograph for companies and other art spaces. Education: PhD from UC Berkeley in Performance Studies; JD from UCLA School of Law, specializing in Critical Race Theory & Public Interest Law; and BA from Brown University in French Literature.

Natalie Zervou ( is a Lecturer at the University of Wisconsin Madison Dance Department. She holds a PhD in Critical Dance Studies from the University of California, Riverside, an MA in Dance Cultures: Histories and Practices from the University of Surrey (UK), a BA in Political Science and International Studies from the University of Athens (Greece), and a Diploma in Dance and Dance Pedagogy from the Higher Professional Dance School Morianova Trasta (Greece). Her research interests concern contemporary dance in Greece, during the recent socio-political and economic crisis, while her focus is on the ways that dancing bodies negotiate national identity construction in this fluctuating landscape. This research has been supported by the Onassis Public Benefit Foundation (Greece) and a Dissertation Year Fellowship from the University of California, Riverside. As a performer, Zervou has trained in classical ballet and modern dance technique (Limón), as well as Greek folk dances. She has choreographed and performed works in Greece, Britain, Amsterdam, and the USA and maintains an active artistic agenda, constantly experimenting with new media and art forms. Her publications include: “Bodies of Silence and Resilience: Writing Marginality”. Congress on Research in Dance Conference Proceedings, 2015, pp 174-181 and  “Appropriations of Hellenism: A Reconsideration of Early Twentieth-Century American Physical Culture Practices”, CHOROS International Dance Journal, 3 (Spring 2014), pp. 50–68.