Susan Manning is Professor of English, Theatre, and Performance Studies at Northwestern University. She is the author of Ecstasy and the Demon: The Dances of Mary Wigman (1993; 2nd ed. 2006) and Modern Dance, Negro Dance: Race in Motion (2004); curator of Danses noires/blanche Amèrique (2008); and coeditor of New German Dance Studies (2012). From 2004 to 2008 she served as President of SDHS/Society of Dance History Scholars, and in 2013 she received an award for distinguished scholarship from CORD/Congress on Research in Dance. In spring 2014 she was a Fellow at Interweaving Performance Cultures at the Free University Berlin, where she completed a series of essays for TDR: The Drama Review on her work as dramaturge for Reggie Wilson’s Moses(es). She currently serves as a member of the executive committee for the Chicago Dance History Project.
Janice Ross is a Professor in the Department of Theatre and Performance Studies and Faculty Director of ITALIC, Immersion In The Arts Living In Culture, a freshman residential program, at Stanford University. She is the author of four books including Like a Bomb Going Off: Leonid Yakobson and Ballet as Resistance in Soviet Russia (Yale University Press, 2015). Anna Halprin: Experience as Dance, (University of California Press 2007), winner of a de la Torre Bueno Award 2008 Special Citation, San Francisco Ballet at 75 (Chronicle Books 2007) and Moving Lessons: The Beginning of Dance in American Education, (University of Wisconsin 2001). Her essays on dance have been published in numerous anthologies. Her awards include Guggenheim and Fulbright Fellowships, two Stanford Humanities Center Fellowships, Jacobs’ Pillow Research Fellowship, Israel Institute Fellowship and the Memorial Foundation for Jewish Culture Fellowship. For ten years she was the staff dance critic for The Oakland Tribune and for twenty years a contributing editor to Dance Magazine. She is past President of the Society of Dance History Scholars and past President of the Dance Critics Association.
Rebecca Schneider is a Professor in the Department of Theatre Arts and Performance Studies at Brown University. She is the author of The Explicit Body in Performance (1997), Performing Remains: Art and War in Times of Theatrical Reenactment (2011), and Theatre And History (2014). She has edited collections on directing practice and the historical avant-garde; on performance and precarity; and a forthcoming collection on new materialism and performance. Schneider has published a wide variety of essays with such titles as “Hello Dolly Well Hello Dolly: The Double and its Theatre”; “What I Can’t Recall”; “Remembering Feminist Remimesis”; “Patricide and the Passerby”; “It Seems as if I am Dead: Zombie Capitalism and Theatrical Labor”; “A Small History of (Still) Passing”; and perhaps closest to dance studies: “Solo Solo Solo,” first presented in Paris at the National Centre de la Dance in 2002. As a “performing theorist,” she has collaborated with artists at such sites as the British Museum in London, the Mobile Academy in Berlin, the Tanzquartier in Vienna, and the Gulbenkian in Lisbon, engaging with dancers/artists Marianne Goldberg, Hannah Hurtzig, Xavier Leroy, Marten Spangberg, Alice Chaucat, La Ribot, Tino Seghal.