2012 SUMMER SEMINAR FACULTY
Norm Hirschy is an Editor in the Academic and Trade Division of Oxford University Press, where his acquisitions focus on music and dance. He is the sponsoring editor at OUP for, amongst other titles, Tap Dancing America: A Cultural History, by Constance Valis Hill, Diaghilev: A Life, by Sjeng Scheijen, René Blum and the Ballets Russes: In Search of a Lost Life, by Judith Chazin-Bennahum, and The Astaires: Fred & Adele, by Kathleen Riley. He also oversees OUP’s award-winning audio and video companion website program.
Dr. Susan Lee is the founding director of the Dance Program in the Department of Theatre at Northwestern University, former chair of the Department of Theatre, and founding director of the Center for Interdisciplinary Research in the Arts (CIRA) at Northwestern. Her scholarship covers a range of research interests on dance and dancers including lead author on dance for the Chicago Guide for Teaching and Learning in the Arts. She has been appointed to serve on the Arts Education Plan Advisory Board for the City of Chicago as well as on the Advocacy Panel for Ingenuity, Inc.. She has also been an active Artistic Director and Presenter, co founder of the Jazz Dance World Congress and The First International Argentine Tango Congress. She is planning chair for 2014 NDEO conference in Chicago. She recently completed an exhibition entitled Step by Step on the history of Dance Education at Northwestern University highlighting archival research and pieces from The Collected Dancer, a private collection of images of dance to be featured in a forthcoming virtual museum.
She is a recipient of the Ruth Page Award for Outstanding Contribution to Dance and the Clarence Simon Teaching Award, Northwestern University.
Ramón H. Rivera-Servera is associate professor and director of graduate studies in the Department of Performance Studies at Northwestern University. He is author of Performing Queer Latinidad: Dance, Sexuality, Politics (University of Michigan Press, 2012) and co-editor with Harvey Young of Performance in the Borderlands (Palgrave, 2011), with Henry Godinez of Festival Latino: Six Plays from the Goodman Theatre’s Latino Theatre Festival (Northwestern University Press, forthcoming 2013), and with E. Patrick Johnson of solo/black/woman: An Anthology of Black Feminist Performance (Northwestern University Press, forthcoming 2013). He serves in the Board of Directors and the Editorial Board of the Society of Dance History Scholars; the editorial board for Theatre Topics; and the Executive Committee for the Division on Gay Studies in Language and Literature at the Modern Languages Association. His writings on Latino performance have appeared in Modern Drama, Text and Performance Quarterly, Trans: Revista Transcultural de Música, Theatre Journal, and Ollantay Theatre Magazine. Current research projects focus on the ways contemporary history museums collect and exhibit race in/as performance and Latino experimental dance since the 1980s.
Dr. Gerald Siegmund is currently professor for Applied Theatre Studies at the Justus-Liebig University in Giessen. He studied Theatre, English and French Literature at the Goethe University in Frankfurt/Main where he also received his PhD with a thesis on Theatre as Memory. In 1998, he joined the staff of the Department of Applied Theatre Studies at the University in Giessen where he took his Habilitation in 2005. Between 2005 and 2008 he was professor for Contemporary Theatre at the University of Berne, Switzerland. Gerald Siegmund is author of numerous articles on contemporary dance and theatre performance as well as editor of the book William Forsythe – Denken in Bewegung, published in 2004 at Henschel Verlag, Berlin. His most recent book Abwesenheit. Eine performative Ästhetik des Tanzes was published in 2006.
Priya Srinivasan‘s research uses feminist performance ethnography to explore the inter-relations between labor, migration, and dance. Srinivasan’s first book “Sweating Saris: Indian Dance as Transnational Labor” (Temple University Press, 2012), seeks to understand dance as labor, and dancers not just as aesthetic bodies, but as transnational migrant workers and wage earners who negotiate citizenship and gender. Her next two research projects look at shifting developmental paradigms in South and South East Asia exploring the politics and poetics of ritual as negotiated by dance workers within the framework of migration and uneven global development. The first is titled: “Specters of Haunting: Reimagining The Devadasi in Tamil Cinema” and the second: “Apsara, Anklet, Archive: The Dancer as Mediator in Global Developmental Paradigms.”
Srinivasan is the recipient of the Gertrude Lippincott Essay Award in 2008 for the Best Essay in Dance Studies awarded by the Society of Dance History Scholars. Srinivasan has also worked as an experimental dance/theatre choreographer in Chicago and Los Angeles, and has extensive training as a professional dancer in Australia. She has collaborated with Ramya Harishankar and the Arpana Dance Company to create an evening length performance “Ganga: Life of a River” that is currently touring the U.S.
2012 Summer Seminar Participants
Karima Abidine is a PhD Candidate in the Anthropology Department at Northwestern University. Her dissertation research is on contemporary dance practice and performance in Morocco and Algeria. Specifically she is investigating the intersection of embodied movement with shifts in notions of gendered, religious and national identity and social participation. She is the co chair of the Middle East and North Africa graduate student association at Northwestern, and has a background in Islamic and Arabic Studies. She is also a professional dancer and independent choreographer in the Chicago area and abroad.
Angela Ahlgren is a Visiting Assistant Professor in Ohio University’s School of Theater. Her book project, Drumming Asian America: The Performance and Practice of North American Taiko, examines the performances of race, gender, and sexuality in the practice and spectatorship of contemporary North American taiko. Research and teaching interests include Asian American theatre, queer and feminist performance history and theory, dance studies, and theatre history. Angie was a member of the Minneapolis-based taiko group, Mu Daiko, from 1999-2007, and she earned her PhD in Performance as Public Practice from the University of Texas at Austin in 2011.
Takiyah Nur Amin
Takiyah Nur Amin is Assistant Professor of World Dance at UNC Charlotte, where she teaches courses in dance history and in the liberal studies curriculum. Takiyah’s research has been shared widely including at the National Women’s Studies Association Annual Meeting and the Congress on Research in Dance Conference. Her writing has been published in Dance Chronicle, the Western Journal of Black Studies and the Journal of Pan African Studies. Takiyah’s research and teaching interests include Black performance aesthetics, Black feminist activism, 20th century American concert dance and global dance traditions. Takiyah holds a Ph.D. in Dance (concentration in Cultural Studies) and certificates in both Women’s Studies and Teaching in Higher Education from Temple University.
Harmony Bench is Assistant Professor of Dance at The Ohio State University, where she teaches in the areas of Dance, Critical Theory, and Performance Studies. She completed her PhD in Culture and Performance at UCLA. Her current research focuses on media technologies’ reframing of movement, gesture, affect, pedagogy, and cultural belonging in dance and other movement contexts. She is a founding member of the Centre for Screendance (http://screendance.wordpress.com/) and serves on the editorial board of The International Journal of Screendance (http://journals.library.wisc.edu/index.php/screendance). She is currently working on a book that addresses dance onscreen and the politics of mediality.
Mark Broomfield, (Ph.D. in Critical Dance Studies, University of California, Riverside, MFA in Dance, University of Michigan), is a Postdoctoral Fellow in the Department of African and African Diaspora Studies at the University of Texas at Austin. He teaches courses in critical dance studies and black masculinities. He has published in the Journal of Dance Education and is currently working on his book manuscript, “Passing for Almost Straight: The Politics and Performance of Black Masculinity On- and Offstage.” Forthcoming articles include “Primitivism, Virtuosity, and the Pursuit of the Western Ideal for the Black Dancing Body,” and “Dance in Higher Education: Pluralizing Dance in An Age of Globalization. His documentary “Passing for Almost Straight” featuring Desmond Richardson, Dwight Rhoden, and Ronald K. Brown is presently a work-in-progress.
Jason Bush will become the Mellon Postdoctoral Fellow in Dance Studies at Stanford. His research and teaching interests include Latin American theatre and dance, transnational indigenous performance, performance ethnography, and global dance studies. He received a Ph.D. in Theatre Studies at The Ohio State University in 2011, an M.A. in Theatre Arts from California State University-Northridge in 2004, and a B.A. in Theater from UCLA in 2001. At Ohio State he taught introduction to theatre, theatre history, history of the American musical, Latin American theatre and performance, and Spanish language courses. He received Ohio State’s competitive Presidential Fellowship, as well as numerous other research grants to complete his dissertation research. His articles have appeared in Suzan-Lori Parks: A Casebook, The Journal of American Drama and Theatre, and Performance and the Global City. His current book project Spectacular Indigeneity: The Peruvian Scissors Dance on the Global Stage argues that performing spectacular indigeneity on transnational stages enables scissors dance performers to become cultural agents in the fashioning of modern indigenous identities and remaking of Peruvian identity within the circumscribed limits of neoliberal multiculturalism.
Corinna Campbell received her Ph.D. in Ethnomusicology from Harvard University in May 2012. Her research explores the interconnection of music and dance in West African and African Diasporic performance genres. Her Ph.D., titled, ‘Personalizing Tradition: Surinamese Maroon Music and Dance in Contemporary Urban Practice,’ is based on research among Maroon folkloric dance groups in Paramaribo, Suriname. She has conducted previous research in Ghana, studying cross-cultural performance pedagogy with renowned gyil (xylophone) player Bernard Woma, and halo songs of abuse among the Anlo Ewe. Campbell received her M.M. in Ethnomusicology from Bowling Green State University and her B.M. in Ethnomusicology from Northwestern University. In 2012-13, she will join the faculty at MIT and Emmanuel College as a visiting lecturer.
Rosemary Candelario earned a PhD in Culture and Performance from the University of California, Los Angeles. Research interests include the globalization of the Japanese avant-garde movement form butoh, Asian American dance, site-specific performance, arts activism, space and place, and representations of sex and reproduction in performance and pop culture. Rosemary published the article “A Manifesto for Moving: Eiko & Koma’s Delicious Movement Workshops” in the Journal of Theatre, Dance and Performance Training and is at work on a manuscript about Eiko & Koma’s choreography. She is an Assistant Professor of Dance at Texas Woman’s University.
Joanna Dee Das
Joanna Dee Das is a PhD Candidate in History at Columbia University, where she is writing a dissertation on Katherine Dunham. She has presented her work at numerous conferences, including the Congress on Research in Dance and Society of Dance History Scholars, and has guest lectured at Harvard University, Marymount Manhattan College, and Barnard College. She will be contributing an essay on Katherine Dunham for the forthcoming online Routledge Encyclopedia of Modernism. In addition to her research on Dunham, Das also has scholarly interests in Progressive Era social dance and the political uses of culture in the twentieth century.
Victoria Fortuna is a PhD candidate in the Department of Performance Studies at Northwestern University. Her dissertation focuses on the relationship between Buenos Aires, Argentina based contemporary dance and politics from the 1960s to the present, with specific attention to how dance represents, resists, and remembers histories of state violence. Victoria’s teaching and research interests include Latin American contemporary dance practice, dance and social participation/mobilization, and dance and the archive. Her writings have appeared in Aztlán: A Journal of Chicano Studies, Performance Research, and Theatre Journal.
Amanda Jane Graham is a doctoral candidate in the Graduate Program in Visual and Cultural Studies at the University of Rochester, where she teaches in the Art and Art History Department. A former New York City public school teacher and community organizer, Graham has an M.A. in Communication and Culture from York University and an M.S. 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” examines post-Judson site-situated choreography representative of Manhattan’s shifting economic, political, and architectural landscape.
Beth Hartman is a second year Ph.D. student in cultural anthropology at Northwestern University. She holds a bachelor’s degree in vocal performance from the College of St. Benedict/St. John’s University and a master’s degree in musicology from the University of Minnesota. She is also a certified Feldenkrais practitioner. Her current, multi-site research project focuses on contemporary striptease practices—burlesque, exotic dance, and fitness pole dancing—and she is particularly interested in exploring the relationship between music and these dance-based forms of sexual commerce.
Jessica Ray Herzogenrath is a PhD Candidate in History at Texas A&M University working on her dissertation “Playing American, Thinking American, Working American: Folk Dance in Chicago, 1890 – 1940”. She holds an MA in American Dance Studies from Florida State University and a BA in History from Northwestern University. Her research explores American vernacular performance and the intersections of gender, ethnicity, race and class in the early twentieth century. Ms. Herzogenrath continues to perform, choreograph and teach through the Brazos Dance Collective and has recently received a Texas A&M Vision2020 Dissertation Improvement Award and a Melburn G. Glasscock Center for the Humanities Graduate Travel to Archives Grant.
Jasmine Johnson is a Ph.D. candidate in African Diaspora Studies at the University of California, Berkeley. Her current project, “Dancing Africa, Making Diaspora,” explores the relationship between the growing industry of West African dance in the United States, performativity, and diasporic belonging. Her work is situated in the broader fields of critical dance studies, diaspora theory, black feminisms, and ethnography. Johnson’s work has been supported by the ROCCA Pre-Dissertation, UC Berkeley’s Deans’ Normative Time, and the Ford Foundation Diversity fellowships. Johnson is currently a Visiting Scholar at Princeton University, and will be joining the African American Studies Department at Northwestern University as a Postdoctoral Fellow in the fall.
Dr. Imani Kai Johnson is a former Ford Dissertation Fellow, who has just completed a three year postdoctoral fellowship at NYU’s Performance Studies Department. She received her PhD in American Studies & Ethnicity at the University of Southern California in 2009, where she wrote a dissertation titled, “Dark Matter in B-Boying Cyphers: Race and Global Connection in Hip Hop,” which considers the cultural and performative dimensions of Hip Hop dance as a global phenomenon through cyphers (dance circles),and the invisible forces of such collaborative rituals. Dr. Johnson is currently completing a manuscript based on her dissertation. She is also in the beginning stages of a second project that engages the subject of b-boying and incarceration.
Kareem is a Ph.D. candidate in Performance Studies at Northwestern researching queer performance in South Asia and its diaspora. His work examines the various ways in which LGBT South Asians negotiate contested terrains of public space through performance. He is particularly interested in the ways subjects articulate their racial/national/ethnic/regional differences alongside a performance of dissident gender and sexuality. Kareem also writes (creatively), performs, and choreographs wherever possible: YouTube-Shit Gay Desi Boys Say, Trikone-Chicago’s Bollywood Beach Flashmob, Northwestern University A.NU.Bhav filmi dance team, Gaysi Family’s Dirty Talk, and Chicago’s Entertaining Julia.
Anusha Kedhar (Ph.D., UCR) is a lecturer in the Department of Dance and Global Studies Program at UCR. Her research chronicles the lives of transnational South Asian migrant dancers in the UK and India, and how these dancers negotiate the contradictions between race and citizenship through their ‘flexible’ bodily labor. In 2008 she was awarded a Fulbright Scholarship to India and in 2009 she was presented with the Selma Jeanne Cohen award by the Society of Dance History Scholars. Anusha is also an established dancer and choreographer. She has worked with various classical and experimental Indian dance companies in Southern California and London, and her solo choreography has been presented in the US, UK, and India.
Hannah Kosstrin is Visiting Assistant Professor of Dance and Humanities at Reed College, where she teaches courses in dance studies, Labanotation, contemporary technique, and introductory humanities. Situated at the intersection of dance, Jewish, and gender studies, she researches Jewishness and gender in Anna Sokolow’s choreography. Hannah is currently directing a project supported by the National Endowment for the Humanities Office of Digital Humanities to make a mobile dance notation app. Her publications appear in Art Criticism and The International Journal of Screendance. Hannah holds a Ph.D. in Dance Studies from The Ohio State University with a minor in women’s history.
Virginia Preston is a Stanford University PhD candidate in the Department of Drama and PhD minor in history. She works on dance and interdisciplinary performance in the early seventeenth century (i.e., early ballets) and on contemporary francophone choreographers and intermediality. She recently completed a Fall 2011 artist residency at La Cité internationale des arts, in Paris, and in 2012-2013 she will be a Mellon Dissertation Fellow at Stanford. Virginia is the graduate student representative for the Society of Dance History Scholars, and she joined the board of the Society of Canadian Dance Studies this year.
Munjulika Rahman is a doctoral candidate at the Dept. of Performance Studies at Northwestern University. Her dissertation “Urban Dance in Bangladesh: History, Identity, and the Nation” explores the practice and politics of dance in Bangladesh, focusing on the expression of nation-hood through dance. Her research interests include nationalism, performance theory, Hindu mythology, and dance in predominantly Muslim countries in Asia. She is the recipient of the 2012 Selma Jeanne Cohen Award from the Society of Dance History Scholars (SDHS).
Jose Luis Reynoso, a Mexican immigrant, will become the Mellon Postdoctoral Fellow in Dance Studies at Northwestern. Reynoso holds a B.A. and M.A. in Psychology from California State-Los Angeles and a M.F.A. in Choreography and a Ph.D. in Dance Studies from UCLA. His interests include the politics of choreography, ideologies of artistic identity, and the role of corporeality in knowledge production. His dissertation focuses on the history of modern dance in Mexico, and his teaching and research also encompass the intersection of race, gender, class and sexuality in American modern and contemporary dance. Reynoso has presented at several conferences, including Dance Under Construction, Danza Teorica, Congress on Research in Dance, and the Society of Dance History Scholars. As a performer and choreographer, Reynoso has collaborated with Hae Kyung Lee, David Roussève, Guillermo Gomez-Peña, and Roberto Sifuentes. He has presented his own choreographic work nationally and internationally.
Olivia Sabee is a PhD candidate at Johns Hopkins University. After graduating from North Carolina School of the Arts, she performed with Ballet Pacifica, the Civic Ballet of Chicago and ARC Dance in Seattle. She received a BA from the University of Chicago in 2008 where she wrote her thesis on Nijinsky’s interpretation of Mallarmé’s “L’après-midi d’un faune” and has spent the past year at the Ecole normale supérieure in Paris. Oivia has presented papers at the Society of Dance History Scholars, the Congress on Research on Dance, and at the Charles Singleton Center for the Study of Pres-Modern Europe and has published in Theatre Journal, Modern Language Notes, and Dance Critics Association News.
Chia-Yi Seetoo is a Ph.D. candidate in Performance Studies at UC Berkeley. She is a scholar and an artist whose interest intersects dance, transnationality, corporeality, and translation. Her dissertation discusses selected contemporary dance phenomena rooted in Taiwan and the related conditions of transnational performing arts (Chinese diaspora, “East and West,” inter-Asian relations) to unpack the political-kinesthetic meanings in light of the temporal implications in the term “contemporary” investigated from vantage points intersecting Taiwan. Her artistic works have explored intermedial-choreography between dance and video, punctuation and the multilingual being, and auto-ethnographic mash-up.
Angeline Shaka received her PhD in Culture and Performance at UCLA in 2011 and her M.A. from NYU’s department of Performance Studies in 2004. She has been a visiting scholar in the English Department at UT Austin, and is currently planning a visiting assistant professor of dance residency at Texas Woman’s University for the academic year 2012-2013. Her research interests include, among others, contemporary Hula choreographies and their articulation of Native Hawaiian epistemologies, hybridized diasporic indigenous performance, and gender and sexuality.
Brandon Shaw recently defended his dissertation in Comparative Literature at the University of Massachusetts-Amherst and will become the Mellon Postdoctoral Fellow in Dance Studies at Brown. His dissertation, titled “Sitting-there: Embodied Perception, Kinesthetic Empathy, and Reading Pain in Dance Spectatorship,” draws from dance studies, contemporary phenomenology, and neuroscience to explore the complexities of empathizing with a dancer’s presumed physical pain. Additionally, Shaw researches interactions between dance and literature (particularly drama), and he is beginning an investigation of spectators’ use of gesture when speaking about dance. Alongside his academic interest in dance, Brandon continues to be active in contemporary dance, Argentine tango, and contact improvisation. He is also the artistic director of Cleave, a contemporary dance group specializing in dynamic partnering work.
Emily Wilcox is Visiting Assistant Professor of Chinese Studies at the College of William and Mary and International Postdoctoral Scholar in Performance Studies at the Shanghai Theater Academy. She is currently working on two book projects: an English-language monograph on the aesthetic politics of Chinese classical dance in mainland China since the 1950s and a Chinese-language monograph on Chinese dance in the United States during and after the Cold War. Emily’s publications appear in Asian Theater Journal, Wudao Pinglun (Dance Criticism), Journal for the Anthropological Study of Human Movement, Kroeber Anthropology Society Papers, Yihai (Art), and Body and Society. In 2011, Emily received the Emerging Scholars Award from the Association for Asian Performance, the Theodore Bestor Graduate Student Paper Prize from the Society for East Asian Anthropology, and the Outstanding Graduate Student Instructor Award from the University of California, Berkeley.
Emily Winerock is a Ph.D. candidate in History at the University of Toronto. Her dissertation investigates the cultural and religious politics of dancing in sixteenth- and seventeenth-century England. Her publications include an essay in Worth and Repute: Valuing Gender in Late Medieval and Early Modern Europe (2011) and reviews in the journals Dance Chronicle and Early Theatre. She has received a Selma Jeanne Cohen Award from the Society of Dance History Scholars and a Mellon Pre-Dissertation Fellowship at the Institute of Historical Research in London. Her newest project examines trends and patterns in dance regulation, legislation, and censorship.