2015 - 2016 Board of Directors
Anne Flynn, MA is Professor in the Department of Dance at the University of Calgary, with a joint appointment in the Faculties of Arts and Kinesiology. Her research on Canadian women in dance, multiculturalism and identity, and dance in health promotion and education has been presented and published internationally and supported by the Social Science and Humanities Research Council. She and Lisa Doolittle have been research collaborators for twenty-five years beginning with the founding of Dance Connection magazine, and she has served on the boards of local, provincial and national dance organizations. Since 2005 she has been manager of Urban Dance Connect, a community/university dance project. Flynn holds degrees from SUNY Brockport and Wesleyan University where she was fortunate to study under Richard Bull, Susan Foster and Cynthia Novack.
Nadine George-Graves (BA, Yale; PhD, Northwestern) is Professor of Theater and Dance at the University of California, San Diego. Her work is situated at the intersections of African American studies, gender studies, performance studies, dance history, and theater history. She is the author of The Royalty of Negro Vaudeville: The Whitman Sisters and the Negotiation of Race, Gender, and Class in African American Theater, 1900-1940 (St. Martin’s Press, 2000) and Urban Bush Women: Twenty Years of Dance Theater, Community Engagement and Working It Out (Wisconsin, 2010) (2011 Errol Hill honorable mention) as well as numerous articles on African American dance and theater. She has presented at CORD conferences and was co-chair for the 2010 joint CORD/ASTR conference. She has served on the executive boards of the American Society for Theater Research and the Society of Dance History Scholars, the editorial boards of SDHS and Choreographic Practices, has been Vice Chair of the department of Theater and Dance, Acting Associate Dean for Arts and Humanities and member of many administrative committees. She is also an artist. Her most recent creative project was adapting, directing and choreographing Anansi: The Story King, an original dance-theater piece of African Diaspora folk stories involving college students, professionals, and fourth graders.
Petri Hoppu, PhD
Petri Hoppu, PhD, is Adjunct Professor, Project Leader of Dance in Nordic Spaces at the School of Humanities and Social Sciences, University of Tampere, Finland. His areas of expertise include theory and methodology in dance history and anthropology as well as research of Finnish-Karelian social dancing and Nordic folk dance revitalization. He also teaches folk dances and research methodology at the Oulu University of Applied Science. His recent publications include “National Dances and Popular Education – The Formation of Folk Dance Canons in Norden” in Karen Vedel (ed.), Dance and the Formation of Norden: Emergences and Struggles(forthcoming in 2011).
Hannah Kosstrin, PhD
Hannah Kosstrin is Assistant Professor of Dance at The Ohio State University (OSU), and previously taught at Reed College. Her work engages dance, Jewish, and gender studies. Her monograph, Honest Bodies: The Dances of Anna Sokolow, is under contract with Oxford University Press. Her publications appear in Dance Research Journal, The International Journal of Screendance, and Dance on Its Own Terms: Histories and Methodologies edited by Melanie Bales and Karen Eliot, 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 dance notation app supported by the National Endowment for the Humanities and Reed College. Hannah also serves on the Dance Notation Bureau Professional Advisory Committee, and served as website content editor for SDHS from 2005-2011. She holds B.A. and M.A. degrees in dance from Goucher College and OSU, and a Ph.D. in Dance Studies with a minor in women’s history from OSU. Photo by Leah Nash.
Bridget Cauthery is an Adjunct Lecturer in the Department of Dance at York University. In 2007, she completed her doctorate in dance studies from the University of Surrey in the United Kingdom where her research centred on “de-othering” trance practice in contemporary dance. Bridget has presented her research at conferences in Canada, the United States and Europe. Her scholarly writing has appeared in Performance Research Journal, TOPIA, Ethnologies, Culture & Tradition and Canadian Dance Studies and in Dena Davida’s edited collection Fields in Motion: Ethnography in the Worlds of Dance (2011). In 2010, she received a grant from the Canada Council Dance Section to commence research on a book project provisionally titled “Choreographing the North.” This project has grown to encompass contemporary works by nine international choreographers that take “the North” as their inspiration. She was the 2014 recipient of the Teaching Innovation award for eLearning in the Fine Arts.
Anusha Kedhar (UCR, Critical Dance Studies) is an Assistant Professor of Dance at Colorado College. Her teaching and research interests are situated at the intersection of race, transnationalism, global capitalism, labor, and the dancing body. Her current book project looks at how transnational South Asian dancers navigate the inequity, volatility, and precarity of neoliberalism through choreography and other bodily practices. Anusha is also an established artist and choreographer in the field of Indian dance. She has trained for over 30 years in Bharata Natyam, and worked in London between 2004-2011 with some of the pioneers of British Indian dance. Her own choreography has been presented on various international stages in Los Angeles, London, Malta, and Colorado Springs.
Editorial Board Chair
Helen Thomas, Ph.D. is Research Director at London College of Fashion, University of the Arts London. Her first training was in dance at the Laban Art of Movement Studio. She taught dance for 7 years before embarking on first, a sociology degree and subsequently, a PhD, in which she set out to develop a rigorous methodological approach to the sociology of dance. Research interests centre on the sociology of dance and the body, modern dance and social dance forms, cultural theory, and qualitative research methods. Recent publications include: The Body, Dance and Cultural Theory (Palgrave 2003); Cultural Bodies: Ethnography and Theory (eds. with J. Ahmed Blackwell 2004). She is currently completing a book, The Body and Everyday Life (for Routledge), and was Principal Investigator of a recently completed Arts and Humanities Research Council funded research project, Pain and Injury in a Cultural Context. www.danceinjuries.org
Takiyah Nur Amin
Takiyah Nur Amin is Assistant Professor of Dance Studies at UNC Charlotte where she teaches courses in dance history and in both the College of Arts and Architecture Honors Program and the liberal studies curriculum. Takiyah earned a Ph.D. in Dance (with a concentration in Cultural Studies) and certificates in both Women's Studies and Teaching in Higher Education as a Future Faculty Fellow at Temple University. Takiyah's research has been shared widely including presentations at the American College Dance Festival, the American Political Science Association Annual Meeting, the Congress on Research in Dance, the Society of Dance History Scholars, the African Heritage Studies Association Annual Conference and the International Colloquium for Vernacular, Hispanic, Historical, American and Folklore Studies in Puebla, Mexico. Notably, Takiyah's writing has been published in Dance Chronicle, the Western Journal of Black Studies, the Journal of Pan African Studies and through the Community Arts Network. Takiyah's research and teaching interests include Black performance and aesthetics, contemporary Black feminist thought and activism, 20th century American concert dance and global dance traditions. Dr. Amin is the 2011 recipient of the Edrie Ferdun Scholarly Achievement Award for excellence in dance studies from the Esther Boyer College of Music in Dance at Temple University.
Jennifer Fisher, Ph.D., is the author of Nutcracker Nation: How an Old World Ballet Became a Christmas Tradition in the New World (Yale, 2003), which won the Special Citation of the De La Torre Bueno Prize given by the Society of Dance History Scholars. She co-edited with Anthony Shay When Men Dance: Choreographing Masculinities Across Borders (Oxford, 2009). She is an associate professor in the dance department of the University of California, and a ballet coroner whose most recent inquest into the death of Giselle was held at the San Francisco Ballet. She serves on the Oxford University Press online dance and music editorial board, and founded Dance Major Journal, a journal of writing from dance majors and dance graduate students. Her current book project is a “memoir ethnography” titled An Autobiography of Ballet. Most recent publications include “When Good Adjectives Go Bad: The Case of So-called Lyrical Dance,” for Dance Chronicle (37/3 2014) and two essays (one on whiteness and ballet, the other about identity and nationalism in a Ghana-America dance exchange) for the upcoming Oxford Handbook on Dance and Ethnicity (2015).
Danielle Goldman, PhD, is Assistant Professor of Dance History and Theory at The New School, where she also serves as the Dance Program Coordinator. She has published articles in Dance Research, Dance Research Journal, Etcetera, Movement Research Performance Journal, TDR: The Drama Review, and Women & Performance. In May 2010, the University of Michigan Press published her book about the politics of improvised dance, I Want to be Ready: Improvised Dance as a Practice of Freedom. She also is a dancer in New York City, where she recently has worked with the choreographers DD Dorvillier, Judith Sanchez-Ruiz, and Beth Gill.
Ruth Hellier-Tinoco, Ph.D., is a scholar/creator/performer, whose interdisciplinary research, practice, and teaching engage the fields of performance, dance and theatre studies, ethnomusicology, experimental and community arts, Mexican and Latin American studies, and feminist studies. She is currently a professor at UC Santa Barbara, teaching courses ranging from studio-based multi-media workshops to contextual and historical seminars (music, dance, theater in Mexico). Ruth holds a BA Hons in Music, Drama, and Dance (Birmingham, U.K. 1983); a Drama-in-Education graduate degree, and a Ph.D. (2001) in Performance Studies, with a focus on dance in Mexico. Since 1983 Ruth has undertaken successful careers as: stage actress/performer; community arts facilitator; Head of Music/teacher of dance/ drama; Professor of contemporary performance (University of Winchester); and Director of Inter-Act Theater Workshop. She has published widely including: Embodying Mexico: Tourism, Nationalism, and Performance, OUP; Women Singers in Global Contexts: Music, Biography, Identity (U Illinois Press). Her current book-project is Creativity/ Memory/ History: Contemporary Performance in Mexico City. Research dissemination includes Danzateórica: UNAM, México; Dance Ethnography Forum; ICTM/Ethnochoreology; CORD; PSi; SCODHE; British Forum for Ethnomusicology, and SEM. Ruth has served as Committee /Board member in over twenty international and national scholarly, professional and community organizations over the last 30 years.
Ketu H. Katrak, born in Bombay, India, is Professor in the Department of Drama at the University of California, Irvine (UCI). Author of Contemporary Indian Dance: New Creative Choreography in India and the Diaspora (Palgrave Macmillan, 2011); Politics of the Female Body: Postcolonial Women Writers (Rutgers UP, 2006), Wole Soyinka and Modern Tragedy (Greenwood, 1986), co-editor, Antifeminism in the Academy (Routledge, 2006), and published essays in Indian Dance, Performance and Postcolonial Women Writers.
James Moreno joined the University of Kansas Dance Department as Assistant Professor in 2012. Prior to this, Moreno was Visiting Professor of Dance at the University of Panamá in Panamá City, Panamá and Visiting Guest Artist at the National School of Dance of Panamá. Moreno holds a PhD in Performance Studies from Northwestern University, as well as a Certificate in Gender Studies. He is a Fulbright Scholar (2011-12) and McNair Scholar (2004-05). His current project explores how José Limón’s story-ballets of the 1950s cut across gendered and raced categories to re-shape the nexus of whiteness and heteronormativity at the foundation of post-war “American” identity. Before entering academia, Moreno worked as a professional modern dancer and choreographer, performing with the J. Parker Copley Dance Company, Ann Arbor Dance Works and Repertory Dance Theatre (RDT). While with RDT, Moreno performed the choreography of Martha Graham, Merce Cunningham, José Limón, Lucinda Childs, and Zvi Gotheiner, among many others. Moreno has also worked as Facilitator for The Field’s Fieldwork Workshops and accompanist for the University of Utah’s Dance Department.
Stacey Prickett is a Principal Lecturer in Dance and Research Degrees Convener at the University of Roehampton in London, having received her MA and PhD at Laban and a BA in Dance at the University of California Riverside. Her primary research interests investigate identity issues and politics, focussing on the left wing dance movement in the USA and Britain, contemporary dance in San Francisco and London, and South Asian dance. A book on dance, protest and identities is in progress for publication by Dance Books and she has written chapters in Dance and Politics, Dance in the City, and entries in Fifty Contemporary Choreographers. Her articles have appeared in Dance Research, Dance Theatre Journal and Dance Chronicle and Stacey has presented at academic conferences and research symposiums on dance and politics in Brussels and Athens). Organisational experience includes membership of the Isadora Duncan Dance Awards Committee (the ‘Izzies’) and chair of the Dance Critics Association. In the UK Stacey is a member of the Executive Committee of the Society for Dance Research, helping organise conferences and is a past editor of the DCA and SDR newsletters. She also chairs the Board of Directors of the Sonia Sabri Company.
Rosemarie A Roberts, Ph.D. is Assistant Professor in the Department of Dance at Connecticut College. Her artistic and scholarly work blends history, dance, and theater in order to conduct social psychological and anthropological investigations of Afro-diasporic dance as embodiments of difference, knowledge and resistive power. She writes about dance as a site of resistance, public scholarship and critical pedagogies of embodiment. She has also published in edited volumes and journals in the areas of inter-group relations, qualitative research methods, and conceptions of social justice in dance. Recent publications include “Dancing With Social Ghosts: Performing Embodiments, Analyzing Critically” (Transforming Anthropology) and “Facing and Transforming Hauntings of Race Through the Arts” (Equity and Excellence in Education). Professor Roberts is an interpreter of folkloric Cuban, Haitian, Puerto Rican, and Brazilian dance. She was awarded the National Dance Week Ethnic Dance Award by Dance Giant Steps for her commitment to teaching and performing African diasporic dance. At Jacob’s Pillow she has taught Afro-Cuban dance, co-directed a Cultural Traditions Program and served as the Hip Hop Continuum Cultural Traditions Program Research Fellow. She is writing a book about the relationship among dance, racialized bodies, knowledge, and power.
Kin-Yan Szeto is Associate Professor of Theatre and Dance at Appalachian State University. Szeto research interests include theatre, dance, film and visual studies; comparative literature; post-colonial and global studies. She has published widely in scholarly journals such as Visual Anthropology, Dance Chronicle, Modern Chinese Literature and Culture, Jump Cut, and elsewhere. Her book The Martial Arts Cinema of the Chinese Diaspora analyzes how the unique “cosmopolitical awareness” allows the martial arts film directors and choreographers to develop and act in the transnational environment of media production. Szeto has received support for her work from the China Times Cultural Foundation Young Scholar Award, 100 Scholars Research Award, Appalachian Foundation Fellowship, and others. Her directorial projects include Brian Sloan’s WTC View, Sheng-Chuan Lai’s Pining in Peach Blossom Land and Gao Xingjian’s The Other Shore.
Szeto has a Ph.D. in Performance Studies from Northwestern University. She holds two master’s degrees, one in Theatre and Drama Studies from the University of London and another in Screenwriting and Film Studies from the Beijing Film Academy, and a B.A. in English from the Chinese University of Hong Kong. She taught performance studies at Northwestern University and film and media studies at the University of California, Irvine. At Appalachian State University, she teaches literature, film, and performance studies.
Sheron Wray, MFA, is an Assistant Professor at UC Irvine. In 2010 she directed the Ghana Project taking 17 UCI dance students to Ghana for a summer residency. She is the custodian of the seminal solo work Harmonica Breakdown by Jane Dudley recently performed at the ADG festival in New York. A recipient of a NESTA Fellowship between 2002-05 her research focuses on Africana improvisation aesthetics and interactive technologies in the form of Texterritory an award winning interactive cell phone enabled dance theater project. As the director of JazzXchange Music and Dance Company, she created live performance works, film and education resources touring internationally and engaging with musical collaborators including Wynton Marsalis, Julian Joseph, Derek Bermel and Bobby McFerrin. Between 1988 and 1998 she danced with London Contemporary Dance Theater and Rambert Dance Company in the UK. She received her Masters’ degree from Middlesex University in 2002. She is also an AHRC funded doctoral candidate at the University of Surrey.
Jean Davidson is Executive Director of the Los Angeles Master Chorale. As Executive Director of The Bill T. Jones/Arnie Zane Dance Company, Davidson was instrumental in developing the 2011 merger plan that created New York Live Arts. Through her work with the Bill T. Jones/Arnie Zane Dance Company and before that, with Yo Yo Ma’s Silk Road Project,Davidson has led major national and international touring, cultural exchanges, and artist-based educational initiatives. Davidsonbegan her career in the arts as a production manager and lighting designer. She is a graduate of Oberlin College, where she has also served as a Lecturer, and has guest lectured on arts management at the Università di Bologna in Bologna, Italy, and at New York University Tisch School of the Arts, among other academic institutions.
Graduate Student Representative
Yasmina Codina is a Native American/Chicana dedicated to modern and traditional dance, education, and social justice, which stemmed from her family and her roots in San Antonio, Texas, where she learned to dance at the age of 5 (ballet folkórico, flaménco, and danza azteca conchera). She has been part of student and community collaborations such as organizing around the DREAM Act and co-founded an all womyn’s social justice dance collective, Movimiento Cihuatl in 2010. She is currently a graduate student in the Department of Bicultural-Bilingual Studies at UTSA, where she focuses on dance as an agent of social change and healing, identity formation, and as an educational tool to reconnect to indigenous roots. She has shared her work at theInternational Conference on Chicano Literature in Toledo, Spain, the National Association for Chicana and Chicano Studies (NACCS), and the Gloria E. Anzaldúa Conference: El Mundo Zurdo .
Graduate Student Representative
Lizzie Leopold holds a BFA in Dance from the University of Michigan and a Masters in Performance Studies from New York University. She is currently a PhD Candidate at Northwestern University, pursuing an Interdisciplinary PhD in Theater and Drama. Her dissertation looks at contemporary dance licensing practices and intersections of art-making and business structures. Her essay “Staging Stars and Stripes: (Re)Choreographing the American Flag” will appear in a forthcoming anthology on dance and American Studies published by Florida State 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 currently serves on the Board of Governors for the University of Michigan’s School of Music, Theater and Dance.
Editor, Dance Research Journal
Mark Franko is Professor of Dance and Coordinator of Graduate Studies, Boyer College of Music and Dance, Temple University, and Professor in Performance and Visual Studies, School of Performing Arts and Media, Middlesex University (London). He has published six books: Martha Graham in Love and War: the life in the work; Excursion for Miracles: Paul Sanasardo, Donya Feuer, and Studio for Dance; The Work of Dance: Labor, Movement, and Identity in the 1930s; Dancing Modernism/Performing Politics; Dance as Text: Ideologies of the Baroque Body; The Dancing Body in Renaissance Choreography. He is editor of Dance Research Journal; founding editor of the Oxford Studies in Dance Theory book series, and recipient of the 2011 Outstanding Scholarly Research in Dance Award from the Congress in Research in Dance. He is currently editing The Handbook of Danced Reeanctment for Oxford University Press and performing a reenactment of Le Marbre Tremble with Fabián Barba.
Ariel Osterweis, Ph.D.
Book Reviews Editor, Dance Research Journal