2012 - 2013 Board of Directors
Marta Savigliano, PhD.
Marta Elena Savigliano is a feminist political theorist, a librettist, and occasionally a performer interested in multi-art and international collaboration, cultural translation, and performance in globalization. Artists’ and scholars’ active participation in reproducing or challenging colonial world orders is consistently discussed in her work. She is the author of Tango and the Political Economy of Passion (Westview, 1995), and Angora Matta: Fatal Acts of North South Translation (Wesleyan U.P., 2003), including a tango opera. Her works have been translated into various languages, and widely presented at international academic fora. Savigliano’s current research focuses on staged and screened Global South responses to World Dance, in particular self-parodic versions of “traditional” dance forms associated to racialized, exotic, and erotic representations of “other” cultures and their contentious power in globalization. Savigliano is Professor Emerita of UCLA’s World Arts and Cultures department, and is currently professor of Critical Dance Studies at UC Riverside’s Department of Dance, Director of the Body, Performance, and Dance Research Platform, and co-founder of GLOSAS (Global South Advanced Studies) located in Buenos Aires.
Nadine George-Graves, PhD.
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.
Anthony Shay, PhD.
Anthony Shay, Ph.D. is Assistant Professor of Dance and Cultural Studies at Pomona College, Claremont, CA . He has been engaged as dancer, choreographer, and scholar in the field of dance for over 50 years. He has served on the CORD board for two terms, and has been a member of CORD almost since its inception. He is the author of Choreophobia: Solo Improvised Dance in the Iranian World, Choreographic Politics: State Folk Dance Companies, Representation and Power (for which he was awarded the CORD Outstanding Scholarly Publication for 2003), Choreographing Identities: Folk Dance, Ethnicity and Festival in the United States and Canada, andDancing Across Borders: The American Fascination with Exotic Dance Forms, as well as editing and co-editing three volumes: Belly Dance: Orientalism, Transnationalism and Harem Fantasy (with Barbara Sellers-Young),Balkan Dance: Essays on Characteristics, Performance and Teaching, and When Men Dance: Choreographing Masculinities Across Borders (with Jennifer Fisher). He has also published numerous articles. He is currently working on the Oxford Handbook on Dance and Ethnicity.
Libby Smigel, PhD.
Libby Smigel, Executive Director, Dance Heritage Coalition. After about three years as Project Director at the Coalition, Smigel stepped up as Executive Director in the summer of 2009. Smigel has more than 15 years of teaching experience in dance and theatre departments in Toronto (York University), Upstate New York (Hobart and William Smith Colleges, RIT), and the metro DC area (University of Maryland, American University, George Washington University), where she has taught undergraduate and graduate courses in dance history, criticism, and theory as well as choreographic methods and improvisation. With skills in digital video and web-design software, she has created online courses in addition to traditional seminar and lecture classes. Her writings have been included in scholarly publications, encyclopedias, and newspapers, and she is currently working with a co-editor on a two-volume set titled Icons of American Dance (ABC-Clio to publish). In addition to serving as CORD’s Treasurer, she also serves as associate editor for the Journal of American Culture and serves on the board of the joint Popular Culture Association/American Culture Association. Her academic training was completed at the University of Toronto Graduate Centre for Study of Drama (M.A., Ph.D), York University (M.F.A.), and Princeton University (A.B.).
Click here to view a list of Dr. Smigel's publications.
Hannah Kosstrin, PhD.
Hannah Kosstrin is Visiting Assistant Professor of Dance at Reed College, where she teaches courses in dance studies, Labanotation, and contemporary technique. Situated at the intersection of dance, Jewish, and gender studies, she researches questions of politics and identity 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, with work forthcoming in Dance Research Journal and Investigating Dance on its Own Terms: Histories and Methodologies edited by Karen Eliot and Melanie Bales. Hannah also serves on the Dance Notation Bureau Professional Advisory Committee, and served SDHS as website content editor from 2005-2011. Hannah holds a Ph.D. in Dance Studies from The Ohio State University with a minor in women’s history. http://www.reed.edu/dance/faculty/kosstrin
Maura Nguyen Donohue
Maura Nguyen Donohue, MFA, is Assistant Professor of Dance at Hunter Collegein New York City . She has taught workshops at schools across the country, served as visiting guest artist for Smith Collegeand as teaching fellow at Hampshire College, Mt. Holyoke College, and Smith College . She was born in Vietnam, raised in the USand is artistic director of NYC-based performance troupe Maura Nguyen Donohue/inmixedcompany. In NY, she has been produced regularly at Dance Theater Workshop, as well as Performance Space 122, La Mama ETC, Danspace Project, Mulberry St. Theater, and The Kitchen. Her work has toured the US, Canada, Europe andAsia. She serves on the Board of Directors for Dance Theater Workshop and as Artistic Advisor for their Mekong Project she developed, curated, and facilitated several residency projects for artists in and from SE Asia and theUS . She has written about dance and performance in the US and Asia for Dance Magazine, American Theater Journal, The Dance Insider, HK Dance Journal, New York State Danceforce and Critical Correspondence. Her written research reflects her interests in representations of gender and race in contemporary dance, the burden of a tradition of rebellion in contemporary dance as built upon the history of the avant-garde, and the changing roles for dance artists in academia.
Helen Thomas, PhD.
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, PhD.
Takiyah Nur Amin is Assistant Professor of World Dance 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 Women¹s Studies and Teaching in Higher Education as a Future Faculty Fellow at Temple University. Takiyah¹s 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, Takiyah¹s 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. Takiyah¹s 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.
Harmony Bench, PhD.
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, and holds additional degrees in Performance Studies, Women’s Studies, and Ballet. Her current research focuses on mobile media, social media, and videogames as sites for choreographic inquiry and analysis, and their collective impact on movement, gesture, affect, and cultural belonging. Harmony’s writing can be found in Dance Research Journal, The International Journal of Performance Arts and Digital Media, and Participations as well as in a number of forthcoming edited collections. 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.
Pallabi Chakravorty, PhD.
Pallabi Chakravorty teaches Kathak dance and academic courses related to the anthropology of performance in the Department of Music and Dance at Swarthmore College. Founder and artistic director of Courtyard Dancers, she is an anthropologist, dancer, choreographer, and cultural worker. Pallabi’s academic research focuses on Indian dance, national identity, the anthropology of performance, processes of globalization, embodiment, gender, and the intersection of religion and performative practices. She has published widely in scholarly journals such as Visual Anthropology, Dance Research Journal, South Asia, Dance Chronicle, Moving Worlds, and others. She has co-edited two books and a Proceedings, “Performing Ecstasy: The Poetic and Politics of Religion in India” (Manohar Publishers), “Dance Matters” (Routledge), and “Dance in South Asia”. She is the author of “Bells of Change: Kathak Dance, Women and Modernity in India” (Seagull/Macmillan/University of Chicago. Her current research focuses on Indian dance and media with a focus on Bollywood dance and television reality shows. Pallabi has received support for her work from India Foundation for the Arts, Dance Advance, Leeway foundation for the Arts and Asian Arts Initiative. Her dance works (ranging from traditional repertoire to contemporary choreographies) explore the interdependence between art, life and labor.
Elizabeth Chin, PhD.
Elizabeth Chin, PhD, is an ethnographer who has long worked in Haiti as well as in the US with a special interest in race and social inequality. She is enmeshed in a large-scale project about Katherine Dunham that has several elements -- one element involves herself and a team of colleagues who examine Dunham's work and argue for her continuing importance to anthropology. For Chin’s part she is interested in applying social actor network theory to an analysis of Dunham Technique, where the barre, the mirror, the floor and the dancer form a system constituting 'the dancer.' Her approach to this work, and to her understanding of dance and dance scholarship is one that emphasizes its connection to larger social and political issues. She is eager to see dance scholarship -- and CORD -- strategically demonstrate its relevance to how we (and others) understand and engage with cutting edge social theory, meaningful social action, and cultural change under circumstances where many attempt to argue that 'the arts' more generally have little relevance.
Clare Croft, PhD.
Clare Croft is currently working on a book project focusing on US State Department sponsorship of international dance tours as a form of cultural diplomacy. She uses oral history techniques, performance analysis, and archival research to explore individual dancers’ experiences on tours during the Cold War era and in the decade since 9/11. The project centers on interviews conducted with dancers who traveled on the tours. By seeing dancers as political and social agents, rather than only embodied tools for choreographers or government funders, the book examines dance and American national identity as collective practices forged from dancers’ diverse and complex identity positions.
Clare recently received her Ph.D. from the Performance as Public Practice program in the University of Texas-Austin’s Department of Theatre and Dance. Her academic writing on dance has been published in Theatre Journal and Theatre Topics. Clare’s Theatre Journal article, “Ballet Nations,” received the American Society of Theatre Research’s 2010 Sally Banes Publication Prize for the best publication at the intersection of dance and theatre studies. In 2007, Clare received the Society of Dance History Scholars Selma Jeanne Cohen Award for Outstanding Graduate Research for her paper, “Photographs and Dancing Bodies: Alvin Ailey’s 1967 US State Department Sponsored Tour of Africa.” Clare is also an active dance dramaturg and dance critic. Her dance writing has been published in The Washington Post, the Austin American Statesman, Dance Magazine, The Baltimore Sun, and the Houston Chronicle, among other newspapers and magazines. In 2003, Clare received the Emerging Dance Writer of the Year award from the Dance Critics Association. Clare comes to dance scholarship and dance writing from a background as a dancer. She worked as a dancer in Washington, DC, primarily with Crossroads Dance Company.
Anne Flynn, MA
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.
Sherril Dodds, PhD.
Sherril Dodds is Professor and Chair of the Dance Department at Temple University, US. Prior to taking up this post in Fall 2011, she was Head of the Department of Dance, Film and Theatre, and Director of Postgraduate Research at the University of Surrey, UK. She is a founder member of the UK PoPMOVES research group and initiated the SDHS Popular, Social and Vernacular Dance Working Group. In 2008 and 2009, she was an Erasmus Visiting Lecturer at Trondheim University in Norway and in 2010 she was a Visiting Academic at the Centre for Cultural Research at Griffith University in Australia. She has published two monographs, Dance on Screen: Genres and Media from Hollywood to Experimental Art (Palgrave, 2001) and Dancing on the Canon: Embodiments of Value in Popular Dance (Palgrave, 2011), and has co-edited an anthology, Bodies of Sound (Ashgate, forthcoming) with Professor Susan Cook.
Danielle Goldman, PhD.
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.
Judith Hamera, PhD.
Judith Hamera's scholarship is interdisciplinary, contributing to American, communication, and cultural studies, as well as performance and dance studies. Her research examines the social work of aesthetics, especially play with genre conventions for self-fashioning and community building on and off stage. Her latest book, Parlor Ponds: The Cultural Lives of the American Home Aquarium, 1870-1970, is forthcoming from the University of Michigan Press. She is the co-editor of the Cambridge Companion to American Travel Writing (2009) with Alfred Bendixen, and the author of Dancing Communities: Performance, Difference and Connection in the Global City (Studies in International Performance: Palgrave Macmillan, 2007), which received the Book of the Year award from the National Communication Association's Ethnography Division. Other books are Opening Acts: Performance In/As Communication and Cultural Studies (Sage, 2006); and the Sage Handbook of Performance Studies, co-edited with D. Soyini Madison (2006).
Her essays have appeared in Communication and Critical/Cultural Studies, Cultural Studies, TDR: The Drama Review, Modern Drama, Text and Performance Quarterly, Theatre Topics, and Women and Language. She is the recipient of the National Communication Association's Lilla Heston Award for Outstanding Scholarship in Performance Studies; has served as editor of Text and Performance Quarterly, the performance studies journal of the National Communication Association; and is a member of the Congress on Research in Dance Board of Directors. Before coming to Texas A&M in 2005, Dr. Hamera taught at California State University, Los Angeles, where she held numerous administrative appointments and was honored as both a university Outstanding Professor and President's Distinguished Professor. She received her BA in Mass Communication from Wayne State University and her MA and PhD in Interpretation and Performance Studies, respectively, from Northwestern University.
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).
Kin-Yan Szeto, Ph.D.
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
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.
Graduate Student Representative
Mair W. Culbreth is a fourth year Ph.D. student in Dance Studies at The Ohio State University. Her doctoral research and choreographic investigations incorporate frameworks from an M.S. in Kinesiology, a Phd Minor in Women’s/Gender/Sexuality Studies and Cultural studies in Dance. Her dissertation research focuses on the San Francisco Bay Area’s dance practicesundefinedperformance practices, movement training, socio-political landscape, aesthetics and embodiment. Working with theories of embodied subjectivity, queer theory and performance, and feminist political theory, her analysis focuses upon the social and political discourse cultivated by artists/cultural workers in the SF Bay Area. While living in San Francisco, she danced professionally with Kathleen Hermesdorf of MotionLab, Company Mecanique, Lizz Roman and Dancers, Sean Dorsey of FreshMeat Productions and Project Bandaloop. In 2003, Mair received the Bay Area Izzie Award for Performance. Mair is currently a guest teacher/choreographer at NC State, UNC-Greensboro and The North Carolina Governor’s School and is co-director of the company between the lines. She holds an M.S. in Kinesiology from San Francisco State University and a B.A. in Multidisciplinary Studies from North Carolina State University.
Mark Franko, PhD.
Editor, Dance Research Journal
Mark Franko, Professor of Dance and Performance Studies and Director of the Center for Visual and Performance Studies at the University of California, Santa Cruz, is editor of Dance Research Journal and founding editor of the Oxford Studies in Dance Theory book series. His books have been translated into French, Italian, and Slovenian; they include Dance as Text: Ideologies of the Baroque Body, Dancing Modernism/Performing Politics and The Work of Dance: Labor, Movement, and Identity in the 1930s. He edited Ritual and Event: Interdisciplinary Perspectives, and co-edited Acting on the Past: Historical Performance Across the Disciplines. His choreography has been produced at Lincoln Center Out-of-Doors Festival, Berlin Werkstatt Festival, Getty Center, Montpellier Opera, Toulon Art Museum, Haggerty Art Museum (Milwaukee), Akademie der Künste (Berlin), Mozarteum (Salzburg), and at many New York and San Francisco dance venues. He is currently finishing a book on Martha Graham, antifascism, myth and psychoanalysis in the 1940s. Click here to view a list of Dr. Franko's publications.
Gay Morris, PhD.
Book Reviews Editor, Dance Research Journal
Mark Broomfield, PhD.
Mark Broomfield (Ph.D. in Critical Dance Studies, University of California, Riverside; M.F.A. University of Michigan, Ann Arbor) is a scholar/artist who has danced with the reperatory company Cleo Parker Robinson Dance, performing in leading works by some of the most diverse and recognized African-American choreographers in the American modern dance tradition that include: Talley Beatty, Katherine Dunham, Donald McKayle, David Rousseve, and Ronald K. Brown. He also danced with Houlihan and Dancers, Snappy Dance Theatr, and apprenticed with Forces of Nature Dance Theatre. Presently, Broomfield is working on his book manuscript, "Passing for Almost Straight: The Politics and Performance of Black Masculinity On- and Offstage." His book examines sexual passing and multidimensionality of African-American dancer-choreographers in the late twentieth and early twenty-first century who negotiate the performance, perception, and representation of the black male dancing body against a backdrop of entrenched stereotypes about Western theatrical dance.