In Time Together: Viewing & Reviewing Contemporary Dance Practice WORLD DANCE ALLIANCE GLOBAL DANCE EVENT

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World Dance Alliance-Americas in affiliation with the University of Wisconsin-Madison Dance Department & the NYU Steinhardt Dance Education Program presents

in time together: viewing & reviewing contemporary dance practice WORLD DANCE ALLIANCE GLOBAL DANCE EVENT

New York City July 12 - July 17, 2010

T HE C ITY OF N EW Y ORK O FFICE OF THE M AYOR N EW Y ORK, NY 10007

July 11, 2010

Dear Friends:

It is a great pleasure to welcome all those attending the World Dance Alliance Global Dance Event.

It’s no coincidence that New York is both the world’s most diverse City and its cultural capital. Our artistic preeminence is the result of the contributions and viewpoints of our residents, who speak more than 200 different languages and hail from every corner of the globe. So I can’t imagine a better place for the WDA Global Dance Event, which brings together more than 350 dance artists, scholars, educators, and students from across the United States and around the world for a week of outstanding performances, classes, presentations, and more. On behalf of the City of New York, I commend WDA and everyone who helped to organize this year’s Global Dance Event

I’m also delighted to welcome all of the attendees to our great City. While you’re here, I hope that you will take the opportunity to experience everything the Big Apple has to offer. I recommend a stroll across the Brooklyn Bridge, a visit to Central Park, and sampling an array of international cuisine in our outstanding restaurants. Whatever your taste, New York City truly has something for everyone; and if you need any suggestions, Just Ask The Locals. Our friendly residents will be glad to point you to the best attractions throughout the City.

My best wishes for an enjoyable event and continued success every step of the way!

Sincerely,

Michael R. Bloomberg Mayor

Mary Brabeck Dean

Dear Colleagues:

Welcome to New York City! The NYU Steinhardt School of Culture, Education, and Human Development is delighted to co-host the World Dance Alliance conference and festival, In Time Together: Viewing and Reviewing Contemporary Dance Practice.

NYU Steinhardt has been home to our dance education program for forty years, and we are proud to help advance the field of dance education and research through our involvement in this wonderful conference and the ongoing work and achievements of our gifted faculty and students. It is a privilege for us to host so many scholars and leaders in the field, and what better place in which to convene than New York City, the world’s capital for innovation and inspiring artistic achievements.

On behalf of the NYU Steinhardt community, we salute World Dance Alliance for sponsoring this special event and all of you for your contributions to the field. I also wish to thank Susan Koff, Ed.D., director of our Dance Education Program, and our colleagues in the program for facilitating your visit.

With best wishes for a productive and memorable conference.

Sincerely,

Mary Brabeck, Ph.D. Dean and Professor of Applied Psychology NYU Steinhardt

Introduction 2

General Schedule 5

WDA Meetings 9

Presentation Sessions: Papers & Panels 13

Performances 41

Studio Sessions: Master Classes & Workshops 61

Dance Critics Association - 2010 Annual Conference 69

Additional Affiliated Events 74

Biographies & Company Descriptions 79

Tech & Rehearsal Schedules 102

Event Team 105 Introduction

Welcome to the 2010 World Dance Alliance Global Dance Event, hosted by Word Dance Alliance- Americas in affiliation with the University of Wisconsin-Madison Dance Department and NewYork University Steinhardt’s Dance Education Program!

WDA-Americas received approval to conduct the Event at the WDA Presidents Meeting immediately following the 2009 WDA-Americas General Assembly, both of which took place in Madison, Wis- consin. While WDA-Americas has always had an active core in New York, we have never hosted a WDA-wide event there— in the city which is arguably the primary site for dance in North America. In recent WDA-Americas events, elements of creation and presentation have been especially strong, and we hoped to build on those strengths in New York and set a goal of including performance components which reflected as much as possible the global scope of WDA.

The Event’s theme began to emerge following Dance Theater Workshop’s agreement to include the Event in its 2010 Guest Artist Series. Because DTW is the cornerstone of American contemporary dance art, it made sense to emphasize the contemporary. Considering what that might entail, we investigated and broke down the term itself: “con-” meaning together and “tempus,” the Latin term for time. Thus emerged In Time Together: Viewing and Reviewing Contemporary Dance Practice.

The theme highlights the now of dance but in expressly inclusive terms. Rooted in the origins of the word contemporary, it insists on the relationships between the dance of today and past movements which not only inform but make possible the exciting and dynamic sweep of current movement practice. In Time Together seeks to raise questions of how dance, often characterized as the most ephemeral or immediate of art forms and cultural practices, negotiates and has negotiated time. The relationship between dance and temporality is exciting in its breadth as it engages not only issues historical but also cultural, political, intellectual, institutional, artistic, practical, and social. The Event’s presenters and performers will demonstrate that the timing of dance includes preserving, moving, re-moving, inventing, promoting, and re-membering. It spans from the level of state policy to the site of a single body in rehearsal.

When developing the Event’s theme, we were particularly delighted to discover the together-ness present in the roots of contemporary. Emphasizing this presence falls in line with key elements of WDA’s mission, most notably its commitment to intercultural and artistic exchange and its goal “to bring about greater understanding, respect and peace in the world through dance and cooperation on a global scale.” The Event brings in time together over 300 participants from more than 25 countries, including performances from more than a dozen different nations! The Event brings in time together artists, teachers, students, scholars, critics, and practitioners in an effort to produce diverse conversations and to promote partnership.

Partnering, indeed, has been central to the conception and carrying out the Event. Collaboration with Susan Koff and NYU Steinhardt’s Dance Education Program made it possible to organize presentation sessions in the Kimmel Center. We are deeply thankful for their support. The assistance of the UW-Madison School of Education and the UW-Madison Dance Department were vital to the realization of the Event, as almost everything prior to July 11 was coordianted from Madison, Wisconsin. WDA-Americas also is thoroughly indebted to the Taipei Cultural Center of TECO in New York/Council for Cultural Affairs, Taiwan which not only facilitated the participation of numerous performance groups from Taiwan but also offered to host the Event’s Opening Reception and generously has provided space for meetings critical to the future of WDA.

World Dance Alliance Global Dance Event 2010 2 Introduction

We are thrilled to hold the Event in conjunction with the 2010 Dance Critics Association Confer- ence, which is taking place July 16 – 18. You will find their schedule of events listed in our program. WDA’s collaboration with the DCA is intended to foster and foreground the crucial and often complex partnership between audience and performers, between artists and critics. To advance dialogue along these lines, we have organized five panels in which critics discuss and provide feedback on the Event concert from the previous evening. These panels are open to both WDA and DCA participants. In an effort to keep things interesting, we have scheduled all but the Friday response panel (which takes place in the Kimmel Center as a part of the DCA conference) in a place of dance practice, the Jerome Robbins Studio at DTW. The Event also follows immediately on the heels—or, perhaps, pieds— of CORPS de Ballet International’s 12th Annual Teacher Conference titled Bodies of Knowledge: Ballet and Academe and held in New York City July 7-11. We extend a special and warm welcome to its participants who were able to remain in New York long enough to be in time together with us.

Also preceding the Event in New York, the University of Wisconsin-Madison Dance Department conducted its 2010 Summer Dance Institute from June 21 to July 10. At the Institute, dance students from five different colleges and universities in Australia, Taiwan, and USA participated in an intensive study program and joined in choreographic projects led by professors and choreographers from Edith Cowan University/Western Australian Academy of Performing Arts (Australia), Federal Uni- versity of Bahai (Brazil), Jazz-Tanz-Theater (Germany), Movement Insights (USA), Texas Christian University (USA), UW-Madison (USA), Virginia Commonwealth University (USA), and York Univer- sity (Canada). To share the vitality and power of this international collaboration, we will feature the results from four of the Institute’s choreographic projects in the Monday July 12 Opening Concert.

Again, welcome to the 2010 WDA Global Dance Event. We are proud and honored to come in time together with you, the diverse, talented, and insightful artists, presenters, and participants who will realize the Event as an investigation, celebration, and propagation of contemporary dance practice.

Dr. Jin-Wen Yu J. Ereck Jarvis WDA-Americas President and Coordinator of the 2010 Global Dance Event Director of the 2010 Global Dance Event

World Dance Alliance Global Dance Event 2010 3 Don’t ask me why! by Joseph Fontano / Photo: Massimiliano Siccardi

World Dance Alliance Global Dance Event 2010 4 GENERAL SCHEDULE OF EVENTS & World Dance Alliance Meetings

World Dance Alliance Global Dance Event 2010 5 General Schedule

KIMMEL CENTER DANCE THEATER TAIPEI CULTURAL WORKSHOP CENTER SUNDAY 6:00 pm JULY 11 Opening Reception

MONDAY 9:30 - 11:00 am JULY 12 Opening Meeting 11:30 am - 5:00 pm 12:30 - 4:00 pm Presentation Sessions Studio Sessions

7:30 pm Opening Concert Ticket Bundles

TUESDAY 9:30 am - 3:00 pm 9:30 am - 4:00 pm 10:30 am - 4:00 pm JULY 13 Presentation Sessions WDA-Americas Board Studio Sessions Meeting

5:00 Concert A 1st Performance -Ticket Bundles 7:30 pm Concert A 2nd Performance -Public Box Office

WEDNESDAY 9:30 am - 3:00 pm JULY 14 Presentation Sessions 10:30 am - 2:00 pm Studio Sessions

2:30 - 4:00 pm Studio Performance A & Critics Response Panel

5:00 Concert B 1st Performance -Ticket Bundles 7:30 pm Concert B 2nd Performance -Public Box Office

World Dance Alliance Global Dance Event 2010 6 General Schedule

KIMMEL CENTER DANCE THEATER TAIPEI CULTURAL WORKSHOP CENTER THURSDAY 9:30 am - 1:00 pm 9:30 am - 4:00 pm 10:30 am - 2:00 pm JULY 15 Presentation Sessions WDA Presidents Meeting Studio Sessions

2:30 - 4:00 pm Studio Performance B & Critics Response Panel

5:00 Concert C 1st Performance -Ticket Bundles 7:30 pm Concert C 2nd Performance -Public Box Office

KIMMEL CENTER DANCE THEATER WORKSHOP

FRIDAY 9:00 am - 4:30 pm 9:00 - 10:30 am 9:00 am - 5:00 pm 10:30 am - 4:00 pm JULY 16 WDA Meetings Presentation DCA Conference Studio Sessions Session

1:30 - 3:00 pm Critics Response Panel 5:00 Concert D 1st Performance -Ticket Bundles 7:30 pm Concert D 2nd Performance -Public Box Office DANCE THEATER WORKSHOP

SATURDAY 10:30 am - 2:00 pm 10:30 am - 4:00 pm JULY 17 Studio Sessions DCA Conference

2:30 - 4:00 pm 2:30 - 4:00 pm Studio Performance C Critics Feedback Panel

5:00 Concert E 1st Performance -Ticket Bundles 7:30 pm Concert E 2nd Performance -Public Box Office

World Dance Alliance Global Dance Event 2010 7 General Schedule

DANCE THEATER WORKSHOP

SUNDAY Noon - 5:00 pm JULY 18 DCA Conference

4:00 pm C-4 Concert

Merián Soto / Photo: Steven Schreiber

World Dance Alliance Global Dance Event 2010 8 WDA Meetings All participants in the 2010 WDA Global Dance Event are warmly invited to join the Opening Meeting, Network Meetings, and the Membership Assembly Meeting.

Monday July 12, 2010

WDA Global Dance Event Opening Meeting 9:30 - 11:00 am Kimmel Center, Room 905/907

Tuesday July 13, 2010

WDA-Americas Board Meeting 9:30 am - 4:00 pm Taipei Cultural Center

Thursday July 15, 2010

WDA Presidents Meeting 9:30 am - 4:00 pm Taipei Cultural Center

Friday July 16, 2010

WDA Network Meeting: Creation and Presentation 9:00 - 10:15 am Kimmel Center, Room 405

WDA Network Meeting: 10:30 - 11:30 am Research and Documentation Kimmel Center, Room 405

WDA Network Meeting: 11:45 am - 12:45 pm Education and Training Kimmel Center, Room 405

WDA Networks Meeting: 1:45 - 2:45 pm Management and Promotion & Status and Welfare Kimmel Center, Room 405 WDA Membership Assembly Meeting 3:00 - 4:30 pm Kimmel Center, Room 405

World Dance Alliance Global Dance Event 2010 9 Word Dance Alliance Executive Board General Secretary Cheryl Stock (Australia) WDA-Americas President Jin-Wen Yu (USA) Past President Adrienne L Kaeppler (USA) Vice President (North America) Marcia De La Garza (Mexico) Vice President (Central America) Alina Abreu (Dominican Republic) Vice President (South America) Peter Palacio (Colombia) Secretary Mary Jane Warner (Canada) Treasurer Audrey Ross (USA) Additional Board Members Hazel Franco (Trinidad & Tobago) David Iannitelli (Brazil) Silvia Kaehler (Argentina) Leda Muhana (Brazil) Alan Stark (Mexico) Network Chairs Creation & Presentation Sabrina Castillo (Guatemala) & Susan Douglas Roberts (USA) Education & Training Lúcia Matos (Brazil) & Traci Sheepstra (Canada) Management & Promotion open Research & Documentation Linda Caldwell (USA) & Leda Muhana (Brazil) Welfare & Status open

WDA-Europe President Joseph Fontano (Italy) Vice President & Treasurer Luca Di Paolo (Italy) Counselor Member Nicoletta Massignani (Italy)

Vice President (Belgium) Jetty Roels Vice President (Serbia) Aja Jung

Committee/Network Chairs Creation & Presentation Aja Jung (Serbia) Education & Training Germana Erba (Italy) Management & Promotion Liisa-Sirkka Forslund (Sweden) Research & Documentation Jetty Roels (Belgium) Welfare & Status Rossella Delmastro (Italy)

World Dance Alliance Global Dance Event 2010 10 Word Dance Alliance Executive Board

WDA-Asia Pacific President Anis Nor (Malaysia) Vice-President Yunyu Wang (Taiwan, ROC) Secretary Julie Dyson (Australia) Treasurer Mew Chang Tsing (Malaysia) Vice-President (East Asia) Anna Chan (Hong Kong) Vice-President (South-East Asia) Basilio Esteban Villaruz (Philippines) Vice-President (South Asia) Urmimala Sarkar Munsi (India) Vice-President (Pacific) Ralph Buck (New Zealand)

Network Chairs Creation & Presentation Nanette Hassall (Australia) & Nirmala Seshadri (Singapore) Education & Training Ralph Buck (New Zealand) & Jeff Meiners (Australia) Management & Promotion Fred Frumberg (Cambodia) & Marcus Hughes (Australia) Research & Documentation Stephanie Burridge (Singapore/Australia) & Urmimala Sarkar Munsi (India) Welfare & Status Sohini Chakraborty (India) & Tania Kopytko (New Zealand)

Chapter Heads Julie Dyson (Australia), Tania Kopytko (Aotearoa New Zealand), Fred Frumberg (Cambodia), Suon Bun Rith (Cambodia deputy), Sachiko Miller (Fiji) , Anna Chan (Hong Kong), Kapila Vatsyayan (India), Sunil Kothari (India deputy), Bhanumati (Karnataka chapter), Urmimala Sarkar Munsi (West Bengal chapter), Darshana Jhaveri (Maharashtra chapter), Maria Darmaningsih (Indonesia), Sal Murgiyanto (Indonesia adviser), Indra Utama (West Sumatra), Miki Wakamatsu (Japan), Hae Shik Kim (Korea), Yang Sook Cho (Korea deputy), Mew Chang Tsing (Malaysia), Basilio Esteban Villaruz (Philippines), Teresa Pee (Singapore), Su-ling Chou (Taiwan, ROC), Pornrat Damrhung (Thailand rep), and Sophie Yuen Mason (South Vietnam rep)

World Dance Alliance Global Dance Event 2010 11 Escola Contemporânea de Dança’s Understanding Dance Project Photo: Patrícia Carmo

World Dance Alliance Global Dance Event 2010 12 PRESENTATION SESSIONS: Scholarly Papers & Panels Helen & Martin Kimmel Center for University Life

World Dance Alliance Global Dance Event 2010 13 Presentations Monday July 12, 2010

Session 1 - Panel 11:30 am - 1:00 pm Founding the WDA and WDA-Americas Room 905/907 Kimmel Center Ruth K. Abrahams (Chair) Past President, WDA-Americas Genevieve Oswald Johnson Founding President, WDA-Americas George Dorris Founding Board Member, WDA-Americas Dawn Lille Founding Board Member, WDA-Americas Ilene Fox Founding Board Member, WDA-Americas

Session 2 - Scholarly Papers & Video Presentation 11:30 am - 1:00 pm Media and Message: Room 908 Diversified Bodies and Contemporary Pedagogy Kimmel Center Moderator: Mary Jane Warner (York University) Zihao Li York University (Canada) How Today’s Technology Shapes Our Way of Teaching Dance Shelley Padilla Collin College, North Central Texas College, and Texas Woman’s University (USA) The Grilled Cheese Express

Session 3 - Scholarly Papers 11:30 am - 1:00 pm Revisioning Improvisation Room 910 Moderator: Kate Corby (University of Wisconsin-Madison) Kimmel Center Amy Larimer Lehman College (USA) Reintegrating the Jester: Incorporating Comedy Improvisation Techniques into Modern Dance Training Mauro Sacchi Taipei National University of the Arts (Taiwan, ROC) Shaping the Conscious Body: Contact Improvisation and Grotowski-based Actor Training — A (partial) Study in Comparison Annie Kloppenberg Colby College (USA) All at Once: Means and Ends - A View of Improvisation as Composition in the Work of Judith Dunn and Bill Dixon

World Dance Alliance Global Dance Event 2010 14 Presentations Monday July 12, 2010

Session 4 - Scholarly Papers 1:30 - 3:00 pm Transient Bodies: Room 903 Moving through Injury, Illness, and Identity Kimmel Center Moderator: Marcus Hughes (Australian Dance Council, Ausdance Queensland) Hui-Cheng Kuo Taipei National University of the Arts (Taiwan, ROC) The Representation of the Cancer Patients’ Dance Community Anisul Islam Hero Srishti Cultural Center (Bangladesh) Looking Out from the Inside: Men’s Sexuality, Gender Identity, HIV/AIDS, and Dance in Bangladesh Mary Burns, PhD Pilates Circuit for Dancers (USA) The Effectiveness Pilates-based Exercises for Dancers has on the Rate of Injury in Both Male & Female Professional Dancers

Session 5 - Scholarly Papers 1:30 - 3:00 pm Stillness, Ritual: Room 908 Contemporary Choreographic Awareness Kimmel Center Moderator: Danny Koon Meng Tan (Queensland University of Technology and Odyssey Dance Theatre Ltd.) James Cunningham Igneous (Australia) Breathing the Walls Sarah Gavina Campus University of Auckland (New Zealand) Integrating Ritual in Contemporary Dance Practice

World Dance Alliance Global Dance Event 2010 15 Presentations Monday July 12, 2010

Session 6 - Scholarly Papers 1:30 - 3:00 pm Contemporary Trends in Higher Education Room 909 Moderator: Shaaron Boughen (Queensland University of Technology) Kimmel Center Caren Carino Nanyang Academy of Fine Arts (Singapore) Nanyang Academy of Fine Arts: Shaping the Singaporean Identity through Contemporary Dance Avril Huddy and Madonna Ellaby Queensland University of Technology (Australia) Transcending Dance Teaching and Learning Methodologies Robyn Torney Edith Cowan University/Western Australian Academy of Performing Arts (Australia) Transitioning from Conservatory to a Career in Contemporary Dance: LINK Dance Company

Session 7 - Scholarly Papers 1:30 - 3:00 pm African Traditions and Transnational Movements Room 910 Moderator: Linda Caldwell (Texas Woman’s University) Kimmel Center Seónagh Odhiambo California State University, Los Angeles (USA) Dancing in Time: Choreographic Process as a Genealogy of History Hazel Franco University of the West Indies-St. Augustine (Trinidad and Tobago) Tobago Legacy: Making Connections through African Spiritual and Ritual Practices Carole Johnson NAISDA Dance College and Bangarra Dance Theatre (Australia) African-American and Asian Influences on Australian Indigenous Contemporary Dance

World Dance Alliance Global Dance Event 2010 16 Presentations Monday July 12, 2010

Session 8 - Scholarly Papers 3:30 - 5:00 pm Temporality and Contemporary Practices Room 903 Moderator: Susan Douglas Roberts (Texas Christian University) Kimmel Center Evadne Kelly York University (Canada) The Affective Experience of Time During Performance Tai-Yueh Chen Taipei National University of the Arts (Taiwan, ROC) The Docile Body? Micro-Power and Training in Legend Lin Dance Theater Tammi Gissell National Aboriginal and Islander Skills Development Association Dance College (Australia) Dancing the Dreaming: Temporality and Contemporary Indigenous Dance Practice Tammi Gissel’s project and presentation has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Session 9 - Workshop 3:30 - 5:00 pm Financial Focus for Dancing: Room 904 Understanding Your Position in the Present Kimmel Center Madeleine M. Nichols Nichols Law Group and The New York Public Library Dance Division (USA) This workshop attends to the single most persistent challenge for dance companies and dance performing careers today: their financial picture. Viewing and reviewing contemporary issues and trends for a fiscally healthy dance practice, each session includes discussion and a road map that applies individually and globally. This the first session will enable participants to see objectively where they are presently positioned. All those interested are welcome: attendance of the workshop’s subsequent second session is not required to participate.

World Dance Alliance Global Dance Event 2010 17 Presentations Monday July 12, 2010

Session 10 - Scholarly Papers 3:30 - 5:00 pm Music and Movement in Time Together Room 909 Moderator: Cheryl Stock (Queensland University of Technology) Kimmel Center Kathleya Afanador Laban Centre (United Kingdom) and Allen Fogelsanger Cornell University (USA) Cross-modal Perception and Dance Renate Bräuninger University of Northampton (United Kingdom) Time - Duration - Pattern Creating Processes Darrah Carr Hofstra University and Darrah Carr Dance (USA) RhythMOTION Elizabeth Shea and Jeffrey Hass Indiana University (USA) Creating Integrated Music and Video for Dance: Lessons Learned and Lessons Ignored

Unstrung choreographed by Elizabeth Shea with music by Jeffrey Hass Photo: Jeremy Hogan

World Dance Alliance Global Dance Event 2010 18 Presentations Tuesday July 13, 2010

Session 11 - Scholarly Papers 9:30 -11:00 am Traditional and Contemporary in Time Together: Room 903 India and Bangladesh Kimmel Center Moderator: Lubna Marium (Shadhona – A Center for Advancement of Southasian Dance and Music) Debanjali Biswas School of Oriental and African Studies, University of London (United Kingdom) Etched on the Body Sk. Mehedi Hasan Jahangirnagar University and Centre for Dance Research Bangladesh (Bangladesh) Dance Tradition in Ancient Bengal and Present Practice Shobha Subramanian Towson University and Jayamangala (USA) Contemporizing Natya: Choreographing for the 21st-Century Audience

Session 12 - Scholarly Papers 9:30 -11:00 am Intercultural Aesthetics Room 904 Moderator: Lynn Matluck Brooks (Franklin & Marshall College) Kimmel Center Tom Borek (USA) The Global Overlapping and Interlinking of Arts and Culture over Time Roger Copeland Oberlin College (USA) The Gaze of Upright Posture: Min Tanaka, Butoh, and Oedipus Rex

Session 13 - Panel 9:30 -11:00 am An Ice-breaking Journey of Reaching Out and Room 908 Reaching In: The Processes, Benefits, and Difficulties of Bringing Kimmel Center Dance into Community, School, and a Physical Education Program Ra-Yuan Tseng (Panel Chair) Taipei Physical Education College (Taiwan, ROC) Bringing Dance Education to the Community Yi-jung Wu Taipei Physical Education College (Taiwan, ROC) The Transformations of College Dance Students in Dance Teaching Practicum Huai Wen Chang Taipei Physical Education College (Taiwan, ROC) Fighting for Survival in a Shaky Pool: An Ethnographic Study of Dance Practice in a Junior High School Physical Education Program

World Dance Alliance Global Dance Event 2010 19 Presentations Tuesday July 13, 2010

Session 14 - Scholarly Papers 11:30 am - 1:00 pm Female Identities in Asian Practices Room 903 Moderator: Pornrat Damrhung (Chulalongkorn University) Kimmel Center Urmimala Sarkar Munsi Jawaharlal Nehru University (India) The Changing Sphere of the Professional Woman Dancer in India: 1910 – 2010 Nirmala Seshadri National Arts Council-Singapore and Nanyang Academy of Fine Arts (Singapore) Challenging Patriarchy through Dance Casey Avaunt Taipei National University of the Arts (Taiwan, ROC) Deviant Females— The Representation of Feminism through Abnormality within Taiwan’s New Generation of Female Choreographers

Session 15 - Workshop 11:30 am - 1:00 pm Looking at Dance - Writing Dance Room 904 Marcia B. Siegel Kimmel Center (USA) Understanding dance is usually thought to be largely physical and intuitive, an internal, personal process that is not subject to verbal translation. This workshop aims to enable a related but different process. Through enhancing the skills of observation, memory, and reflection, the viewer can expand her or his understanding of what a dance is, by bringing it to a different level of consciousness. Engaging in a series of exercises and discussions, we will consider and seek to intensify the participants’ understanding of the relationship between language and nonverbal performance.

Session 16 - Scholarly Papers 11:30 am - 1:00 pm Audience and Dance in Time Together Room 905 Moderator: Tamara Ashley (Northumbria University) Kimmel Center Shu-Gi Cheng Taipei National University of the Arts (Taiwan, ROC) Between the Real and the Imagined: White Snake Variations - On Stage and Off Stage Ann Dils University of North Carolina at Greensboro (USA) Rehearsing the Audience/Remembering Le Boeuf sur le Toit Cheryl Stock Queensland University of Technology (Australia) Creating New Narratives through Shared Time and Space: The Performance/Audience Connection in Multi-Site Dance Events

World Dance Alliance Global Dance Event 2010 20 Restaging of Le Boeuf sur le Toit by Ann Dils / Photo: Justin Tornow

World Dance Alliance Global Dance Event 2010 21 Presentations Tuesday July 13, 2010

Session 17 - Scholarly Papers 11:30 am - 1:00 pm Surveying Dance Education and Policy Room 907 Moderator: Lynn Matluck Brooks (Franklin & Marshall College) Kimmel Center This session is dedicated to the memory of Dr. Patricia A. Rowe and celebrates her dynamic legacy. Ralph Buck University of Auckland (New Zealand) A Time for Alliances: The World Dance Alliance and the World Alliance for Arts Education Rima Faber and Jane Bonbright National Dance Education Organization (USA) Dancing Through Research: Past to Present Thomas K. Hagood Florida International University (USA) and Mary A. Brennan University of Wisconsin-Madison (USA) Sense and Sensibility: Writings on Kinesthetic Potentials and Dance Education Lúcia Matos Federal University of Bahia (Brazil) Thinking and Working in a Network: The Contribution of Social Dance Networks in Brazil and Latin America to the Enactment of Cultural and Educational Policies for Dance

World Dance Alliance Global Dance Event 2010 22 Presentations Tuesday July 13, 2010

Session 18 - Scholarly Papers 11:30 am - 1:00 pm Contemporary Approaches to Room 908 Sharing Chinese Movement Kimmel Center Moderator: Yunyu Wang (Taipei National University of the Arts and Colorado College) Yu-Chia Wang HongMing Experimental Elementary School and DoXing Elementary School (Taiwan, ROC) and Yi-jung Wu Taipei Physical Education College (Taiwan, ROC) The Influences of a Martial Art-Oriented Dance Class on Second Graders’ Cognitive, Psycho-Motor, and Affective Performances I-Ching Liu Taipei National University of the Arts (Taiwan, ROC) The Creation of Taiwanese Folk Dances— A Case Study on Tiao-Gu Jen I-Ying Lin Taipei National University of the Arts (Taiwan, ROC) Chinese Opera Movements as Dancers’ Basic Training— A Teaching Analysis of Five Teachers from Taipei National University of the Arts

Session 19 - Scholarly Papers 1:30 - 3:00 pm Cross-Cultural Investigations Room 905 in Contemporary Asia-Pacific Kimmel Center Moderator: Cheryl Stock (Queensland University of Technology) Danny Koon Meng Tan Queensland University of Technology (Australia) and Odyssey Dance Theatre Ltd. (Singapore) Red Tears— A Singaporean Contemporary Dance Perspective Heng Ping Taipei National University of the Arts (Taiwan, R. O. C.) and Yunyu Wang Taipei National University of the Arts (Taiwan, ROC) and Colorado College (USA) Spectacularizing International Ceremony— 2009 World Games Marcus Hughes Australian Dance Council, Ausdance Queensland (Australia) Everyone’s a Critic: The Bell Tower Choreographic Workshop & the Democratic Development of Demand-Driven Dance

World Dance Alliance Global Dance Event 2010 23 Baker & Tarpaga Dance Project

World Dance Alliance Global Dance Event 2010 24 Presentations Tuesday July 13, 2010

Session 20 - Scholarly Papers 1:30 - 3:00 pm Socializing Choreography: Room 906 Spectacular Movements and their Publics Kimmel Center Moderator: Duncan Holt (University of Hull) Jeff Meiners University of South Australia (Australia) Performers and Very Young Children in Dance Theatre Time Together Alexandra Kolb University of Otago (New Zealand) Changing Times: A New Approach to 1960s Terrorism through Contemporary Choreography Anadel Lynton Centro Nacional de Investigación de la Danza del INBA (Mexico) 100 Years of Post-Revolutionary Dance: The Varieties of Public Art in Movement

Session 21 - Panel 1:30 - 3:00 pm Creative Practice in Dance Pedagogy— Room 907 American and European Perspectives Kimmel Center Kristin Tovson (Panel Chair) MFA, Arizona State University (USA) & Fulbright Grantee, Berlin (Germany) Mary Fitzgerald Associate Professor, Arizona State University (USA) Eileen Standley Clinical Professor, Arizona State University (USA)

World Dance Alliance Global Dance Event 2010 25 Presentations Wednesday July 14, 2010

Session 22 - Panel 9:30 - 11:00 am Contemporary Cambodia Room 903 Kimmel Center Toni Shapiro-Phim (Panel Chair) Director of Research and Archiving, Khmer Arts (Cambodia) Chey Chankethya Dance Deptartment, National Secondary School of Fine Arts, Phnom Penh (Cambodia) Fred Frumberg Director, Amrita Performing Arts (Cambodia)

Session 23 - Workshop 9:30 - 11:00 am Financial Focus for Dancing: Room 904 Techniques for Monitoring and Modifying Your Future Kimmel Center Madeleine M. Nichols Nichols Law Group and The New York Public Library Dance Division (USA) This workshop attends to the single most persistent challenge for dance companies and dance performing careers today: their financial picture. Viewing and reviewing contemporary issues and trends for a fiscally healthy dance practice, each session includes discussion and a road map that applies individually and globally. This the second session will empower participants to monitor and, if they desire, to modify their practices. All those interested are welcome: attendance of the workshop’s first session is not required to participate.

Session 24 - Scholarly Papers 9:30 - 11:00 am Movement and Meaning Room 908 Moderator: Marcia De La Garza (New York International Ballet Competition) Kimmel Center Michael Parmenter University of Auckland and UNITEC School of Performing and Screen Arts (New Zealand) Life Between Us Eduardo Javier Oramas Fonseca Universidad Distrital Francisco José de Caldas (Columbia) El peso de la idea/The Weight of the Idea Robert Liew National University of Singapore and Arts Management Associates (Singapore) Is Integralism the Answer to Everything?

World Dance Alliance Global Dance Event 2010 26 Presentations Wednesday July 14, 2010

Session 25 - Scholarly Papers 11:30 am - 1:00 pm Temporality and Ritual Room 903 Moderator: Adrienne Kaeppler (Smithsonian Institution) Kimmel Center Lubna Marium Shadhona – A Center for Advancement of Southasian Dance and Music (Bangladesh) Dance as Soteriological Ritual Anis Md Nor Mohd University of Malaya (Malaysia) Dancing the Silent Dhikr: Negotiating Temporality and Reciting Litanies in the Zapin Dance in Maritime Southeast Asia Pornrat Damrhung Chulalongkorn University (Thailand) Negotiating Khon’s Contemporary Rhythms: Two Modes of Temporality in Thai Classical Masked Dance

Session 26 - Workshop 11:30 am - 1:00 pm Looking at Dance - Writing Dance Room 904 Marcia B. Siegel Kimmel Center (USA) Understanding dance is usually thought to be largely physical and intuitive, an internal, personal process that is not subject to verbal translation. This workshop aims to enable a related but different process. Through enhancing the skills of observation, memory, and reflection, the viewer can expand her or his understanding of what a dance is, by bringing it to a different level of consciousness. Engaging in a series of exercises and discussions, we will consider and seek to intensify the participants’ understanding of the relationship between language and nonverbal performance.

Session 27 - Panel 11:30 am - 1:00 pm Moving Shorts: Room 906 A Community-based Curriculum in Dance for the Camera Kimmel Center Mary Fitzgerald (Panel Chair) Arizona State University (USA) Susan Bendix (USA) Harper Piver Arizona State University and Scottsdale & Mesa Community Colleges (USA)

World Dance Alliance Global Dance Event 2010 27 Presentations Wednesday July 14, 2010

Session 28 - Scholarly Papers 11:30 am - 1:00 pm Bodies of Movement in Contemporary Taiwan Room 908 Moderator: Mauro Sacchi (Taipei National University of the Arts) Kimmel Center Chu-Ching Liu Taipei National University of the Arts (Taiwan, ROC) The ‘Duet’ between Body and Architecture SheenRu Yong Taipei National University of the Arts (Taiwan, ROC) How Time Meets Space: Lin Lee-chen’s Renegotiation of Body and Place Ying-Ying Tu Taipei National University of the Arts (Taiwan, ROC) Dancing “Eastern”— A Taiwanese Contemporary Choreographer’s Cultural Identity in the Era of Globalization: A Study of Yang Ming-Long’s Eastern Current Trilogy

Session 29 - Panel 11:30 - 1:00 pm Notation: Room 909 Preservation and Literacy for Dance Kimmel Center Dawn Lille (Panel Chair) Juilliard School (USA) Diana Byer Artistic Director, New York Theatre Ballet (USA) Oona Haaranen Director of Education, Dance Notation Bureau and Brooklyn Ballet (USA) Patricia Harrington Delaney Associate Professor of Dance, Southern Methodist University (USA) Lynne Weber Executive Director, Dance Notation Bureau (USA)

World Dance Alliance Global Dance Event 2010 28 Presentations Wednesday July 14, 2010

Session 30 - Scholarly Papers 1:30 - 3:00 pm Creation in, over, and out of Time Room 906 Moderator: Maggi Phillips (Edith Cowan University/WAAPA) Kimmel Center Neil Adams University of Melbourn (Australia) Dancing the Past in the Present Shaaron Boughen Queensland University of Technology (Australia) Re-versioning Contemporary Dance as Interdisciplinary Practice Duncan Holt University of Hull (United Kingdom) Back to the Future; PONTOON – a Dance of Beginnings

Session 31 - Panel 1:30 - 3:00 pm Re-Viewing and Re-Imagining Room 909 Dance Education in the Twenty-First Century: Kimmel Center Whose Dance? Where Does it Happen? How is it Taught? Who Says? Linda Caldwell (Panel Chair) Texas Woman’s University (USA) Re-viewing the Political Stakes Embedded in How We See, Practice, and Disseminate the Scholarship of Performance Wrenn Cook Columbia College (USA) Toward a Critical Pedagogy: Interrogating our Responsibilities in Teacher Preparation Christina Hong Queensland University of Technology (Australia) Cultural Production and the Design of Higher Education Futures Kathleen Bell Texas Woman’s University (USA) Performance in the virtual, multi-user platform of Second Life: Where is it? What is it? Who is making it? Who is watching?

World Dance Alliance Global Dance Event 2010 29 Presentations Thursday July 15, 2010

Session 32 - Panel 9:30 - 11:00 am Tension in Time: Room 903 Endure, Relate, Disrupt, Flex and Web Kimmel Center Valerie Alpert (Panel Chair) College of Lake County (USA) Digital Dance: Transformation and Translation from Artistic Process to Pedagogy Tamara Ashley Northumbria University (United Kingdom) Enduring Place: Durational Site-responsive Dance Performance and the Disruption of Representation Nina Martin Texas Christian University (USA) The Improvising Choreographer in Ensemble Performance Nona McCaleb Texas Woman’s University (USA) Conscious Embodiment: Moving on the Dancing Ground of Time

Session 33 - Scholarly Papers 9:30 - 11:00 am Innovation and Exchange in Chinese Dance Room 904 Moderator: Mary Jane Warner (York University) Kimmel Center Shih-Ming Li Chang Wittenberg University (USA) and Lynn E. Frederiksen (USA) Dance is the Prism: A Collaborative Journey through Chinese Dance Ellen Gerdes Temple University (USA) Roots and Wings: Origins and Innovations of Chinese Dance in Philadelphia Shung-Jan Fan Taipei National University of the Arts (Taiwan, ROC) Re-innovating the Form or Reviving the Spirit of Chinese Classical Dance?— Analysis of Tsan yueh Ch’ang hsiou Choreographed by Hsiou Jun Ling”

World Dance Alliance Global Dance Event 2010 30 Presentations Thursday July 15, 2010

Session 34 - Scholarly Papers 9:30 - 11:00 am Educational Movements: Room 906 Young Bodies and Young Minds Kimmel Center Moderator: Lúcia Matos (Federal University of Bahia) Boon Fong Yam Ministry of Education (Singapore) Realizing Important Educational Goals through Dance Fatima Suarez Mantra Dance Center and Escola Contemporânea de Dança (Brazil) Escola Contemporânea de Dança’s Understanding Dance Project Heike Bischoff LVR Gerd Jansen School (Germany) Physically Handicapped Children – Teacher – Artist – In Time Together

From Top Escola Contemporânea de Dança’s Understanding Dance Project Photo: Patrícia Carmo Robert Solomon works with physically handicapped students at Gerd Jansen School Photo: Heike Bischoff

World Dance Alliance Global Dance Event 2010 31 Ananya Dance Theatre

World Dance Alliance Global Dance Event 2010 32 Presentations Thursday July 15, 2010

Session 35 - Scholarly Papers 9:30 - 11:00 am Remembering Movement and Movement Remembering Room 908 Moderator: Seónagh Odhiambo (California State University, Los Angeles) Kimmel Center Sarah-Mace Dennis University of New South Wales (Australia) Thinking the Brain through the Body: Choreographing the Body’s Lost Interactions with the World Hyung-sook Kim Seoul National University (Korea) and Kui-In Chung Pusan National University (Korea) Movement Learning Methods through Mental Imagery: Focus on the Laban Movement Anaylsis - Effort Concept Ida Mara Freire Universidade Federal de Santa Catarina (Brazil) Body House of Memory: A Creative Journey to Appreciate Dance

Session 36 - Scholarly Papers 11:30 am - 1:00 pm When Dance Ends: Room 903 Languages of Response Kimmel Center Moderator: Ruth Abrahams (Gomez Foundation for Mill House) Stephanie Burridge Singapore Management University (Singapore) Contexts for Reviewing Dance Across Cultures Maggi Phillips Edith Cowan University/Western Australian Academy of Performing Arts (Australia) when words are pinned down they fold their wings and die Hui Niu Wilcox St. Catherine University (USA) Performance of Possibilities: A Critical Analysis of Audience Responses to Pipaashaa by Ananya Dance Theatre

World Dance Alliance Global Dance Event 2010 33 Presentations Thursday July 15, 2010

Session 37 - Scholarly Papers 11:30 am - 1:00 pm Movement and/on Video Room 904 Moderator: Susan Douglas Roberts (Texas Christian University) Kimmel Center Suzon Fuks Australia Council for the Arts Fellow/Igneous (Australia) Diving the Frame Maria Adriana Verdaasdonk media performance unit 66b/cell (Japan) Poetic Felt Space: Embodying Poetry through Dance Movement, Projected Images, and Sound Ann Moradian and Nannette Bertschy Perspectives In Motion (France) Mind’s I

Session 38 - Panel 11:30 am - 1:00 pm Creating Fusion: Room 906 The Art of Collaboration Kimmel Center Back & to the Left Production Dance Company Knox College (USA) Jennifer Smith (Panel Chair) Artistic Director Craig Choma Scenic & Lighting Designer Kate Cochran Company Member/Dancer Emilia Karin Rudd Company Member/Dancer & Class Assistant Cassidy Bires Company Member/Dancer & Production Assistant

World Dance Alliance Global Dance Event 2010 34 Ann Moradian (Perspectives in Motion) Image: Nannette Bertschy

World Dance Alliance Global Dance Event 2010 35 Peace House School Project Photo: Chris Johnson

World Dance Alliance Global Dance Event 2010 36 Presentations Thursday July 15, 2010

Session 39 - Scholarly Papers 11:30 am - 1:00 pm Dancing in Place: Room 908 Education and Exchange Kimmel Center Moderator: Susan R. Koff (NYU Steinhardt) Chris Johnson Beloit College (USA) Peace House School Project: American Dancers Bridge Boundaries through Movement Workshops with AIDS Orphans in Tanzania Avril Huddy and Kym Stevens Queensland University of Technology (Australia) Moving:Grooving Histories— Taking the Case Study One Step Further Hiromi Sakamoto National Institute of Creative Arts and Industries, University of Auckland (New Zealand) Teaching Kapa Haka Together with Maori Kapa Haka Teachers

World Dance Alliance Global Dance Event 2010 37 Presentations Friday July 16, 2010

Session 40 - Scholarly Papers 9:00 - 11:00 am* Transmitters/Receivers: Room 908 Dislocating Asian Dance and Reforming Global Movement Kimmel Center Moderator: Susan R. Koff (NYU Steinhardt) Ananya Chatterjea University of Minnesota and Anaya Dance Theatre (USA) On the Value of Mistranslations, Contaminations, and Total Veerings Away: The Category of Contemporary Choreography in Asian Sance Peggy Choy University of Wisconsin-Madison (USA) Beyond Form: Afro Asian Improv Priyanka Basu Jawaharlal Nehru University (India) Searching History, Positioning the ‘Contemporary’: Bollywood ‘Item Number’ Jade Boyd University of British Columbia (Canada) Dancing Primetime

Session 41 - Feedback Panel 1:30 - 3:00 pm** Critics Respond to Concert C Room 908 Kimmel Center

* Please note that on Friday July 16 the first session begins at 9:00 am, 30 minutes earlier than the initial morning presentation sessions scheduled on other days of the Event. **Critics Response panels July 13 - 15 take place in the Jerome Robbins Studio at Dance Theater Workshop, 2:30 - 4:00 pm (see pages 63-67).

World Dance Alliance Global Dance Event 2010 38 This & That by Nirmala Seshadri Nanyang Academy of Fine Arts Photo: James Wong

World Dance Alliance Global Dance Event 2010 39 Jeannine Potter / Photo: Cheryl Mann

World Dance Alliance Global Dance Event 2010 40 PERFORMANCES Dance Theater Workshop

World Dance Alliance Global Dance Event 2010 41 Performances Monday July 12, 2010 Opening Concert Bessie Schönberg Theater Dance Theater Workshop 7:30 pm

ILINX TO (Premiere) UW-Madison Summer Dance Institute Choreography Leda Muhana (Brazil) in collaboration with the dancers Sound Design Andre Rangel Music compositions by Phillip Glass (Wichita), Andre Rangel, and sound effects Dancers 2010 UW-Madison Summer Dance Institute dancers, Liza Brink (USA), Scott Ewen (Australia), Jenni Large (Australia), Ruth Louise (Australia), Hsin-Fang Lu (Taiwan, ROC), Roy Martin (Australia), Shoshana Moyer (USA), Sophia Ndaba (Australia), Kit Stanley (USA), Olivia Templin (USA), and Hannah Wolf (USA)

Instantes del deseo (2006) Mexico Choreography & Text Ulises Martínez Martínez Company Claroscuro Danza–Teatro Music Antonio Zepeda, Eleani Karaindru, Chico Cesar, and Xguix Dancer Ulises Martínez Martínez English translation of Spanish text spoken during the performance (Translation generously provided by Kevin Boettcher) 1. I always wanted to know how it would be today: Who would come? How many? I come from a land where they offer the dead mescal and tortillas to ac- company them on the journey into the afterlife. The first moments that followed were consumed by play. 2. The desire to share... 3. And in the silence of a room. To recognize the distinct voices in flight and others being born, there in that space of simple freedoms, where we grow and con- verse with one another, inhabited by your own voice or your own silence (Gabriel, Antonio, Claudia, Mariana, Erika, Gregorio, Carla, etc.), right there in your own boat. Becoming the mirror of another in order to cleanse the soul but one... one cannot always be alone. At times someone else is needed. We always require another. And, just like that, I started out on that final journey, that journey where we bring nothing with us, none of those things we think are so important. With one excep- tion: for this trip I would like to bring one small detail...

Excursion (2010) UW-Madison Summer Dance Institute Choreography Jin-Wen Yu (Taiwan, ROC & USA) Music David Lang Lighting Claude Heintz Costumes Jin-Wen Yu Dancers 2010 UW-Madison Summer Institute dancers, Scott Ewen (Australia), Tzu-Jong Liu (Taiwan, ROC), and Kit Stanley (USA)

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World Dance Alliance Global Dance Event 2010 42 Performances Monday July 12, 2010

Memorial - Remembering the past (2010) UW-Madison Summer Dance Institute A Recreation Choreography Michael Whaites (Australia) Company LINK Dance Company Company Dancers Rachel Perica, Isabella Stone, and Ella-Rose Trew Dancers 2010 UW-Madison Summer Dance Institute dancers (Australia & USA) Over five days at the 2010 UW-Madison Summer Dance Institute, Michael Whaites with three LINK Dance Company members recreated the 25-minute promenade dance theatre work Memorial which LINK premeired in Perth, Aus- tralia in May 2010 and then performed at the Re ACT Festival in Bilbao, Spain in June 2010. Sospiri (1989) USA Choreography Jacqulyn Buglisi Company Buglisi Dance Theatre Music Edward Elgar (courtesy of G. Schirmer, Inc.) Lighting Clifton Taylor Costumes A. Christina Giannini Dancers Virginie Victoire Mécène and Kevin Predmore In 1848, Camila O’Gorman (the Juliet of the pampas) and her lover, the Jesuit priest, Ladislav Gutierrez, were hunted down and executed by a firing squad for their illicit love. This timeless story has become legend among the peasants of Argentina. Beyond (World Premiere) UW-Madison Summer Dance Institute Concept Keiko Kitano Choreography Keiko Kitano (Canada) and Zihao Li (Canada) Music Rick Thomson, Without end by Bobby McFerrin Sound Design Rick Thomson Visuals Don Sinclair Lighting William Mackwood Primary Dancers Keiko Kitano and Zihao Li Landscape Dancers UW-Madison Summer Dance Institute dancers Angel Y. Chang (Taiwan, ROC), Siang-Ling Liao (Taiwan, ROC), Roy Martin (Australia), and Hemavathi Sivanesan (Australia) One moment at the end of our life watching and sinking into a long life of memories accepting this sorrowful destiny, we let it happen peacefully During their time at the 2010 UW-Madison Summer Dance Institute, Kitano and Li incorporated landscape dancers into their already choreographed duet. They send special thanks to their beautiful landscape dancers and to Jin-Wen Yu, Ereck Jarvis, Don Sinclair, Rick Thomson, William Mackwood, Mary Jane Warner, the University of Wisconsin-Madison, and York University for their generous support.

World Dance Alliance Global Dance Event 2010 43 Performances Tuesday July 13, 2010 Concert A Bessie Schönberg Theater Dance Theater Workshop 5:00 pm & 7:30 pm

Yoke (2007) USA Choreography & Performance Kate Corby Company Kate Corby & Dancers Music the Microphones Lighting Claude Heintz

States of Gravity & Light #2 (2006) - excerpt USA Noemi’s Dance Choreography, Video, & Performance Merián Soto Costume Christine Darch

Parivahitam: Perspectives in Motion (World Premiere) India Company Sapphire Creations Dance Workshop Concept Sudarshan Chakravorty and Paramita Saha Choreography Sudarshan Chakravorty Choreography Collaborators Roger Sinha (Canada), Michel Casanovas (Switzerland) and Christopher Lechner (Germany) Music Marc Rossier (Switzerland) Text excerpts from Sylvia Plath Lighting Chaden Sen Costumes Paramita Saha and Soumitra Mondal Dancers Sudarshan Chakravorty (Artistic Director), Dibyendu Nath (principal dancer), Paramita Saha (lead female dancer), Nikita Bhattacharya (senior repertory member), Ankita Duttagupta (senior repertory member), and Koushik Das (senior repertory member)

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World Dance Alliance Global Dance Event 2010 44 Performances Tuesday July 13, 2010

Coeur de CORE (2006) USA Choreography Bala Sarasvati Company CORE Concert Dance Company Music Kodo Lighting Christopher J. Fleming Costumes T. J. Greenway Dancers Laura Burgamy, Alexandru Muresan, Lacey Pinson and Jenna Williams

“Adesso NYC” translated is “Now NYC” (2010) Italy Choreography, Set, Costumes & Performance Joseph Fontano Musica Philip Glass Voce Luca Di Paolo Video-Art Nicoletta Massignani

Anarchy’s Dream (2009) Taiwan, ROC Choreography Chieh-hua Hsieh Music Kuang-ying Chuang Lighting Chi-Yang Chiang Costumes Yu-Teh Yang Dancers Yu-Wen Chiu,Yu-Hsuan Lai, and Yu-tze Huang Commissioned by: Council for Cultural Affairs, Department of Cultural Affairs, Ministry of Foreign Affairs, Taiwan.

World Dance Alliance Global Dance Event 2010 45 Performances Wednesday July 14, 2010 Studio Performance A David R. White Studio Dance Theater Workshop 2:30 pm Critical Point (2010) Taiwan, ROC Choreography Chun-hui Eddie Lin Music 7:pm and Hanako by Yann Tiersen Dancers I-han Cheng and Chun-hui Eddie Lin

Expert Witness (work in progress) USA Choreography Annie Kloppenberg in collaboration with dancers and project dancers Dancers Annie Kloppenberg, Kendra Portier, and Alli Ruszkowski

Where? (World Premiere) Australia Choreography Graeme Watson Company Figures of Speech (Independent) Music J. S. Bach, Sinfonia Arioso, Cantata, BWV 156 Dancer Tammi Gissell Created in response to the temporal theme of the 2010 Global Dance Event. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Utpatti (1999) Bangladesh Choreography Anisul Islam Hero Company Srishti Cultural Center Music Zakir Hussai Costumes Anisul Islam Hero Dancers Mahbub Reza Mithun, Mahbuba Mahnoor Chandni, Mehraj Haque Tushar, and Anisul Islam Hero

Foundations (2009) - excerpt USA Choreography Marin Elizabeth Leggat, in collaboration with dancers Company M.E.L.D. Danceworks Music Philip Glass, Sigur Ros, Ahn Trio Dancers Erica Frankel, Marin Leggat, Marci Rubin, and Julia Sabangan

Unstrung (2009) USA Choreography Elizabeth Shea Music Jeffrey Hass Costume Amy Burrell Dancer Kelly McCormick Bangs

World Dance Alliance Global Dance Event 2010 46 Sapphire Creations Dance Workshop Photo: Ranjit Sinha

Kate Corby / Photo: Shomari Montsho

World Dance Alliance Global Dance Event 2010 47 Performances Wednesday July 14, 2010 Concert B Bessie Schönberg Theater Dance Theater Workshop 5:00 pm & 7:30 pm

Dancing Freedom (World Premiere) Canada Choreography, Concept, & Interpretation Sashar Zarif Creative Facilitator Susie Burpee Music Design Sashar Zarif (traditional music by Arif Sag) A quarry through the memories of revolution, war, and displacement, Sashar Zarif is questioning the notion of freedom. Should we achieve freedom internally before seeking it externally? Should you ask for an open palm with a fist? Stillness and action co-create each other. The spiritual journey is a love dance in the space within and between. Because it is an active process, engaging body, mind, emotions and the relational field in real time and space, Dancing Freedom bridges the space of “practice” with the moment to moment dance of life.

The Art of Isadora 1 Brazil & USA Choreography Isadora Duncan (1878-1927) Additional Choreography & Staging Lori Belilove and Fatima Suarez Music C.W.Gluck, Alexander Scriabin Costumes Lori Belilove, after original designs Dancers Lori Belilove & The Isadora Duncan Dance Company (New York) Lori Belilove, Beth Disharoon, Faith Kimberling, Danielle Kwozko, and Suzanna Gerdes Contemporânea Ensemble (Brazil) Fatima Suarez, Matias Santiago, Rachel Neves, Cristina Tocchetto, Marília Maciel, and Estela Serrano Rehearsed at the New 42nd Street Studios. Contemporânea Ensemble’s participation is made possible with support of the Secretaria de Cultura do Estado da Bahia. The Chat (2008) USA Choreography Valerie Alpert Company VADCO Music Monkey Mafia Dancers Jeannine Potter and André Santiago This program is partially supported by a grant from the Illinois Arts Council, a state agency.

World Dance Alliance Global Dance Event 2010 48 Performances Wednesday July 14, 2010

Hosanna (2010) Trinidad & Tobago Choreography Andre Largen Company UWI Festival Dance Ensemble Music Andre Tanker (original composition) Lighting Leslie Nathaniel Costumes Gillian Bishop Dancers Joanna Charles-Francis, Jeannine Jones, Cheryl Wharton, La Toya Patterson, Shari Rhyner, Anna Lee McAlpin, Ian Baptiste, Deon Baptiste, and Marvin Dowridge Acknowledgements: The University of the West Indies and Ministry of Arts and Multiculturalism (Trinidad & Tobago)

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Tree Woman (2010) Canada Choreography Susan Cash Company Cash and Company Dance Music composed by Henry Kucharzyk with Andrew Cash and Rick Sacks Lighting William Mackwood Photography Henry Kucharzyk Stage Design Susan Cash Dancer Keiko Kitano With thanks to Joe Bietola and support from a Minor Research Creation Grant and Merit Award from York University, Toronto, Canada

Drop and Fall (1999) Taiwan, ROC Choreography Kuei Chuan Yang Company Assembly Dance Theatre Music Design Johann Sebastian Bach, Die Kunst der Fuge and Jimi Chen Lighting Zou Zong Chen Costumes Win Tzy Chiang Dancers Pei Yu Chen, Hsiao Yun Su, Chien-Yu Hsu, Tzu-Chun Lin, and Chia Hui Chuang

World Dance Alliance Global Dance Event 2010 49 Performances Thursday July 15, 2010 Studio Performance B David R. White Studio Dance Theater Workshop 2:30 pm 11:17 pm (2010) Taiwan, ROC Choreography Nai-Hsuan (Sunny) Yang Music Perhaps, Perhaps, Perhaps performed by Doris Day Dancers I-Fen Tung, Hao Cheng, Yi-Jie Tsai, Pin-Wen Su, and Jyue-Nuoh Lee

The Warning (2009) USA Choreography Darrell Jones and Paige Cunningham Music Inuit Chants Costumes Darrell Jones and Paige Cunningham Dancers Darrell Jones and Paige Cunningham

Mine Heart Weeps to Belong (2008) USA Choreography Melissa C. Rolnick Music Masai Warriors Dance by the World Saxophone Quartet and African Drums, Circle Song 2 by Bobby McFerrin Dancer Jennifer Walker

re ad dress ing FAIRYTALE (2009) Taiwan, ROC Choreography SheenRu Yong Music Ludwig van Beethoven, Symphony No. 9 (Scherzo), Symphony No. 8 (Allegretto Scherzando); Johann Strauss, Fledermauschen, An der schonen blauen Donau; Pyotr Tchaikovsky, “1812” Over- ture, Op.49 2 Largo - Allegro Vivace; Antonio Vivaldi, Trio for Violin, Lute & Basso continuo in G minor, RV 85 - Allegro Sound Design SheenRu Yong Costumes SheenRu Yong Dancers Chen Tai Yueh, Chun-Hui Lin, Ping-wen Su, and SheenRu Yong

Hooked (2010) USA Choreography Taryn Vander Hoop Company Summation Dance Company Music Nico Muhly, Mothertongue Pt. 3 Hress and Pt. 4 Monster Jennifer Walker Costumes London O’Donnell and Taryn Vander Hoop Dancers Sumi Clements, Dani McIntosh, Julie McMillan, Michelle Pellizzon, and Joanna Taubeneck

World Dance Alliance Global Dance Event 2010 50 SEOP Dance Company / Photo: Kang-jin Jung

World Dance Alliance Global Dance Event 2010 51 Performances Thursday July 15, 2010 Concert C Bessie Schönberg Theater Dance Theater Workshop 5:00 pm & 7:30 pm

Thread (2010) USA Choreography Elizabeth Gillaspy Company Nymbal Music The Winter performed by Balmorhea (used by permission) Dancer Laura Barbee

Me Myself n I (2010) Bangladesh Choreography Mehraj Haque Tushar and Tahmina Anwar Anika Special Expert Guidance Pt Krishan Mohan Mishra Company Rhythm Dance Company Script Tahmina Anwar Anika and Mehraj Haque Tushar Music Tanmoy Bose Lighting Reaz Uddin Mahmud Dancers Tahmina Anwar Anika and Mehraj Haque Tushar

Winter Haiku (2009) USA Choreography Amanda Sowerby Company Moving Company Music Metamorphosis by Philip Glass / John Cage, Bruce Brubaker, Piano Dancers Annika Black, Madisen Brown, Alycia Cole, Cassey Duke, Christopher Gaertner, Randee Hunter, Meredith Miller, Natalie Porter, Rodolfo Rafael, and Tiffany Thatcher Many thanks to our ASL/Movement Collaborator Alysia Woodruff. “Winter Haiku” by Charles de Lint Drip, drip, drip...melting snow makes leaf skirts around the trunks of the spruce trees

It’s Not too Late. . . (2008) Taiwan, ROC & USA Choreography Casey Avaunt Company 8213 Physical Dance Theater Music The Dust Brothers Sound Design Jimi Chen Dancer Chuo-Tai Sun, Yu-Jen Chen, Casey Avaunt

World Dance Alliance Global Dance Event 2010 52 Performances Thursday July 15, 2010

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New Morning (2009) USA Choreography Jeannine Potter Music New Morning by David Darling from his cd Dark Wood (ECM Records,1995) Dancer Jeannine Potter

Vault (2010) New Zealand Choreography Sarah Gavina Campus and Cat Ruka Music Josh Rutter Costumes Sarah-Jane and Christina Houghton Dancers Sarah Gavina Campus and Cat Ruka any given moment (2010) Australia Choreography Sue Peacock in collaboration with the dancers Music Ryuichi Sakamoto & Alva Noto, Tosca, The Caretaker, Music AM Lighting Matt Hampton A/V Design Stephen Warren Costumes Genevieve Davies Dancers Roy Berkin, Scott Ewen, Jenni Large, Ruth Louise, Sophia Ndaba, Georgia Pisconeri, Kirsty Richards, Hemavathi Sivanesan, Rebecca Taylor, and Jack Zeising (West Australian Academy of Performing Arts) Special thanks to: Edith Cowan University, Friends of WAAPA, Justin Rutzou and Andrew Lake.

World Dance Alliance Global Dance Event 2010 53 Performances Friday July 16, 2010 Concert D Bessie Schönberg Theater Dance Theater Workshop 5:00 pm & 7:30 pm

An Independent Sleep (2009) Taiwan, ROC Choreography Wen-jinn Luo Company Scarecrow Contemporary Dance Company Creation Concept & Video Design Wen-chun Lo Music Michael Wall, Camille Saint-Saëns Lighting Yun-hsiang Kuan Costumes Wen-jinn Luo Dancers (in the order of appearance) Yi-fan Lin, You-yi Lee, and Hui-ting Hsu This work was inspired by the great 19th-century American poet Emily Dickinson’s distinctive poem, solitary soul, and mysterious life.

ruddha (rude, huh?) (2007) USA & Taiwan, ROC Choreography, Text, & Performance Cynthia Lee ruddha (rude, huh?) is a series of “false translations” of traditional kathak compositions, where North Indian rhythmic syllables transform into nonsensical English gossip, and idiosyncratic postmodern movement suddenly shifts into classical kathak. Based on traditional kathak compositions learned from Bandana Sen and Anjani Ambegaokar. Over, Under, Escape (2010) USA Choreography Collette Stewart Music Dmitri Shostakovich Lighting Claude Heintz Dancer Collette Stewart

The Art of Isadora 2 Brazil & USA Choreography Isadora Duncan (1878-1927) Additional Choreography & Staging Fatima Suarez and Lori Belilove Music C.W.Gluck, Alexander Scriabin Costumes Lori Belilove, after original designs Dancers Contemporânea Ensemble (Brazil) Fatima Suarez, Matias Santiago, Rachel Neves, Cristina Tocchetto, Marília Maciel, and Estela Serrano Lori Belilove & The Isadora Duncan Dance Company (New York) Lori Belilove, Beth Disharoon, Faith Kimberling, Danielle Kwozko, and Suzanna Gerdes Rehearsed at the New 42nd Street Studios. Contemporânea Ensemble’s participation is made possible with support of the Secretaria de Cultura do Estado da Bahia. World Dance Alliance Global Dance Event 2010 54 Performances Friday July 16, 2010

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Moonfall (2009) USA Choreography Susan Douglas Roberts with Laura Barbee Company wild goose chase Music Lúa Descolorida composed by Osvaldo Golijov (b. 1960) and performed by Dawn Upshaw (soprano) with Gilbert Kalish (piano) Costume Susan Douglas Roberts Dancer Laura Barbee

Raft (2003) USA Choreography Amy Ernst Music First Impressions composed by Edgar Meyer and performed by Mark O’Connor (Violin), Yo-Yo Ma (Cello), and Edgar Meyer (Piano) Lighting John Dahlstrand Set/Construction Mark Miceli Costumes Amy Ernst Dancers Eleanor Hausman and Denai Lovrien This performance has been made possible by the generosity of the Univer- sity of Arizona School of Dance and by the donors to the College of Fine Arts Dean’s Fund for Excellence.

A Man’s Requiem (2005) Korea Choreography Yongchul Kim Company SEOP DANCE COMPANY Art Director Hwaseok Lee (Chonbuk National University) Music Youngdong Kim and Eiji Matsumoto Costumes Chenhong Min Dancers Yongchul Kim, Hwaseok Lee, Heejung Lee, Eunjung Bae, Jungyoon Kim, and Unjin Kim This is a modern memorial service intended to console the ill-fated souls of people who died before their time. The service includes an exorcism, a primitive religious ceremony and images of the Bare (Cymbal) Dance and the Nabi (Butterfly) Dance, which are both Korean traditional dances performed in Buddhist rituals.

World Dance Alliance Global Dance Event 2010 55 Performances Saturday July 17, 2010 Studio Performance C David R. White Studio Dance Theater Workshop 2:30 pm This and That (2009) Singapore Choreography Nirmala Seshadri Poetry Dan Ying Composers BV Balasai and TV Ramprasadh Video Chetan Shah and Laura Kho Dancers Sze Wei Chan, Hui Xian Gretel Lee, Rui Xia Rachel Lum, Cheng Pin Ni, and Jackie Ong In this experiment the classical dance form Bharatanatyam meets with free form movement, poetry, music, theatre and video images. An exploration of meeting points and differ- ing points, the work traverses various moods - aloneness, yearning, dejection and pathos shifts to hope and nostalgia, suffused with the excitement of change and newness. This & That explores the thin line between time frames, between memory, reality and dream, between the classical dance form and free improvised movement. The work is centred around the Mandarin poem Aspiration by Singaporean poet and Cultural Medallion recipient Dan Ying. The poem is interpreted through free-form movement as well as the codified classical movements. coins (2010) Taiwan, ROC Choreography Yi-Chieh Tsai Music Wolfgang Amadeus Mozart, Fantasia in D Minor, KV397 Dancer Yi-Chieh Tsai Screen Step (2010) Italy Video Nicoletta Massignani Homemade (2010) Italy Direction Nicoletta Massignani & Noemi Valente Performance Noemi Valente Video Editing Nicoletta Massignani The Human Mapping Project (work in progress) USA Choreography Lynn Neuman Company Artichoke Dance Company Music Baba Zula Costumes Olek Dancers Toby Billowitz, Chelsey Dunkel, George Hirsch, and Maxx Passion Legion (work in progress) USA Choreography Natalie Teichmann Company ANAHATA Dance Music Manu Delago, Adventures Costumes Olek Dancers Rebecca Ain, Krysia Bock, Kristin Corayer, Melissa Gendreau, Juan Gonzalez, Liz Hyland, Yuki Ishiguro, Jordan Kitzman, Molly Lynch, and Lauren Rosenstein

World Dance Alliance Global Dance Event 2010 56 Century Contemporary Dance Company / Photos: Yu-Ping Lin

World Dance Alliance Global Dance Event 2010 57 Performances Saturday July 17, 2010 Concert E Bessie Schönberg Theater Dance Theater Workshop 5:00 pm & 7:30 pm

Thrift (2009) USA Choreography Carrie Hanson Company The Seldoms Sound Excerpts from “The Financial Meltdown and the Future of Ameri- can Politics” lecture by Paul Krugman at Princeton University; Schwabenhymne Klingelton by Rock & Rollinger Sound Design Carrie Hanson Sound Edit Julie Ballard Lighting Julie Ballard Costumes Anke Loh Dancers Paige Cunningham, Christina Gonzalez-Gillett

Sira Kan/On The Road (2010) - excerpt USA Direction, Choreography, & Performance Esther Baker-Tarpaga, Olivier Tarpaga, Wilfried Souly Set Baker & Tarpaga Dance Project and Nicole Bauguss Lighting Chris Kuhl Music Amadou Kienou, Michael West, and Michael Wall Sira Kan, which in the West African language Dioula translates as on the road, is a new dance-theater work that brings to light the stories of African youth who risk their lives to reach European soil. Sira Kan layers movement, music, and personal and oral histories as it journeys through the physical dangers and political realities of West African men seeking new opportunities across borders. Tonight’s performance presents an excerpt from the full 45 minute choreography. Since the independence of several African nations, post-colonial corruption and injustice increased and in turn affected the daily lives of it’s nations citizens. Many African youth frustrated with the lack of jobs and education opportunities in their own countries have fed into a massive migration exodus out of their counties in search of work and opportunity. Sira Kan delves into the painful journey and struggle of Sub-Saharan Africans whose lives were claimed by the ocean as their boats overturned. Invisible Threads (2001) Canada Choreography Holly Small Music Deerstop remixed by John Oswald Lighting William Mackwood Costumes Katharine Mallinson Dancers Laurence Lemieux and Robert Glumbek This duet is from my evening length work Souls, which was generously supported by the Canada Council for the Arts, The Ontario Arts Council, The Toronto Arts Council, The Social Sciences and Humanities Research Council, The Laidlaw Foundation, Canadian Children’s Dance Theatre and York University. Love and thanks to Laurence, Robert, William and John, and to Lisa Otto.

World Dance Alliance Global Dance Event 2010 58 Performances Saturday July 17, 2010

Double Happiness (2006) Taiwan, ROC Choreography Shu-Fen Yao Company Century Contemporary Dance Company Lighting Tian-Hong Wang Costumes Jasper Wang Dancers Hui-Wen Li, Chiu-Miao Kuo, Tzu-Lung Liu, Yu-Hsuan Tang, Tzu-Chun Lin, Ya-Chun Yang, Hsiao-Tzu Tien, Hou-Cheng Liu, and Chien-Yu Hsu

≡ Intermission ≡ Baazaar, excerpts from Kshoy!/Decay (2010) USA Conception & Choreography Ananya Chatterjea in collaboration with Laurie Carlos and the dancers Company Ananya Dance Theatre Score Lori Carlos Dancers Ananya Chatterjea, Kenna Sarge, and Hui Niu Wilcox

Rusty Walls, from Asunder 3 (2009) Taiwan, ROC Choreography Xiao-Xiong Zhang Company Taipei Crossover Dance Company Music Arthur Zerktouni Lighting Xiao-Xiong Zhang Costumes Jian-wei Wu Dancers Jyue-Nuoh Lee and Hao Chen

World Dance Alliance Global Dance Event 2010 59 Sashar Zarif / Photo: Dani Tedmuri

World Dance Alliance Global Dance Event 2010 60 STUDIO SESSIONS: Master Classes & Workshops Dance Theater Workshop

World Dance Alliance Global Dance Event 2010 61 Studio Classes & Workshops Monday July 12, 2010

Jerome Robbins Studio David R. White Studio Dance Theater Workshop Dance Theater Workshop

Ann Moradian Kuei-Chuang Yang Partnering/Pas Seul Dancing through the 12:30 Workshop Meeting 1 of 2 Drop and Fall Not pas de deux in the traditional sense, but rather pas seul, pm This modern/contemporary technique class is based on “not alone.” We’ll begin by unifying the breath, movement Kuei-Chuang Yang’s piece Drop and Fall (1999) which will and attention - an inner dance of the mind, body and soul. to be performed by Assembly Dance Theatre at the Global Integrated and (re)united, we move with ease and strength Dance Event in Concert B on Wednesday July 14. The class on the earth, out into the world, working with weight and tex- will also introduce participants to Yang’s broader dance vo- 2:00 ture in time and space, where we meet. And in meeting, cabulary with its approach centered on ‘assembly.’ pm we explore relationship with one another, with and without physical contact, partnering in couples and in groups of vary- ing sizes.

Robin Conrad Opening Concert Countless: 2:30 Warm-Up Phrasing without Restraint pm The class emphasizes experiential awareness of how we combine time/tempo and movement to create complex emo- to tion. We begin with a Pilates-based floor warm-up fpr core awareness and centering and then move through a Gyroki- nesis-inspired standing series to open the joints and maxi- 4:00 mize movement potential. We focus on movement through pm space with dynamics, musicality and expression. Pulling from a variety of movement influences—Contemporary, West African, Argentine Tango, improv— the class creates an energetic flow with dancer-inspired accents.

Please note that the following workshop takes place in Kimmel Center Room 904 on Monday July 12: Madeleine M. Nichols, Financial Focus for Dancing, 3:30 - 5:00 pm (see page 17).

World Dance Alliance Global Dance Event 2010 62 Studio Classes & Workshops Tuesday July 13, 2010

Jerome Robbins Studio David R. White Studio Dance Theater Workshop Dance Theater Workshop

Amy Ernst Samina Husain Prema & Modern: Mahbub Reza Mithun Lewitzy Technique Raibeshe— 10:30 Amy Ernst teaches from a personal history rooted in the Le- A Martial Dance of Bengal am witzky Technique foundation. The class’s emphases include The folk form Raibeshe is based on martial arts used to train efficient alignment, a balance between strength and flexibil- soldiers of feudal lords in the medieval period. Now, it exists to ity, & dynamic coordination of isolated body parts. Strength & as choreographed movements. The class introduces basic articulation of the feet are emphasized, as are fluid, expres- Raibeshe movement sequences & addresses the form’s his- Noon sive torsos. Additional elements include quick, complicated tory-- how political & socio-cultural changes have affected movement phrases, elevation, off-center work, & rhythmic its function & purpose. Participants will embody part of the accuracy. Understanding of movement initiation is empha- process used to train ancient soldiers. They also will explore sized, as are performance quality and clarity. aspects of Raibeshe that developed through its evolution from a martial arts form & into a performance practice.

Ann Moradian Mauro Sacchi Practicing Correspondences Partnering/Pas Seul in Contact Improvisation and Workshop Meeting 2 of 2 12:30 Grotowskian Physical Theater Not pas de deux in the traditional sense, but rather pas seul, pm Positing the human body as entry point to & conduit for “not alone.” We’ll begin by unifying the breath, movement conscious embodiment of true life essence, the class pairs and attention - an inner dance of the mind, body and soul. basics of CI (body awareness in space, balance, gravity, giv- to Integrated and (re)united, we move with ease and strength ing/receiving of weight, etc.) with elements of Grotowskian on the earth, out into the world, working with weight and tex- theater training (introspection, personal exploration, subse- ture in time and space, where we meet. And in meeting, 2:00 quent action/reaction based on one’s physical/psychological we explore relationship with one another, with and without pm state in the moment). The class introduces the possibilities physical contact, partnering in couples and in groups of vary- of bridging disciplines, combining the “physics” of CI with the ing sizes. inner/outer embodied “chemistry” of Grotowskian concepts.

PANEL Sashar Zarif Moving with Time, Critics Respond The Dialectic Movement in Content & 2:30 to the between Form & Content This class explores dance not only as an imitation of objec- pm Opening Concert tive reality but as “a truer, more complete, more vivid and more dynamic reflection of reality.” Participants will bedi- to rected through various exercises and encouraged to examine their own experiments in relation to the idea of dialectic 4:00 movements. Movement and discussion will push towards re- solving contradictions between appearance and reality such pm that the particular and the general merge into a spontaneous but artistic integrity.

Please note that the following workshop takes place in Kimmel Center Room 904 on Tuesday July 13: Marcia Siegel, Looking at Dance— Writing Dance, 11:30 am - 1:00 pm (see page 20).

World Dance Alliance Global Dance Event 2010 63 Studio Classes & Workshops Wednesday July 14, 2010

Jerome Robbins Studio David R. White Studio Dance Theater Workshop Dance Theater Workshop

W. Robert Sherry Amanda Sowerby & Alyssa Woodruff Modern/Jazz: Dance & Deaf Culture 10:30 Luigi/Horton The class introduces the creative investigation of integrat- am ing American Sign Language and Modern Dance. Following This contemporary modern-jazz class blends the Luigi and a warm-up based on contemporary movement vocabulary, Lester Horton techniques. Participants will be exposed to participants will learn basic finger-spelling and signs which to Sherry’s embodiment of movement which is grounded in the in turn will act as a jumping-off point to explore the history lyrical style and utilizes a strong classical balletic base laced of dance in Deaf culture, meaning and abstraction through Noon with a broad variety of his training undertaken in Indianapo- movement, and the immediacy of meaning in gesture. lis, Dallas, New York City, and Los Angeles.

Debnanjali Biswas Cheryl M. Stevens Evolving through South African Dance Movement Forms: 12:30 Manipuri Connecting Cultures through Past & Present Movement pm Manipuri dance traditions combine tandava & lasya styles— The class creatively connects traditional South African forms forceful, vigorous movements designed for male dancers & with movements drawn from vernacular dances & children’s to graceful movements for females. But, often both are com- street games to embody what is viewed in contemporary bined into a whole composite movement. As a process of forms such as step dancing. Participants are introduced to 2:00 evolving a contemporary schema, Biswas separates the the Gumboot dance & South African children’s games. The emotions from the movement practice, the former being an pm class emphasizes links between aesthetic characteristics & integral part of Indian classical dance. The class introduces values of South African forms & contemporary styles such basic movements of Manipuri & then applies them to explore as step dancing, drill team, and US children’s games. Dance numerous concepts. educators are highly encouraged to participate.

PANEL Critics Respond Studio Performance A 2:30 2:45 pm pm to Concert A

to (see page 46 for more information)

4:00 pm

Please note that the following workshops takes place in Kimmel Center Room 904 on Wednesday July 14: Madeleine M. Nichols, Financial Focus for Dancing, 9:30 - 11:00 am (see page 26) Marcia Siegel, Looking at Dance— Writing Dance, 11:30 am - 1:00 pm (see page 27).

World Dance Alliance Global Dance Event 2010 64 Studio Classes & Workshops Thursday July 15, 2010

Jerome Robbins Studio David R. White Studio Dance Theater Workshop Dance Theater Workshop

Alison Dobbins Paige Cunningham Conversations & Conversions: Collaboration of Contemporary Ballet Cinematographer & This class seeks to reveal different dynamic ranges available 10:30 to the practice of ballet as a contemporary art from. Explor- am Choreographer ing commonalities between traditional ballet and modern When the camera captures a dance, who controls the art? dance, the class will push toward a hybrid technique vital in Is the camera functioning as audience, participant, or chore- today’s versatile, athletic dance climate. The class will sug- to ographer? How can choreographer & cinematographer work gest escape routes from the ideologies embedded in codi- together? This class explores the 3 main issues of dance fied forms like ballet—ideologies which can inhibit individual Noon for the camera: how the frame changes the dance, how the and progressive artistic voices. dance dictates to the camera, & how the editing process ultimately creates a new dance. Participants will create a new work with the goal of generating a hybrid that exists both as a dance for the camera & as a dance for an audience.

Selma Treviño Performing Temporality An experiment in the reconstruction process, this class will Mary Burns 12:30 re-do and re-member a segment of El Amor Brujo choreo- pm graphed by La Meri in 1953 and recorded on silent film. Participants will move through the choreography towards Pilates for Dancers a series of discussion questions regarding identity, archive, to memory, and temporality: Is choreography stored in and remembered through video or notation separated from the 2:00 body? What happens to the actual body that is re-animating pm the choreography? Is it possible to re-animate the past?

PANEL Critics Respond Studio Performance B 2:45 pm 2:30 to Concert B pm

to (see page 50 for more information) 4:00 pm

World Dance Alliance Global Dance Event 2010 65 Studio Classes & Workshops Friday July 16, 2010

Jerome Robbins Studio David R. White Studio Dance Theater Workshop Dance Theater Workshop

Paige Cunningham & Hou Ying Darrel Jones Nature Movement 10:30 Physical Spectacle: Workshop Meeting 1 of 2 Embodying Creative Cross-Training am Hou Ying shares her realization that the deep meaning of This class sets aside traditional contemporary dance com- dance exists in approaching it as experiential process rather to position & performance methodologies— theme, variation, than a means to an end, with performance as that end. The rhythm, gesture— to develop alternative tactics & techniques workshop will focus on how to inspire natural movement gen- often associated with the athletic training, thus, constructing Noon erated from inside and extending outside of the body. The a menu of specific tangible goals & objectives & reconfigur- workshop moves from breathing and releasing techniques to ing what it means to make a dance. Through progressive physical awareness to recognition of the energy both inside cross-training techniques, the class explores pragmatic and outside the body—gradually building from gentle stasis phases such as zone training & recuperation, while attend- to complicated dynamic movement with the goal of celebrat- ing to the narratives in these stages of physical spectacle. ing the uniqueness of different dancing bodies.

Esther M. Baker-Tarpaga Contemporary African 12:30 Dance Rehearsal pm With a focus on forms from Senegal and Burkina Faso, this hybrid class draws on West African, modern, and improvi- to sational dance techniques. Dancers will work to build and refine skills pertinent to contemporary dance, including poly- rhythms and spine undulations, fluid moving in and out of the 2:00 floor, improvisation skills, and executing full-bodied move- pm ment sequences. Participants will be given the opportunity to practice the material with enough repetition to inhabit the movement with confidence while making individual choices about dynamics, phrasing, presence, and improvisation.

Lynn Neuman Hui Niu Wilcox & Ananya Chatterjea Contemporary Partnering Embodying Collective Memory 2:30 on a Continuum & Critical Resistance pm Partnering, an essential skill in contemporary dance, is rarely Based on Ananya Dance Theatre’s artistic work that tack- taught outside the context of contact improv. This class intro- les social justice issues, explores theories & practices re- to duces an approach to teaching & learning partnering which garding performance, memory, & resistance, this class will combines techniques from circus partnering & gymnastics introduce the Brown Body Revolution technique created by Ananya Chatterjea & demonstrate ways in which women of 4:00 with principles of physics & kinesiology & practices of contact improvisation to offer a safe, balanced, & progressive color’s bodies constitute sites of resistance. Participants will pm approach. Principals covered will include: on & off center engage in embodied exercises that explore the divergence & balancing; placing, rolling, & displacing; stacking & lever- intersection of our collective memories, and they will discuss age. The approach facilitates consideration of the personal what constitutes ethical appropriation of collective memories attributes & challenges revealed through partnering. in creative work that engages multiple communities.

World Dance Alliance Global Dance Event 2010 66 Studio Classes & Workshops Saturday July 17, 2010

Jerome Robbins Studio David R. White Studio Dance Theater Workshop Dance Theater Workshop

Hou Ying Nature Movement Dance Critics Workshop Meeting 2 of 2 10:30 Hou Ying shares her realization that the deep meaning of am Association dance exists in approaching it as experiential process rather Conference than a means to an end, with performance as that end. The to workshop will focus on how to inspire natural movement generated from inside and extending outside of the body. The Noon workshop moves from breathing and releasing techniques to physical awareness to recognition of the energy both inside and outside the body—gradually building from gentle stasis to complicated dynamic movement with the goal of celebrat- ing the uniqueness of different dancing bodies.

Li Chiao-Ping Extreme-Moves-Based Dance Critics Modern 12:30 A modern technique class based in the training method de- pm Association veloped by Li Chiao-Ping— Extreme Moves. For dancers, Conference gymnasts, and other adventurous spirits, the class demon- to strates approaches for developing the strength and learning the fundamental skills necessary to successfully perform the demanding high-risk movement that is common in contem- 2:00 porary choreography. Format includes warm-up and skills pm practice, leading to integrating the skills into short movement phrases.

PANEL Critics Respond Studio Performance C 2:45 pm 2:30 to Concert D pm

(see page 56 for more information) to 4:00 pm

World Dance Alliance Global Dance Event 2010 68 DANCE CRITICS ASSOCIATION 2010 Conference & additional events affiliated with the WDA Global Dance Event

World Dance Alliance Global Dance Event 2010 69 Dance Critics Association Conference

Friday July 16, 2010 Kimmel Center, Room 905/907

9:00 am Registration 9:30 am Welcome & Opening Remarks

9:45 - 10:45 am Keynote Apollinaire Scherr Apollinaire Scherr is currently the New York-based dance critic for the Financial Times. She has written regularly for The New Yorker, The New York Times, and Newsday, as well as SF Weekly and the East Bay Express, in the Bay Area. She has contributed to WSJ., Salon, New York, The Village Voice, Elle, the San Francisco Chronicle, Barnard magazine, Flash Art International, ArtNews, and Art and Auction. She was a five-year Mellon Fellow in the Humanities at Cornell University, and currently teaches writing on the arts at the Fashion Institute of Technology in Manhattan. She has been on panels for the Dance Critics Association, the Bessies awards, the Alpert awards, Arts International awards, and has been a guest on public radio station WNYC. She lives in Queens.

11:00 am - 12:30 pm Panel and Demonstration Classical Indian Dance: Vocabulary and Critical Questions A panel and demonstration designed to give dance critics a deeper vocabulary for, and understanding of, classical Indian dance, with particular reference to Bharatanatyam, the paradigm of classical Indian dance. The presentation will begin with a demonstration of some elements common to classical Indian dance styles and will cover both the physical and symbolic components of these elements. Audience members will be given an opportunity to try a few elements themselves. This will be followed by a discussion of what it means to critique Indian dance: How does knowing the idiom of dance enhance appreciation, and what does one need to know? Do you have to be Indian to critique Indian dance? Is a critique of Indian dance written from a pure dance perspective in fact a sign of respect? How can a knowledge of the aesthetic intent of Indian dance vocabulary improve critiques of dance, Indian or otherwise? What is the state of Indian dance in India and the diaspora? What is the state of dance criticism in India (of any styles–Indian or not–performed there)? Finally, there will be questions and answers between the participants and the audience. (We may con- tinue consideration of these questions in an on-line discussion and/or follow-up workshops after the DCA conference. Such continued discussions will likely include questions about the fusion of Indian dance with Western forms.) Participants: Sunil Kothari - dance critic for the Times of India group for 40 years and former dean of Rabindra Bharati and Jawaharlal Nehru Universities. Rajika Puri (session moderator) - dance writer and critic (ExploreDance.com,Visual Anthropology) and an acclaimed performer/interpreter of classical Indian dance. Malini Srinivasan - lecturer in Asian & Asian-American Studies at SUNYStony Brook and third-generation Bharatanatyam dancer and teacher. Preeti Vasudevan - creator of Dancing for the Gods, an educational DVD and web site about Bharatanatyam, and founder of the Thresh dance company. Robert Abrams - DCA president, editor of ExploreDance.com, and Odissi fan because of Rajika Puri. Maya Chadda - dancer, dance scholar, and professor of political science at William Patterson University.

12:30-1:30 pm Lunch Break

1:30-3:00 pm Panel Critics Respond to WDA Event Concert C

World Dance Alliance Global Dance Event 2010 70 Dance Critics Association Conference

Friday July 16, 2010 - continued

3:15 - 4:45 pm Panel Dance, Politics and Activism

Participants: Robert Johnson (moderator) – is a noted dance writer and dance critic for The Newark Star-Ledger Janet Eilber - artistic director of the Martha Graham Dance Company Jane Comfort - choreographer Bjorn G. Amelan – scenic designer representing Bill T. Jones/Arnie Zane Dance Company Myna Mukherjee - producer of the Engendered Festival and founder of Nayikas Dance Theater Company

Saturday July 17, 2010 Jerome Robbins Studio Dance Theater Workshop

10:15 am Registration

10:30 am Senior Critics Presentations & Speeches

Noon - 1 pm Lunch Break

1:00 - 2:25 pm Panel Cultural Exchange in 2010 Today’s artist is increasingly cosmopolitan. People from all cultures and subcultures tell their own stories now. It was not long ago that art of ‘other’ cultures served as subject matter. Now, instead, we have little use for the word ‘other’ and we aspire to genuine dialogue. Cultural exchange has become a survival tactic for critics too.

Participants: Eva Yaa Asantewaa - writes about dance performance and cultural wonders at InfiniteBody (http://infinitebody.blogspot.com), Dance Magazine, The Village Voice and other publications. Eiko – choreographer and director of Eiko & Koma Valerie Gladstone – is an arts writer and author whose work has been published in New York Times, The Boston Globe, The Washington Post, Travel & Leisure, and Dance Magazine. Baraka Sele - Assistant Vice President of Programming at New Jersey Performing Arts Center (NJPAC) and the Curator/Producer of NJPAC’s Alternate Routes series. Jawole Willa Jo Zollar – artistic director, Urban Bush Women Lori Ortiz (moderator)

2:30 - 4:00 pm Panel Critics Respond to WDA Event Concert D

World Dance Alliance Global Dance Event 2010 71 Dance Critics Association Conference

Sunday July 18, 2010 Jerome Robbins Studio Dance Theater Workshop

12:15 - 1:45 pm Panel Dance,Technology, and the Law The panel will address issues involving the intersection of law, technology, and dance. The discussion will focus primarily on copyright issues in the world of dance and will largely center around the Dance Heritage Coalition’s Fair Use Statement -- how it was compiled, its content, and how it is put into practice. Obstacles to the dance field’s legacy materials being available for research, teaching, and public programs will also be discussed.

Participants: Libby Smigel - Executive Director of the Dance Heritage Coalition Peter Jaszi - professor of domestic and international copyright law at American University’s Washington College of Law Julia Rhoads - of Lucky Plush, a Chicago artist who creates new dance works by “sampling” and videography.

2:00 - 3:00 pm DCA Membership Meeting

3:15 - 4:45 pm Film Showing and Discussion Dance on Camera One of the goals for the discussion will be to make critics more aware of film language and more comfortable about reviewing dance made for the camera.

Participants: Deirdre Towers (panel organizer) Somi Roy John Rockwell Dance films to be shown: Mysteries of Nature (Korea) – shown in full Movement (R)evolution (Africa) - excerpt Nora (US/UK/Mozambique) - excerpt Scrap Life (Sweden, with butoh influence)- shown in full Dancing Across Borders (U.S.A., Cambodia) - excerpt New York Dance (U.S.A., curated by Gia Kourlas of Time Out and The New York Times)

5:00 - 5:30 pm Conference Wrap & Reflections

Kamikaze Writing Workshop - Elizabeth Zimmer Friday July 16 @ Kimmel Center Room 908 - 11:00 am - 1:00 pm Saturday July 17 @ DTW Conference Room - 4:15 - 6:15 pm Sunday July 18 @ DTW Conference Room - Noon - 2:00 pm Elizabeth Zimmer’s popular Kamikaze Writing Workshop, a crash course in overnight review writing, is open to novice and experi- enced writers who want to tone and tighten their work. Registrants must attend all three sessions and two performances and turn in 11 copies of 300-word reviews. The workshop meets on Friday afternoon to practice movement observation and writing, then at midday on Saturday and Sunday afternoons with overnight reviews of Friday and Saturday evening performances. Participa- tion is limited and is first come, first served by reservation prior to the conference.

Elizabeth Zimmer edited dance reviews at the Village Voice for 14 years, wrote for the Philadelphia Enquirer, the Voice, DANCE, and other publication, and currently writes for Metro.

World Dance Alliance Global Dance Event 2010 73 Affiliated Events

University of Madison-Wisconsin Dance Department Summer Dance Institute June 21 - July 10, 2010 Lathrop Hall

Dancer: Laura Barbee / Photo: Katie Williford

World Dance Alliance Global Dance Event 2010 74 Affiliated Events

The UW-Madison Dance Department hosted its 2010 Summer Dance Institute from June 21 - July 10 in Madison, Wisconsin. The three-week intensive program involved students from Beloit College (USA), Edith Cowan University/Western Australian Academy of Performing Arts (Australia), Taipei Physical Education College (Taiwan, ROC), University of Wisconsin-Madison (USA), and University of Wisconsin-Whitewater (USA). Student dancers took classes during the morning and participated in choreographic project rehearsals during the afternoons. The Institute sought to provide all its participants-- students, choreographers, and instructors-- with numerous opportunities for intercultural exchange on personal, artistic, and educational levels. The results of the Institute’s choreographic projects were presented in two different free public concert showings on July 9 and 10 in Madison. Four of the projects will travel to New York and be presented in the WDA Global Dance Event’s Opening Concert.

Summer Dance Institute choreographic projects & master classes were conducted by: Kate Corby, UW-Madison (USA) Elizabeth Gillaspy, Texas Christian University (USA) Keiko Kitano & Zihao Li, York University (Canada) Jennifer Mabus Cook, Texas Christian University (USA) setting choreography by Susan Douglas Roberts, Texas Christian University (USA) Leda Muhana, Federal University of Bahai (Brazil) Robert Solomon, Jazz-Tanz-Theater (Germany) Collette Stewart, Movement Insights (USA) Christian Von Howard, Virginia Commonwealth University (USA) Chris Walker, UW-Madison (USA) Michael Whaites, Edith Cowan University/WAAPA (Australia) Jin-Wen Yu, UW-Madison (USA)

Additional master classes were conducted by: R. Cook (USA) David Iannitelli, Federal University of Bahai (Brazil) Sue Peacock, Edith Cowan University/WAAPA(Australia) Marlene Skog, UW-Madison (USA)

The 2010 Summer Dance Institute is made possible with generous support from the Virginia Horne Henry Fund for Women’s Physical Education.

World Dance Alliance Global Dance Event 2010 75 Affiliated Events

12th Annual CORPS de Ballet International Teacher Conference Bodies of Knowledge: Ballet and Academe July 7–11, 2010 - New York City

Hosted by The New York Public Library for the Performing Arts - Jerome Robbins Dance Division Marymount Manhattan College - Dance Department - Katie Langan, Chair NYU Steinhardt School - Dance Education Program - Susan R. Koff, Ed.D., Director

Featuring special guests Hilary Cartwright, Susan Jaffe, Jessica Lang, Miro Magloire, and 2010 Lifetime Achievement Award Winner Gretchen Ward Warren,

CORPS: Council of Organized Researchers for Pedagogical Study C4 a concert of choreography by Kate Corby Peggy Myo-Young Choy Li Chiao-Ping & Chris Walker

Sunday, July 18th, 2010 4 pm

Dance Theater Workshop 219 West 19th Street New York, NY 10011 Tickets: $15/$12 (available from DTW Box Office) In an convergence of talent based in the Midwest, four dance artists-- all nationally and internationally known for their creative work and teaching and all on faculty in the University of Wisconsin-Madison Dance Department-- present a concert of explosive choreographic works. Photos: Del Brown / Shomari Montsho / Dan James / LAM

World Dance Alliance Global Dance Event 2010 76 Contemporânea Ensemble of Escola Contemporânea de Dança Photo: Patrícia Carmo

World Dance Alliance Global Dance Event 2010 77 Cynthia Lee / Photo: Jorge Vismara

World Dance Alliance Global Dance Event 2010 78 WDA EVENT BIOGRAPHIES & Company Descriptions

World Dance Alliance Global Dance Event 2010 79 Biographies

8213 Physical Dance Theater was founded in 2006 by Chuo-Tai Sun, who has ANAHATA DANCE is a living, breathing dance collective that hopes to challenge devoted several years to revolutionizing performance art in Taiwan. Through and to stimulate both the dancers themselves and the audience. gathered experiences from growing up in Taiwan and traveling across many con- Tahmina Anwar Anika ,born on 18th November 1992, is a 17-year-old profes- tinents, Mr. Sun creates work to extract and examine the essence of modern sional Kathak dancer. She has been learning kathak for the past 13 years and Taiwanese culture and find relationships to the human condition. 8213 strives to from 2003 under P.t Kraishan Mohan Mishra (from Delhi) and learning Bharat- develop work that is innovative and electric, using movement to ignite kinesthetic natyam under Balaet Hossain Khan for 5 years. She is also a creative and con- responses. temporary dancer who has also learned in BAFA. Her first solo kathak concert Ruth K. Abrahams - Currently Executive Director of the Gomez Foundation for was held on January 2008 in Dhaka.From 2000 to 2005 she won 9 national prizes Mill House (12/1999-present), Dr. Ruth Abrahams served as Executive Director in competitions. Presently she is an A level candidate in Bangladesh. Tahmina of the Lehman College Foundation, Vice President for Institutional Advancement and Mehraj haque (Tushar) began to work together in 2007. They did several at Pratt Institute, Senior Editor for Professional Development at Peat Marwick shows together including dance dramas where choreographers composed their Mitchell, and Alumni Director at New York University. Artistically, Dr. Abrahams dance. Later from mid 2008 they started to explore and experiment with different sang semi-professionally in New York from 1967-1980, performing in light opera forms and choreograph themselves. They are trying to reconstruct their basic and off Broadway productions, and as a chorister and soloist in classical cho- classical forms to influence their own contemporary style. ral concerts. She received a Masters of Humanities (Japanese Studies) and Artichoke Dance Company, directed by Lynn Neuman, creates unique dance a Ph.D. in dance history. Her dissertation, “The Life and Art of Uday Shankar,” works, presents public performances & offers participatory educational experi- was published in the fall, 2007 edition of Dance Chronicle. She taught graduate ences in dance & dance making by using the interactive, cooperative, and com- and undergraduate dance history at New York University from 1982-1996, and munity building aspects of dance to develop physical, creative, & social skills was first President of World Dance Alliance Americas, an international advocacy and artistic and cultural understanding. Based in Brooklyn, NY, the Company is group for dance (Western Hemisphere branch). known for its theatrical athleticism, unique physical partnering, & for tackling con- Neil Adams’ career began as a founding member of Tasdance (1981) where temporary social topics. The company has been producing original dance works he contributed 23 works to the company’s repertoire and performed in over 50 in collaboration with a variety of artists since 1995 & has been presented locally, works. Since 1995 Neil has been involved in the tertiary dance sector, lecturing nationally & internationally. Visit www.artichokedance.org for more information. at the Western Australian Academy of Performing Arts (1995 – 2000), and since Tamara Ashley investigates changing relationships to the environment through 2001 at the Victorian College of the Arts (now the Faculty of the VCA and Music, dance improvisation and durational performance. Tamara works through par- University of Melbourne). Throughout this time Neil has maintained his indepen- ticipatory modes of performance that emphasize individual and group reflection, dent practice. Neil undertook his practice-based Ph.D. at the then VCA under the participatory action research and democratic process. Tamara has taught and auspices of the Australian Research Council Linkage project Conceiving Con- performed internationally, including Nott Dance Festival, Earthdance, ESMAE, nections. The performance outcome of the research, Incarna, was presented to Edinburgh Festival, ROAM Festival of Walking and Nordic Contact Improvisa- critical acclaim in 2005. Incarna, was nominated for the Betty Pounder Award for tion. She most recently collaborated with Janis Claxton, Simone Kenyon, Tim Original Choreography in the Victorian Green Room Awards 2006. Neil has also Rubidge and Nala Walla on the Homestead ecological performance project. taught and choreographed in Seoul, Kuala Lumpur, Hong Kong and Shanghai. She programme leader for choreography at Northumbria University, where she Kathleya Afanador is a choreographer, researcher and writer currently based in has received four applauding and promoting teaching awards and a research London. Her choreography has been presented in the United Kingdom and Italy, informed teaching award. Tamara is currently completing her PhD research at as well as in various cities across the United States. She has presented research Texas Woman’s University. www.theoutsideinproject.net on cross-modal perception at the Congress on Research in Dance Conference Assembly Dance Theatre was founded at Pan-Chiao Taipei County in 1993. and the International Computer Music Conference. During 2006-2007 she re- The artistic director Yang Kuei-Chuan devoted herself to making dance utilizing ceived a NSF IGERT fellowship at Arizona State University’s Arts, Media, and Chinese calligraphy as the main source of inspiration. Yang has renovated her Engineering Program. Additionally, she is a contributing editor (dance) for the dance vocabulary via an ‘assembly’ approach. Whether the dance vocabulary is publication Arts America. Afanador holds an M.A. in Choreography from Trinity a combination of west/east or old/new, her works engage humanity and everyday Laban Conservatoire and a B.A. summa cum laude from Cornell University, in life in Taiwan. ADT’s cornerstone is composed of indigenous cultural philosophy Visual and Auditory Cognition and in Dance, with a concentration in Computing in and its idea to assemble outstanding choreographers to create the worldwide the Arts. She is the choreographer for Armadillo Dance Project. dance language. For the past 15 years, the ADT has presented 140 performances Valerie Alpert is a native of Chicago and artistic director of VADCO/Valerie in Taiwan and outside of country, such as New York and Edinburgh. “Kuei-Chuan Alpert Dance Co. Alpert toured with professional repertory dance companies in Yang swept into the country with her Assembly Dance Theater of Taiwan, redefin- Chicago, Minneapolis, and Texas. As a company member with Contemporary ing our assumptions of ‘modern’... choreographer Yang[‘s] maneuvers are serene Dance/Fort Worth and Zenon/Jazz Dance Company, she worked with internation- while daredevil-athletic, Eastern in a uniquely Western way.” -Village Voice ally known choreographers and performed assorted repertory across the United Casey Avaunt is an American dancer, choreographer and researcher with spe- States. Alpert’s choreography has drawn praise at festivals and cities around cific interests in dance, gender and psychology. She graduated from Colorado the United States and Europe. Currently, Alpert is chair of the dance program College in 2005 with a B.A. in drama/dance in addition to having studied a wide at the College of Lake County in Grayslake, Illinois. She received her MFA from variety of subjects including anthropology, philosophy and sociology. While an The Ohio State University and is currently completing her PhD research at Texas undergraduate student, she received a Venture Grant to research female cho- Woman’s University. reographers in Europe through a psychological perspective with an emphasis ANAHATA Dance, based in New York City, is a new modern dance company that on Pina Bausch. In 2004, Casey received funding from the Chin-Lin Foundation is comprised of dancers with open hearts and courageous minds. Anahata is for Culture and Arts to research meditation, culture and religion in Taiwan. She the Sanskrit term meaning unstruck sound and is the name of Heart Chakra (4th returned in 2006 to perform in the 8th Asia Arts Festival and in September 2007, Chakra). Under the direction of Natalie Teichmann and Assistant Director Lauren as resident artist at the Taipei Artist Village. For the past five years she has been Rosenstein, the company does not discriminate based on technical skill level or collaborating and touring internationally with Taiwanese 8213 Physical Dance previous accomplishments, but rather the willingness to work hard, to dedicate Theater and is currently receiving her M.F.A. in choreography from Taipei Na- oneself to a passion, and to resolve to dance both efficiently and non-toxically. tional University of the Arts.

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Back & to the Left Productions, founded in 2000, believes in fostering creative teachers: Julia Levien, Hortense Kooluris, Mignon Garland, Anna Duncan, Irma collaborations between artists with an eye towards reaching out to non-dancers Duncan, soloist in PBS documentary Isadora Duncan: Movement From the Soul, and incorporating them into the performance experience. The work created by master teacher of University residencies, Belilove tours to Brazil, West Africa, the company is generated through collaboration, with each performer playing a Korea, Greece, Italy, Hungary, France, Germany & Mexico. Sought after as a role in the development of core ideas. The goal of Artistic Director, Jennifer Smith, unique contemporary artist, “Lori Belilove is arguably the best, most devoted is to provide a supportive environment in which these ideas can be explored and Duncan interpreter in the US. When she performs Duncan’s dances you see later, defined. The outcome of this process is the creation of performance pieces the glorious sweep through space, the oppositional skips, the swooping torso. based in personal exploration; that touch audience members on a visceral level. You see the emotional range from breathy joy to seductiveness to earthbound despair.”-Wendy Perron, Dance Magazine Baker & Tarpaga Dance Project is a transnational dance theatre company founded in 2004 by choreographers Esther Baker-Tarpaga and Olivier Tarpaga. Kathleen (Kat) Bell has just finished her Master’s of Art in Dance and is currently Based in the USA and Burkina Faso, BTDP intertwines West African and post- in the last year of her Master’s degree in Library Science at Texas Woman’s modern dance with live music to create physically powerful and socially relevant University. She is also on TWU’s Second Life Team in which she is responsible dance theatre. Since 2004 this husband and wife team performed and taught for maintaining and continuing to build the university’s Second Life educational in 12 countries around the world. As cultural ambassadors for the Department island. She has hosted symposia on the SL island and is responsible for sup- of State, they have presented their work as Cultural Envoys in Guinea (2007) porting faculty, staff, and students as they create and navigate avatars as well Burkina Faso (2006), South Africa (2006) and Botswana (2006). Currently, both as develop learning opportunities and possibilities within the virtual setting. In are performers in David Rousseve/REALITY. Their company has received nu- the future, she is hoping to create a digital library collection of dance history merous grants including the Battelle Endowment for Technology and Human Af- resources in the Second Life platform and would like to talk with anyone who also fairs Award (2010); the Lester Horton Award – Special Jury Award (2009); Durfee has an interest in this area. Arc Grant (2006, 2007, 2008); and The Flourish Foundation (2008). BTDP is a Susan Bendix is a contemporary dancer-choreographer who has worked and member of Pentacle (DanceWorks Inc.), a non-profit service organization for the performed internationally. Her dance focus includes improvisation, theater, tech- performing arts. nology, site-specific work and use of props. She has spent many years as an Esther M. Baker-Tarpaga, choreographer, dancer and filmmaker, is an Assistant arts educator and consultant in public education where she developed several Professor at the Ohio State University Department of Dance. She is co-founder innovative programs. She guides young people to create and perform their own and co-director of Baker & Tarpaga Dance Project, which has performed and dances. She has collaborated extensively with teachers infusing dance into aca- taught in Guinea, Burkina Faso, Botswana, Australia, Malaysia, Japan, and Sen- demic curriculum. She has worked with a broad range of populations from inner egal. In the US the company has performed at Cornell University, Ohio State Uni- city youth, incarcerated youth, gifted youth, university students, public health and versity, VSA N4th Albuquerque, REDCAT, Highways, The Alex Theater, Glorya the corporate sector. She has published articles and presented numerous papers Kaufman UCLA, The Skirball Cultural Center, and The Getty Museum. She is in nationally and internationally on social and pedagogical topics related to dance. the company of David Rousseve/REALITY, which performed recently at Jacobs Susan is a doctoral student in education writing a dissertation on dance and Pillow, Yerba Buena, UMD Clarice Smith, Montclair State, Columbia College Chi- learning. She has a BA and MFA in dance and choreography and an Arizona cago, and DanceSpace NYC. She is a Jacob Javits recipient and holds a B.A. teaching certificate. from Bowdoin College in French and Anthropology and an M.A. in Dance and Nannette Bertschy is a visual artist whose figurative art, collage, photography M.F.A. in Choreography from UCLA’s World Arts and Cultures Dept. Baker & and digital designs have been exhibited at venues including the Mona Bismark Tarpaga Dance Project received a Lester Horton Special Jury Award in 2009. Foundation in Paris and the Oberursel Town Hall in Germany. She was awarded Laura Barbee grew up dancing in Texas and earned her BFA in Ballet and Mod- Honors in the Fine Arts from Yale University, where she received her BA in 1989. ern Dance at Texas Christian University. She has danced professionally coast She began her career in the commercial arts in New York in 1990, working in to coast and abroad including performances with Atlanta Ballet, BODYART (at fashion and designing postcards. She holds a MBA from INSEAD in France since the Edinburgh Fringe Festival), wild goose chase (Guatemala) and the VonHow- 1994. In the late 90s, she conducted several interior design renovation programs ardProject (NYC). Currently based in San Francisco and New York, Laura has of old flats in Hungary. She has designed and constructed sets, props and cos- been on faculty for LINES Contemporary Dance in their majors’ program at Old tumes since 2002 for numerous programs staged for the Frankfurt International Dominion and works as a certified Gyrotonic © instructor. School, and for both Marymount School and Eurecole in Paris. Her most recent private work includes murals, wall designs and room interiors; the design and Priyanka Basu is pursuing MPhil in English Literature from the Centre for English implementation of a hands-on educational program in Africa; and exploratory Studies, Jawaharlal Nehru University, on From the Profane to the Proscenium: video and photography. Re-Reading the Early Farces of Colonial Bengal.She completed M.A. in English Literature from the Centre for English Studies, Jawaharlal Nehru University in Heike Bischoff is a German teacher and dancer. She graduated in education 2008. Her research interests include: Histories of Performance in 19th century and holds an additional degree in education of physically handicapped children Bengal, Dance Studies, Performance Studies, Gender Studies and Renaissance with focus on diagnostics and sports. She wrote her diploma thesis was about Studies (both in Bengal and Europe). She was a part of a 20 member team from “Movement & dance in school sports as a means of emancipation for handi- Jawaharlal Nehru University in a Cultural Exchange Programme with Osaka in capped children.” Her second thesis dealt with “First dance and improvisation the World, Japan for dance performances between September-October, 2008. experiences of handicapped children”. Since 1986 Heike is teacher in schools Her review of Dance: Transcending Borders, 2008, edited by Dr Urmimala Sarkar for physically handicapped children where she leads amongst others sports and Munsi has been published in Volume 3, No. 1 (January-June 2009) of Contempo- drama classes. She also developed and introduced a concept for sports educa- rary Perspectives, a journal from the Centre for Jawaharlal Nehru Studies, Jamia tion for chil-dren with severe, multiple disabilities. Four years ago Heike initi- Milia Islamia published by the Cambridge University Press India Pvt. Ltd. ated and implemented a successful “Modern Dance” project in special schools together with choreographer Robert Solomon. Heike studied Jazz and Modern Lori Belilove’s direct lineage & prestigious performing career have earned her Dance (Matt Mattox , Alvin Ailey and Robert Solo-mon style) and danced in vari- an international reputation as the premier interpreter & ambassador of the dance ous independent groups. She participated in diverse dance conferences and of Isadora Duncan. Belilove, Artistic Director of the Isadora Duncan Dance Foun- WDA assemblies. dation/Company, teaches dancers the purity, timelessness, authentic phrasing, & musicality passed down through a direct line of Isadora Duncan dancers. Her

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Debanjali Biswas is currently pursuing an M A in Social Anthropology from Associate Professor Ralph Buck is Head of Department, Dance Studies, The SOAS, London on a Felix Scholarship. She has completed a post-graduation University of Auckland. His research interests are within dance education and in Arts and Aesthetics in 2007, and has submitted the dissertation titled “Creat- community dance. He is currently undertaking a 2 year research project titled Our ing/ Affirming ‘safe space’: Manipuri women and the ritual-performance of Lai Dance Stories, that acknowledges the diversity of dance pedagogies and prac- Haraoba” for partial fulfillment of a M.Phil degree in Theatre and Performance tices in three different oceanic regions, The South pacific, The South Mediterra- Studies in 2009 at the School of Arts and Aesthetics, Jawaharlal Nehru Univer- nean, and The South China Sea. In 2009 Ralph won The University of Auckland sity. She has been trained in Manipuri by Smt.Poushali Chatterjee since she was medal for teaching excellence. He is a member of the UNESCO International 9. She has been exploring contemporary and martial movement practices in the Advisory Committee for Arts education, is a member of the WDA Asia Pacific recent years. Her latest work was ‘Wintering’ choreographed on students of Tso’s Executive and represents WDA on the WAAE presidential Council. Dance Association, as a part of International Young Choreographer’s Project in Buglisi Dance Theatre is renowned for its poignant, dramatic, and wondrously Kaohsiung, Taiwan. She has co-choreographed projects including PS D URBAN lyrical repertoire that speaks to the issues and emotions of our time. The re- (2009), The Lotus Path (2008), & But…on the box (2007). cipient of the American Dance Guild Award, BDT was founded in 1994 by Artistic Tom Borek - Member: Dance Critics Association and Board of Directors; Affiliate: Director Jacqulyn Buglisi, and Capucilli, Dakin and Foreman, who performed as Center for Arts and Cultural Policy Studies, Princeton University; Member: Acad- principal artists at the Martha Graham Dance Co.. World-class production val- emy of American Poets. Written dance criticism and articles on dance in US and ues and theatrical appeal have won BDT invitations worldwide: Kennedy Center; Hong Kong. Taught: writing on dance in graduate liberal studies program, Wes- Jacob’s Pillow; Dance St. Louis; Sosnoff Theater; LMCC / River to River Festival; leyan University and was thesis advisor; dance aesthetics, criticism and history abroad: Australia; the Czech Republic, France, and Italy. BDT presents its NYC at Hong Kong Academy for Performing Arts. Was Executive Director of Rosalind seasons at The Joyce Theater. Educational programs are core to its mission; re- Newman and Dancers, Dance HK/NY and Laban/Bartenieff Institute of Move- cent residencies: California State University/LB; George Mason University; JKO ment Studies. Founding publisher and editor of Eddy magazine on dance in 70s. H.S., Ailey/Fordham; NYSCA long-term residency at the MWPAI; and upcom- Former dancer and choreographer. Poetry published in US and Hong Kong. ing summer intensives at Martha Graham School (7/19-23); Steps on Broad- Shaaron Boughen is Head of Dance in the Creative Industries Faculty, way (7/26-30), the WDA, Taranto (9/9-12) and Teatro Carcano, Milan (9/13-16). Queensland University of Technology, Brisbane, Australia. She has worked as BDT’s repertoire is archived at the NYPL for the Performing Arts. a performer and teacher (contemporary dance techniques, choreography) in the buglisidance.org youtube.com/buglisidance UK and Australia and has an extensive practice herself as a choreographer (over Diana Byer (NYTB founder, president & artistic director) has performed as a 30 works) and curator. Shaaron also has an broad design background from the- soloist with Les Grandes Ballets Canadians, Manhattan Festival Ballet, New York atre works to product launches to pyrotechnics and has designed costumes for City Opera, and the Juilliard Ensemble. She received her principal dance training works by many leading Australian choreographers. Shaaron is currently investi- from Margaret Craske and Antony Tudor. She teaches adult professional ballet, gating the live body in digital spaces, interdisciplinary practices and reversion- pointe technique, and advanced children’s classes at Ballet School NY, which ing processes across multiple performance platforms and has collaborated with she founded in 1978. She has taught at Manhattan School of Dance, Compagnie architects, musicians, fashion designers and digital media forms. Shaaron is the de Michel Hallet (Lyon, France), and Cascina Bella (Milan, Italy). She has been Queensland Dance critic for Australia’s major national newspaper, The Australian guest instructor at the Cecchetti Society of America, Cornell and New York Uni- and has published in Realtime, Pointe Magazine (USA), Innovation In Australian versities, SUNY at Purchase, the Martha Graham School, and the Cecchetti So- Arts Media And Design and Currency Companion To Music And Dance In Aus- ciety of Canada (Toronto) and regularly provides master classes in schools and tralia. performance settings across the U.S. Ms. Byer staged Antony Tudor’s Judgment Jade Boyd is a lecturer in the department of Women’s and Gender Studies at of Paris for the May 19, 2008 American Ballet Theatre Gala at the Metropolitan the University of British Columbia, where she received her doctoral degree. Her Opera House. NYTB has had Labanotation classes for learning roles. work is situated within feminist performance studies and focuses on the visual Linda Caldwell, Ph.D., and Certified Movement Analyst in Laban Movement and embodied languages of media and performance with an emphasis on how Studies, is a professor in the dance doctoral program at Texas Woman’s Univer- markers of differentiation become spatially situated. sity, serves on the editorial board of the Journal of Laban Movement Studies, and Renate Bräuninger has a background in both music and dance, she received a is the co-chair of WDAA’s Research and Documentation Network. Currently, she MA from the Ludwigs Maximilians University in Munich. With a scholarship from is interested in preparing graduate students to develop new methods for dissemi- the German Academic Exchange Service, she studied then at the Perfoming Arts nating their artistic and scholarly research within emerging digital formats and to Deparment at NYU and took part in a choreographic workshop at DTW under question how these new visual formats affect audience reactions. Her disserta- the direction of Bessie Schönberg. Her PhD (from Middlesex University, London) tion and past publications concern a 15-year exchange with Poland’s diverse examined discrusive strategies in musicology and dance scholarship. She is cur- contemporary dance companies. Dr. Caldwell’s choreography was performed in rently Senior Lecturer and BA Course Leader at the University of Northampton. dance festivals in Lyons, France, and Krakow, Poland, as well as chosen twice for the National College Dance Festivals in Washington, D.C., and Tempe, Arizona. Mary Alice “Buff” Brennan, Ph.D., CMA, Professor Emerita and former Chair of Dance, University of Wisconsin-Madison. Her research articles on creativity in Sarah Gavina Campus is an Italian Pakeha artist working in the fields of impro- dance and the movement analysis of dance style have appeared in the Journal visation, choreography, research, performance and cultural studies, and educa- of Creative Behavior, Research Quarterly of Exercise and Sport, Perceptual Mo- tion. In 2009 she completed her Masters practice-led research titled The Liminal tor Skills, Dance: Selected Research, Dance and Technology and Researching Body in Improvisation at the University of Auckland, New Zealand. The research Dance: Evolving Modes of Inquiry . She was the 1985 National Dance Associa- examined liminal states of awareness in solo and duet form. It aimed to em- tion (NDA) Scholar and a 1989 and 1995 Fulbright Scholar to India. Her most re- body and experience non-linear time in improvisation practice and performance. cent publication, Margaret H’Doubler: The Legacy of America’s Dance Education Transformation, ritual, cultural marginality and unconditioned states of mind and Pioneer co-edited with UW dance alumni John Wilson and Thomas Hagood, was body presence formed the backbone of the research. Sarah has worked with published by Cambria Press (2007). At the UW she has received a Vilas Associ- companies and choreographers Touch Compass Dance Trust, The Body Cartog- ates Award, Virginia Horne-Henry Grants and a School of Education Dis- tin- raphy Project, Sean Curham, Alexa Wilson, Valerie Smith, Maria Da Browska, guished Achievement Award. Currently she is a Board Member on the Wisconsin Malia Johnston, Suzanne Cowan and Charles Koroneho. She has taught and Dance Council, and the Hancock Center for Dance/Movement Therapy. mentored at University and community level in contemporary dance technique, theory, critical discourse, research methods, history, choreography, composition,

World Dance Alliance Global Dance Event 2010 82 Biographies improvisation, somatics and mixed ability dance. Purashkar by Swapnasandhani in Kolkata in 2008. Sudarshan nurtures Sapphire Dr. Caren Cariño was born and raised in Hawai’i, USA. She graduated ahead as an academy of young ideas, growth and experimentation giving birth to per- of her high school class and attended the University of Hawai’i at age 16 where formers, productions and art events creating a whole new renaissance for the she completed a B.Ed. (Dance) and M.F.A. (Theatre and Dance). Her Ph.D. titled: arts in India. “Representing Asian-ness through Contemporary Dance: Case Studies of Five Ananya Chatterjea is dancer, choreographer, dance scholar, & dance educator, Dance Companies in Singapore” in the Southeast Studies department, National who envisions her work in dance as a “call to action” with a particular focus on University of Singapore was conferred in 2008. Cariño’s professional career in- women artists of color. She is Artistic Director of Ananya Dance Theatre & Direc- cludes dancer with Ririe-Woodbury Dance Company (USA) and Head of Dance tor of Dance & Associate Professor in the Department of Theater Arts & Dance at LASALLE-SIA College of the Arts (Singapore) prior to her appointment as Head at the University of Minnesota. Ananya was named “Best Choreographer” by City of Dance/Principal Lecturer, Nanyang Academy of Fine Arts (Singapore). She has Pages (2007) & is the recipient of the 21 leaders for the 21st Century Award, & published papers, articles and reviews with World Dance Alliance and The Arts the JJ Social Justice and Human Rights Award, for her work weaving together Magazine. Cariño is presently Research & Documentation Network Chairperson, artistic excellence, social justice, & community-building. Recent engagements World Dance Alliance (Singapore) as well as a dance adviser for Singaporean include a keynote address & performance at the 2009 International Conference government agencies National Arts Council and Ministry of Education. of Pedagogy & Theater of the Oppressed; teaching, panel presentations, & per- Darrah Carr holds an MFA from New York University’s Tisch School of the Arts formances at Bates Dance Festival (2008), Erasing Borders Festival (NY, 2008), and graduated Phi Beta Kappa from Wesleyan University. Named one of the American Dance Festival (2008), & the O’Shaughnessey’s Women of Substance “Top One Hundred Irish Americans of the Year” by Irish America Magazine, she Performance Series (2008). has been active for over a decade in both the Irish and modern dance communi- Huai Wen Chang received her BA in Dance from Taipei Physical Education Col- ties as a choreographer, dancer, educator, and writer. Recent performance high- lege (TPEC) in 2006 and is a current graduate student of the Master’s Program lights for Darrah Carr Dance include: NBC’s “The Today Show,” the company’s of TPEC Dance. Being an alumnus of HuaGang School of the Arts, she taught 10th Anniversary Season at the Irish Arts Center, Celebrate Brooklyn, the Duke modern dance technique at HuaGang from 2008-2009. Since fall 2009, she has Theater on 42nd Street, and Stam-pede at Symphony Space. Carr is an Adjunct become a full-time teacher who teaches both Modern Dance for the Gymnastic Professor in the Dance Department at Hofstra University and has been a Guest Group and Performing Arts for general students at Diing-Jin Junior High School. Artist at Manhattanville College, Adelphi University, and Queensborough Com- Shih-Ming Li Chang, Associate Professor of Theatre and Dance at Wittenberg munity College. Carr has contributed numerous articles to Dance Magazine, University since 1986, earned her BA in Dance at the University of Chinese Cul- Dance Studio Life, Dancer, and The Dance Insider. ture, Taiwan, and an MFA in Dance at Smith College. Chang has given lectures Susan Cash is a contemporary dance artist from Toronto Canada. Her cho- and demonstrations on Chinese dance and culture in numerous universities, reographic work spans many different dance genres from theatrical works to festivals, and conferences abroad and in the U.S.A. Chang has served as vice site-specific creations, from music videos to dance films. Susan’s choreographic president of OhioDance, and on the National Board of Directors of ACDFA. With research/performance work is in the area of intercultural collaborative dance pro- colleague Lynn Frederiksen she published an article on Chinese dance in The cesses and examines how movement can change the perspective of space. This Encyclopedia of Modern China (2009) and is currently developing a multimedia investigation has taken her to Brazil and most recently to Guatemala where she resource on Chinese dance for educators. was commissioned to work with the Momentum Contemporary Dance Company. Chey Chankethya obtained her BA in choreographic arts, with a specialty in She teaches in the Department of Dance at York University in the Undergradu- classical dance, from Cambodia’s Royal University of Fine Arts in 2005. She ate, MA and MFA Programs, directing the York Dance Ensemble (YDE), teaching also holds a BA degree in English from the Royal University of Phnom Penh. Her composition and movement analysis. As a Certified Movement Analyst (CMA) choreographic works, both classical and contemporary, include Dilemma (2002), she is core faculty for the Laban/Bartenieff & Somatics Studies International Falling in Love (2003), Golden Deer (2004), Preah Khan Reach (2005), Water Program in Canada. Susan acts as Dance Dramaturge for Series 808 and for and Thunder (2006), and Teav (2009). In 2006, she was awarded a three-month many professional choreographers as a choreographic/creative consultant and arts management fellowship at UCLA, California and in 2007, she participated in facilitator. the Young Choreographer and Composer Workshop, a four-week training pro- Century Contemporary Dance Company was established in year 2000. Cho- gram in Surabaya, Indonesia. Kethya teaches classical dance at the Secondary reographer/artistic director Shu-Fen Yao seeks to create work based on the con- School of Fine Arts and is a founder of Trey Visay (Compass), a contemporary temporary way of life and its culture in the dawns of the 21st century, combining dance ensemble. Kethya completed a two-month internship at the American various forms of performing arts, and cooperating with artists from different dis- Dance Festival young choreographer’s program in 2009. ciplines. She opens up a new page in the history of modern dance in Taiwan by Tai-Yueh Chen, who graduated from National Taiwan University Computer Sci- creating a strong relation between artistic dance form and people’s real life. Her ence and Information Theory Department, is interested not only in Science but works combine movements, theatre, visual arts, and even architecture. By taking also in performance art, social science, and psychology. She joined several elements from everyday life, and put them together in a new and poetic way, she school clubs including modern dance club, drama club and chorus to be not only hopes that her works can in some way reflect the inner truth of life. a researcher & critic but a performer. When the school environment no longer Sudarshan Chakravorty, Sapphire Creations Artistic Director and Choreogra- satisfied her enthusiasm for dance, she joined Legend Lin Dance Theater to get pher, is trained in Bharat Natyam (Guru Bandana Dasgupta), Kathakali (Guru a deeper understanding of dance. Nevertheless, her multiple backgrounds made Govindan Kutty) and Thang ta , modern dance and jazz by France-based Nana her not only limited as a dancer but also provided me a better understanding of Gleason, mind-body centering from Christopher Lechner (Germany) and contem- dance in social and cultural aspects. She is currently enrolled in the Masters porary dance from Michel Casanovas( Switzerland).Pioneer of a dynamic experi- program majoring in Dance Theory at the National Taipei University of Art Dance mental form resulting from individual and ensemble mind-body improvisations, Department in Taiwan. his innovative form raises sensitive contemporary issues. Sudarshan has led the Shu-gi Cheng— Associate Professor, Chair of Dance, Taipei National University troupe as director-choreographer to performances in India and abroad. Director of the Arts— received an MFA from Texas Christian University. She is the found- of INTERFACE, a writer, workshop leader and collaborator he has worked as cho- ing dancer, choreographer, and rehearsal director of Cloud Gate Dance Theater reographer in the fields of fashion, film and television. He has been awarded by and has performed more than 500 performances with the company throughout Oniel De Fellowship by Kalabharati, Canada in 2005 and Shyamal Sen Smriti

World Dance Alliance Global Dance Event 2010 83 Biographies the world. Cheng is also the founding member of Taipei Crossover Dance Com- Roger Copeland is Professor of Theater and Dance at Oberlin College in the pany established in 1994 and has performed with the Company in more than 90 U.S. His books include the widely used anthology, What Is Dance? and Merce performances in Taipei and overseas, i.e., Jacob Pillows Dance Festival (USA), Cunningham: The Modernizing of Modern Dance . His essays about dance, Hong Kong, New York, Germany, London, Malaysia, Beijing, and Kungcho. She theater, and film have appeared in The New York Times, The New Republic, has performed every year since 1968. The Village Voice, Dance Theatre Journal, Partisan Review, Dance Chronicle, Craig Choma, Scenic & Lighting Designer - Back & to the Left Production, holds and many other publications. Copeland has also contributed chapters to numer- two MFA’s from Carnegie Mellon University in Scenic & Lighting Design for the ous books and anthologies including Conversations with Susan Sontag, Dance Theatre. Craig is an Associate Professor of Theatre and the Resident Designer History: An Introduction, The Routledge Dance Studies Reader, Dance, Gender, & Technical Director at Knox College in Galesburg Illinois. Craig is also a profes- and Culture, The American Theater Reader and The Encyclopedia of Dance and sional designer in Chicago, having designed both sets and lights for a variety of Ballet. “The Unrecovered,” his feature length fictional narrative film about the companies. psychological aftermath of 9/11 was screened as part of the New Filmmakers Series in New York City at Anthology Film Archives in 2007. Peggy Myo-Young Choy (Assistant Professor, Dance and Asian American Studies, University of Wisconsin-Madison) writes about dance and martial arts Kate Corby’s dance theater works have been seen extensively in the Midwest in the context of America’s diverse landscape. Her articles include “Anatomy of and in New York, San Francisco, Atlanta, Canada, Mexico, Taiwan and Hungary, a Dancer: Place, Lineage and Liberation,” in Asian Settler Colonialism: From where she carried out choreographic research as a Fulbright Fellow in 2006. Her Local Governance to the Habits of Everyday Life in Hawai‘i, Candace Fujikane company, Kate Corby & Dancers, was San-Francisco-based from 2001-04 and and J.Y. Okamura, eds., University of Hawaii Press (2008); and “Dancing Outside was reestablished in Chicago and Madison, WI in 2009. Ms. Corby is currently the American Dream: History and Politics of Asian Dance in America,” in Legacy an Assistant Professor in the University of Wisconsin – Madison Dance Depart- to Liberation: Politics and Culture of Revolutionary Asian Pacific America, ed. ment where she teaches composition, improvisation, contemporary technique by Fred Ho with C. Antonio, D. Fujino, and S. Yip, Edinburgh, AK Press (2000). and somatics. She received her MFA in Dance from the University of Illinois at Choy has received awards for her choreography inspired by martial arts and Urbana-Champaign where she was an instructor from 2004-07. She has served Asian dance forms, including Danspace Project’s Commissioning Initiative, com- on the faculties of Beloit College, the Dance Center of Columbia College and the missions from Princeton and Cornell universities, and an NEA/Atlantic Center for Pedagogy Department of the Hungarian Dance Academy and continues to teach the Arts fellowship. master classes nationally and internationally. Kui-In Chung, a professor of Dance at the Republic of Korea’s Pusan National James Cunningham is a choreographer, performer, and co-artistic director, with University, has created numerous contemporary dance works in South Korea. Suzon Fuks, of Brisbane-based multimedia performance company Igneous (igneous.org.au). He has performed and choreographed solo and ensemble stage Kate Cochran, Company Member/Dancer - Back & to the Left Production, is a shows, performance-installations, video-dance works and online performances graduate from Knox College where she earned a Bachelor of Arts in psychology in Australia, Europe (Belgium, France, Switzerland, Germany, Poland), the UK, and a minor in dance. While at Knox College, she choreographed and partici- Canada and India. Performance and choreographic works include Tuning Fork pated in several of Terpsichore’s, the student dance club, concerts, as well as – an installation performance with Jondi Keane; Mirage – a performance installa- both faculty- and student-choreographed pieces in the dance department’s main tion short-listed for a 2008 Australian Dance Award for Outstanding Achievement stage dance concert each spring. In the fall of 2008, Kate was proud to join in Independent dance; and Body in Question – a multimedia solo dance show Progression Dance, a company based out of Chicago, whose choreographers which toured internationally between 1999 and 2007. received the outstanding choreographer award (New Voices), at the 2008 Dance Chicago Festival. Paige Cunningham studied under Sheila Cohen at Cincinnati’s School for Cre- ative and Performing Arts. She received her B.F.A. from the Juilliard School and Robin Conrad is a concert and commercial choreographer based in Los Ange- went on to dance for the Merce Cunningham Dance Company, touring through- les. She holds a BA in Dance from UC Irvine and an MFA from CalArts. She out Europe, Australia and the U.S. Ms. Cunningham received an M.F.A. from recently presented work in the Dance Under the Stars Festival in Palm Desert, the University of Illinois at Urbana-Champaign and was chosen as one of three CA, the DUMBO Dance Festival in New York City, and the REDCAT Theater choreographic fellows at Summer Stages Dance to create a new work on stu- in Disney Concert Hall. Her commercial choreography includes: sequences for dents. She has taught at the Cincinnati Ballet, Alabama School of Fine Arts and Sofia Coppola’s new movie Somewhere due out in summer 2010; numerous tele- Boston Ballet among others. She is an Assistant Professor at the Dance Center vision commercials and music videos for The White Stripes and Scissor Sisters. of Columbia College Chicago and performs with The Seldoms. Robin is on the board of advisors for the first ever Hollywood Fringe Festival taking place in June of 2010. She is certified in Yoga and Pilates through Marie Pornrat Damrhung is an Associate Professor in the Department of Drama in Jose Blom at Long Beach Dance Conditioning. Robin is currently an Assistant Chulalongkorn University’s Faculty of Arts. For two decades, her research and Professor of Dance at Fullerton College in California. stage work has sought to discover new ways to integrate traditional Southeast Asian performers, stories, dances, and music, into contemporary performances Wrenn Cook is Program Coordinator for Dance at Columbia College and Direc- able to move today’s audiences. She has received many grants and fellowships tor of the SC Center for Dance Education. She has taught dance in private in Thailand and abroad, and in the last decade, has staged or collaborated in studios and higher education settings since 1976, including 12 years in PreK-12 staging many productions in Thailand and other countries. Among her other ar- schools. Cook is a recipient of the South Carolina Dance Association’s Dance eas of work and teaching are classical dance drama, puppetry, design, theatre for Educator (1996), President’s Service (2001), Advocacy (2003), and Honor (2007) young people, and cultural management. She has also presented many papers awards. She has been active in the development of dance standards, curricu- at conferences in Thailand and around the world that have dealt with new ap- lum, and assessment in SC since 1989 and has presented at numerous dance proaches to teaching and staging classical dance drama in ways that will ensure and education conferences. She serves on the boards of directors of several its thriving survival, and published many articles and several books in Thai and arts organizations in SC, as well as serving on the National Dance Education English on these topics. Organization’s Awards Committee and as national coordinator for the National Honor Society for Dance Arts. Prior to focusing her full energies in the field of Patricia Harrington Delaney is Associate Professor of Dance at Southern Meth- dance education, she worked as a professional dancer and choreographer with odist University. She is a Certified Labanotator and teacher, a Certified Movement companies in SC, Philadelphia, and NYC. Analyst (CMA), and has trained in Language of Dance (LOD). She has notated works of Jose Limon, Alison Chase and Moses Pendleton, and Leni Wylliams; and has staged works from notation.

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Ann Dils is a dance historian and professor in the Department of Dance, Uni- Her observations of the teaching and learning transaction during this time cou- versity of North Carolina at Greensboro. Dils teaches classes in dance history, pled with a passion for facilitating movement for those who seek it has led to the research, and writing in UNCG’s undergraduate and graduate programs. She development of her unique style. served as editor (2006-2008) and co-editor (2003-2005) of Dance Research Amy Ernst began her professional career touring internationally for ten years Journal and co-edited the collections Intersections: Dance, Place, and Identity with the Lewitzky Dance Company as a featured dancer and master teacher. (2006) and Moving History/Dancing Cultures: A Dance History Reader (2001). Since joining the University of Arizona School of Dance in 1995, Ms. Ernst has With Ann Cooper Albright, Dils co-directs Accelerated Motion, a web-based dance been recognized with several teaching excellence awards from the university. preservation and curriculum project, created by Wesleyan University Press. Dils Her research in dance injury prevention has also been invited for presentation recently reconstructed the Cocteau/ Milhaud 1920 farce Le Boeuf sur le Toit and at several international dance science conferences. Ms. Ernst is an award-win- is currently writing an article about audience reception and the presentation of ning choreographer with pieces in the repertoire of several professional dance reconstructed dance. She is an affiliate faculty of UNCG’s Women’s and Gender companies including Thodos Dance Chicago. She has been invited as both cho- Studies program. reographer and master teacher to many national and international dance festi- Sarah-Mace Dennis, trained in collaborative, interdisciplinary arts practice at vals including the 2008 Intercontinental Dance Festival hosted by the University the School of Arts, Griffith University, is an interdisciplinary artist working at the of Wisconsin-Madison, the 2006 Hong Kong Dance Festival, and the 2002 and intersections of film, dance, installation, performance, creative writing and criti- 2004 Dance Under the Stars Choreography Festival (Professional Division Com- cal theory. She has produced work for exhibitions, conferences, screenings and petition) in Palm Desert, California. Ms. Ernst is the Professional Category winner performances throughout Australia, and has received funding from the Australia of the 2001, 2002, and 2006 Arizona Choreography Competition. Council for the Arts, the Australian Network for Art and Technology, the National Escola Contemporânea de Dança, founded in 1990 by Fatima Suarez in the Association for the Visual Arts and Metro Screen/ Screen Australia. As a high- city of Salvador in Bahia, was created to offer a modern dance technique instruc- land dancer, Sarah danced competitively in the nineties. After sustaining a very tion and classical dance, allied to choreographic creation. The school seeks to severe traumatic brain injury in 2008, which left her temporarily paralysed in her encourage its students to build a physical and moral autonomy, promoting co- right side, she went back to highland as a rehabilitation strategy that would assist operation and respect for diversity. In 1992 it initiated an exchange with Isadora in reactivating neurological pathways that controlled movement. This explora- Duncan Foundation of New York, directed by American Lori Belilove. Since then, tion led to an ongoing theoretical investigation of the relationship between neuro- its teachers and students have had the opportunity to live with teachers who plasticity and dance. Her current practice led PhD research at UNSW explores descend from a direct line of disciples of Duncan making possible the teaching these ideas. of knowledge to new generations of dancers in Brazil. Inspired by Duncan’s prin- Alison Dobbins is an assistant professor of Integrated Media Performance De- ciples, the school seeks to respect each student’s entry, exploring her own body sign at Michigan State University. She is currently working in a joint study entitled in space. At the same time, we offer challenges: the perception of the body as an Mediating Movement: Negotiating Internal and External Experiences of Move- integrated whole and its expression through movement. ment through Technology. Shung-jan Fan is a graduate student from Taipei National University of the Arts in George Dorris, who has worked with WDA-A from its beginnings, in 1977 found- Taiwan (TNUA). Her major is Dance Theory and Criticism. She is also a dancer of ed Dance Chronicle with Jack Anderson, which they edited until 2007, contrib- Xing-xing nanguan ensemble, a famous traditional music ensemble in Taiwan. utes regularly to Ballet Review, and edited The Royal Swedish Ballet 1773-1998 The Festival Dance Ensemble functions as the resident dance company of the (1999). He was an Associate Editor of The International Encyclopedia of Dance Department of Creative and Festival Arts, University of the West Indies, St Au- and a senior researcher on the Popular Balanchine Project of The Balanchine gustine campus. The company has been in existence since 1998 under the Artis- Foundation. For many years Dr. Dorris taught English at York College of the City tic Directorship of Hazel Franco and International Choreographer Andre Largen. University of New York. Their repertoire consists of the traditional dances of Trinidad and Tobago and a Susan Douglas Roberts is the Artistic Director of wild goose chase and Profes- contemporary style fusing Horton technique with Folk Traditions. Performances sor of Dance in TCU’s School for Classical & Contemporary Dance. Susan has have been on both local and international stage including the International Orga- choreographed and taught, by invitation, in all parts of the world: North, Central nization for Folk Art Festivals in Sao Paulo, Brazil and Umtata, South Africa. They and South America, Taiwan, Europe, Hong Kong and Japan. Her recent work were also invited on two occasions to perform at the Festival Du Maronnage in includes performances at the Ailey Citigroup Theatre (NYC) and Festival Brincos French Guiana and made a successful second visit to Brazil, presenting a Lec- in Guatemala; currently she is forming a touring project/adventure with friends: ture/Demonstration on Carnival Characters at the World Dance Alliance Ameri- Solofest – Dances for Women. Susan has worked in collaboration with compos- cas General Assembly in Bahia, Salvador, in November 2007, and 2009 at the ers, sculptors, poets, puppeteers, photographers and filmmakers and her work University of Wisconsin, Madison performing ‘Caribbean Praise’ and ‘The Hunt’. typically reflects a fractured and reconstructed approach to time and humans, Mary Fitzgerald was a member of Kei Takei’s Moving Earth for nearly ten years, being. Awards and honors include: TCU College of Fine Arts Award for Distin- performing and teaching internationally. Her own choreography has been pre- guished Teaching (1998), Fulbright Senior Specialists grant to Taipei National sented throughout the U.S. and abroad. Currently she is an Associate Professor University of the Arts/Taiwan (2008), and TCU Deans’ Teaching Award (2009). at Arizona State University, where she teaches studio courses, and focuses on Susan graduated with the MFA in Dance from the University of Illinois –Urbana/ community engagement projects. Champaign. Allen Fogelsanger is the Director of Music for Dance at Cornell University in Madonna Ellaby trained at the Australian Ballet School. She subsequently joined Ithaca, New York. He composes music for dances, programs his computer to in- the Australian Dance Theatre and later the Queensland Ballet Company. Bio- teract with dance movement, accompanies dance classes, and teaches courses mechanical challenges constantly threatened her career and led to a journey of that focus on the relationships between music and dance, concentrating par- self-discovery and investigation into the process of rehabilitation. This journey ticularly on the twentieth-century and also on computer-interactive dance. He enabled a successful professional career in both the ballet and contemporary received his BS from the Pennsylvania State University and his PhD from Cornell genres and informs her interest in teaching movement. She retired from pro- University, both in mathematics. His compositions have been presented across fessional dance in 1986 to begin a family and retrained as a pilates instructor. the United States, including at conferences of the Society for Electro-Acoustic Madonna has developed a diverse clientele ranging from those needing intensive Music in the United States and the Society of Composers, Inc. and at the rehabilitation to professional dancers and elite athletes. Madonna has been a lecturer and examiner for the Queensland University of Technology for 23 years.

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International Festival of Electroacoustic Music in Bourges, France. He is the College. From 1992 to 2007, she was a member of the dance faculty at Tufts composer and programmer for Armadillo Dance Project. University. With colleague Shih-Ming Li Chang, she recently published an article Yam Boon Fong is a Senior Specialist for dance education programmes, Minis- on Chinese dance in The Encyclopedia of Modern China (2009). As she is hear- try of Education, Singapore. She is a dance enthusiast since young and learned ing-impaired, Frederiksen’s research, courses and choreography frequently ad- various genres of dances including Chinese Classical dance, Indian Classical dress the “conversation” between music and movement, particularly in the area dance, Malay dance, ballet, creative movement and contemporary dance. She of rhythm. Her current research—“Talking the Walk: Rhythms of Bipedalism in the taught Mathematics in schools from 1985 to 2005 and during the 20 years of her Dance of Language”—explores our facility for learning as a legacy of the human teaching career, she also coached and choreographed various genres of dances. body in motion. Her choreographies received distinction awards at the Singapore Youth Festival, Dr. Ida Mara Freire (Brazil) is an Associate Professor at Center of Sciences of which is a national bench marking exercise for music and dance for schools. the Education at the Federal University of Santa Catarina. She is also director Currently, she designs and organizes dance programmes for students, provides and dancer of Potlach Group of Dance with non-sighted and sighted dancers. professional advice and assistance to schools in preparing performances for She conducts research and writes about perception, body, dance and blind- national projects such as Singapore National Day Parade mass dance display, ness. Asian Youth Games opening ceremony as well as organizing courses and con- Fred Frumberg moved to Cambodia in 1997 as a consultant with UNESCO, as- ferences for school teachers and dance practitioners. sisting in the revival and preservation of Cambodian traditional and contemporary Eduardo Javier Oramas Fonseca - Bailarín y Creador escénico, es antropólogo performing arts through capacity building in all aspects of theater management. de la Universidad de Los Andes y Magíster Interdisciplinar en Teatro y Artes Vi- In 2003 Fred founded AMRITA Performing Arts, a non-profit organization based vas de la Universidad Nacional de Colombia. Comenzó sus estudios de danza in Phnom Penh which has continued these efforts with a stronger emphasis on contemporánea en 1995 y se ha dedicado a la creación escénica desde 2005 contemporary creativity. Prior to Cambodia, Fred spent many years working in con trabajaos de danza contemporánea, circo, teatro y performance. Su inves- opera houses and theaters throughout the USA and Europe. Much of that time tigación se mueve entre distintos campos como la improvisación, la acción física, was devoted to assisting stage directors such as Peter Sellers, Francesca Zam- y la presencia del intérprete en el espacio escénico. Actualmente es docente del bello and Deborah Warner. He was head of the stage directors department for programa de Danza de la Facultad de Artes (ASAB) de la Universidad Distrital the Paris Opera from 1994-1997, a staff stage director for the Netherlands Opera de Bogotá. in the late 1980’s and production manager for two World Festivals of Sacred Mu- Joseph Fontano studied at the New School For Social Research and the sic in Los Angeles in 1999 and 2002 produced by Judy Mitoma of UCLA’s Center School of Visual Arts in New York City. An Italian-American dancer, choreogra- for Intercultural Performance. pher, scholar and dance professor, he is also considered one of the founders of Suzon Fuks is a director, choreographer and multimedia artist exploring the contemporary dance in the European continent. A pupil and co-worker with con- integration and interaction of dance and moving image through performance, temporary dance legends, such as Martha Graham, Merce Cunningham, Paul screen, installation and online work. She is currently an Australia Council for Sanasardo, and Jerome Robbins, Fontano also danced with the Nikolais Dance the Arts Fellow. http://suzonfuks.net Born in Brussels in 1959, trained in dance, Theatre in the United States and is the founder of the first Italian contemporary theatre & music at Lilian Lambert Academy (69-76) and completed her Masters dance company Teatrodanza Contemporanea di Roma. Since 1989 Fontano is a in Visual Arts at La Cambre (79-84), a school based on the principles of the permanent professor within the National Dance Academy in Rome. Since 1993 Bauhaus. She has lived in Australia since 1996 and has been co-artistic director he has been a member of the Foundation Teatro Nuovo di Torino as a chore- with James Cunningham of multimedia and performance company Igneous since ographer and founding member and the President of the World Dance Alliance 1997. http://www.igneous.org.au She has been researching and developing net- Europe, WDA Europe (WDA Europe) under the auspices of The International worked performance since 2003. In 2008, she won the Green Room Award for Dance Committee of The International Theatre Institute of UNESCO (IDC-ITI/ Outstanding Video-Scenography, was short-listed for Australian Dance Award UNESCO) since 2005. In September of 2008 Fontano was voted Vice President for Outstanding Achievement in Independent Dance, nominated for Australian of the IDC-ITI/UNESCO. Dance on Film Award and a finalist in the ReelDance Awards. Ilene Fox - Dance teacher in a New York City public school, teaching students Ellen Gerdes earned a B.A. in dance from Wesleyan University and an Ed.M. in ages 11 and 12; Dance Notation Bureau Executive Director 1991 -2005; Certified dance from Temple University. Her choreographic/written scholarship is heavily Professional Notator, Teacher of Labanotation, and Certified Movement Analyst; influenced by her time living in China and traveling in Taiwan, where she taught Notator of works by Anastos, Balanchine, Holm, Joffrey, Limón, Louis, Parsons, English and researched dance. In 2007, the Association for Asian Performance Shawn, Sokolow and the Chinese Classical Dance Syllabus for Hong Kong Acad- awarded her the Emerging Scholars Award for her research on Chinese Yangge emy for Performing Arts; Teacher of notation all over the US, in Canada, Taiwan, dance. She is published by the Asian Theatre Journal, Journal of Dance Edu- Israel, Thailand, China, and England. She served on the Board of Directors, cation and Cultural Sutdies: Critical Methodologies. Ellen currently teaches at World Dance Alliance Americas for many years. Temple University and for Dancing Classrooms Philadelphia, and dances profes- Hazel Franco, a M.A. graduate of York University, Toronto, Canada in Dance sionally with the Leah Stein Dance Company. She has taught master classes Ethnology has established herself at the forefront of dance in Trinidad and To- in Chinese fan dance at Wesleyan University, Bucknell University, and Temple bago as a Dancer, Choreographer, Educator and Researcher. Hazel as the Ar- University. tistic Director of the Festival Dance Ensemble has participated in International Elizabeth Gillaspy is an active choreographer whose work reflects a theatrical Festivals in Brazil, South Africa and French Guiana. As a Dance Ethnologist she blend of her classical and contemporary backgrounds. Her critically acclaimed has presented papers on varied aspects of Trinidad and Tobago’s Folk Dances works have been presented throughout the U.S., Taiwan and Japan and de- at conferences in Europe, South America, Africa, the United States of America scribed as “visually stunning”, “fresh and eloquent”, “spirited”, and “skillfully struc- and the Caribbean. Presently, Hazel is the Coordinator of the BA in Dance and tured”. She received her professional training at North Carolina School of the the Dance and Dance Education Certificate programme at the Department for Arts and American Ballet Theatre School and has performance experience rang- Creative and Festival Arts, the University of the West Indies. ing from classical ballet and modern dance to opera ballet, musical theater, and Lynn E. Frederiksen was born in St. Croix, USVI where she began dancing folk dance. She is an Associate Professor of Ballet at Texas Christian University, in Afro-Caribbean, Modern and Ballet. She holds a BA in Biology and an MA in President of CORPS de Ballet International, and an independent choreographer Environmental Affairs from Clark University, and an MFA in Dance from Smith with her own project-based company, Nymbal~new ballet.

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Tammi Gissell is a professional dancer, performance artist, teacher, choreog- Chieh-hua Jeff Hsieh, Taiwanese, graduated with MFA in Dance Choreography rapher & performance theory scholar. She holds a Bachelor of Performance: from Taipei National University of the Arts in 2007. With BA degree in Architecture Theory and Practice from the University of Western Sydney (UWS). She was from National Cheng-Kung University, presented him a special way in his creative inducted into the Golden Key International Honour Society (2004) & graduated works. His works, Anarchy’s Dream (2009) and Anarchy 1980 (2008), were com- Deans’ Medallist and Reconciliation Scholar (2005). This same year Tammi be- missioned by National Culture and Arts Foundation, Taiwan. He received award gan her mentorship with revered Australian dance master Graeme Watson which in 2008 National Creative Dance Competition sponsored by the Council for Cul- continues today. In 2006 she accepted an invitation by the UWS to sit her Hon- tural Affairs, Taiwan as well as S-AN Artistic Creation Award, Taiwan in 2006. ours Degree research into the role of religious gesture and posture in the forma- Chieh-Hua’s work filled with clear structure, meaningful inspiration and creative tion of body identity- again graduating on the Deans Honour Roll. Since 2007 way of playing with time, space and energy. He is one of five choreographers for she has been the Course Coordinator at the National Aboriginal Islander Skills 2009 World Games held in Taiwan. He taught in Chu-bei Senior High School, Development Association. In 2009 she was nominated for an Australian Dance Taiwan and is in residency in Colorado College, USA (2009-2010). His dance, Award (Outstanding Performance by a Female) for Eleo Pomares’ Gin.Woman. Dear Friends, co-choreographed with I-chin Lin will be premiered in WDA – Asian Distress remounted on her by its original dancers Elizabeth Cameron-Dalman & Pacific in Delhi in November, 2009. Carole Y. Johnson. Shaikh Mehedi Hasan (1978) is a young culture Anthropologist. He is also a Oona Haaranen, a choreographer, educator, and writer - has a BFA from Juil- M.Phil Candidate at the Department of Drama and Dramatic in Jahangirnagar liard, an MA from City College of New York. She has taught at many institutions, University. He has done his Masters in Social Welfare, Dhaka University and including New York City College, St. Joseph’s College in Brooklyn, New York graduates an Anthropology, National University of Bangladesh. His research in- University, Language of Dance Center USA, Arts Gate Center in New York, and terest includes South Asian dance practices, folklore and gender development. Dance Institute of Helsinki. Ms. Haaranen has performed, directed, and choreo- He also edits dance research journal Tripotak. Mehedi edited 5 books on Asian graphed in many venues both in the US and in Finland. She founded her own Dance. He has written and published numerous articles in international and na- dance school and company and has been the Education Director for Brooklyn tional journals. He is also the director of the Centre for Dance Research Bangla- Ballet since 2002. She is currently pursuing her PhD in dance. Ms. Haaranen desh (CDRB) & Executive member World Dance Alliance-Bangladesh. has been writing the semiannual DNBulletin and she joined the staff of the DNB Jeffrey Hass, D. M., is a Professor of Composition and Director of the Center in September 2008. for Electronic and Computer Music at Indiana University. Jeff has been a guest Thomas K. Hagood. Associate Professor and former Chair, Department of composer at Washington State University, University of Louisville and Indiana Dance, Florida International University. BS, Dance: SUNY College at Brockport. State University. His compositions have been premiered by the Louisville Or- MA, Modern Dance: University of Utah. PhD, Dance: University of Wisconsin- chestra and Concordia Chamber Orchestra and have been performed at Lincoln Madison. Dr. Hagood is nationally recognized for his writings on the history and Center and national conferences of the Society of Composers, Inc., the College policy for dance in higher education. His books include A History of Dance in Music Society, the International Computer Music Conference and the Society for American Higher Education: Dance and the American University (Edwin Mellen Electro-acoustic Music in the U.S. (SEAMUS). His works have been published by Press, 2000), Margaret H’Doubler: The Legacy of America’s Dance Education the Ludwig Music Company and MMB Music Publishers. Jeff’s honors include the Pioneer (2006 co-edited with John M. Wilson and Mary A. Brennan, Cambria ASCAP/Nissim Award, National Band Association/Revelli Award, Walter Beeler Press), and Legacy in Dance Education: Essays and Interviews on Values, Memorial Award, Lee Ettelson/Composers Inc. Award, and a Master Fellowship, Practices, and People (Cambria Press 2008). He is a Past President of NDEO, Indiana Arts Commission/NEA. He is a former instructor of music theory and recipient of the 2005 Visionary Award, and the 2005 Florida Dance Education composition at Rutgers University and Interlochen Center for the Arts. Organization’s (FDEO), Leadership Award. Amina Olushola Heckstall is a Master African dancer and Director of “Ballet In- Carrie Hanson, choreographer, performer and dance educator, established The ternational Africans”. Awarded The Sam and May Rudin Foundation Community Seldoms in 2001 and has advanced the group to be one of the leading contempo- Service Fellowship in Arts Education; A four time recipient of The Citizens Com- rary companies in Chicago. The repertory houses intelligent, visual works driven mittee For New York’s Building Blocks and New Neighbors Grant, recently award- by inquiry in contemporary issues, the history of ideas and art, and personal ed The Better Neighborhoods Grant 2009/2010. As a performer with “Tokounou experiences. The artistic vision extends to the whole action and environment on All-Abilities Dance Company” she did a six-week residency in Florida teaching stage with such collaborators as ICE (International Contemporary Ensemble), dance to at-risk/ foster care children and traveled to Italy to tour with them. She composer Richard Woodbury, painter Jackie Kazarian, architect Joel Huffman performed in a 7-day concert production with “G’Bassikolo Dancers And Drum- and designers Lara Miller and Anke Loh. The Seldoms has gained a reputation mers” in Toronto, Canada. Amina produced the first African Dance Conference in for bold performance in spaces such as an outdoor drained swimming pool and a Brooklyn, NY in 2005. In 2007, her Contemporary African dance choreography 17,000 sq.ft garage. Hanson has received two Illinois Arts Council Fellowships, debuted at New Dance Group Theater, since they’e appeared in 10/08 at Greens a Ruth Page Award for Dance Performance, and was a Chicago Dancemaker’s Space Studios, 11/08 at DTW for Movement Research, and 09/09 at Abrons Arts Forum 2005 Lab Artist. She teaches at The Dance Center of Columbia College Center NY. and received an MA from Laban Centre London. Claude Heintz has been the resident lighting designer for the University of Mehraj Haque (Tushar) born on 15th march 1989, is a 20-year-old classical and Wisconsin-Madison Dance Department since 1998. Mr. Heintz, who has been contemporary dancer in Bangladesh. He has learned from the best institutions creating lighting for dance since designing his first Nutcracker in 1983, holds an like Shishu Academy (1997-1999), BAFA (2002-2004),Nrityanchal (2004-2006). MFA in Theater Arts (Lighting Design) from the University of Oregon, where his He has done his diploma in bharatnatyam (from Belayet Hossain Khan) and design for the dance/drama Kabuki-Bacchae was recognized with a Kennedy Kathak (from Shibli Mohammad). He won the national prize in dance in the years Center award for best lighting design. He is the author of several computer ap- 1998, 1999 and 2002. He is doing BBA in the Independent University of Bangla- plications for lighting including LXFree, LXConsole, and the 20 year old standard desh. Mehraj and Tahmina Anwar Anika began to work together in 2007. They MacLux ProTM (www.macluxpro.com). A Tony Award winning designer has stated did several shows together including dance dramas where choreographers com- “MacLux Pro is open on my computer all the time. I couldn’t do my work without posed their dance. Later from mid 2008 they started to explore and experiment it.” The soon to be released LXBeams will bring the ideas pioneered in MacLux with different forms and choreograph themselves. They are trying to reconstruct Pro(tm) to the 21st Century. Mr. Heintz’s lighting has been recognized with an their basic classical forms to influence their own contemporary style. Irene Ryan award for Best Lighting Design.

World Dance Alliance Global Dance Event 2010 87 Biographies

Anisul Islam Hero completed a Dance Certificate course on Bangladeshi Folk & made her directorial debut with a production of Tagore’s dance-drama Bha- and Creative Dance & five years specialization course on Bharatanatyam, Indian nushingher Padaboli. Classical Dance under Leela Samson in India. He did a course on modern dance The Isadora Duncan Dance Company, is the pre-eminent Isadora Duncan choreography & western classical ballet techniques at Bremer Tanztheater Ger- dance company performing widely both nationally and internationally today. The many under choreographer Susanne Linke. Hero has been a part of the National Company creates and performs works that highlight the unique qualities of Isa- troupe of Bangladesh and given innumerable solo performances at home and dora Duncan’s repertoire, ranging from the early works to the later tragic solos, abroad. He conducted a dance workshop in Tokyo, Japan. He has participated all with a purity of style and execution of movement hailed by the international in the International summer ballet seminar in Wolfsegg, Austria. He performed press....critics and audiences. The all-female company is a spirited ensemble of at the WORLD AIDS CONFERENCE in Geneva, Thailand, ICCAP in Australia, highly trained New York dancers - both mature artists and fresh faces in the New Sri-lanka, using dance as medium for HIV-AIDS education and awareness. He York dance scene. Each dancer has received training and private coaching in used to teach disadvantaged & mentally handicapped children, as part of his phil- Duncan technique from noted Duncan authorities. The dancers are distinguished anthropic commitment. Awards Received include Bangladesh Cinema Journalist by their deeply felt connection to Isadora and to Belilove’s interpretive vision Association, Uro-Binodon Bichitra, Cultural Journalist Forum of Bangladesh & and aesthetic. As a creative team, the ensemble delves into new artistic terri- Dhaka Cultural Reporters Unity, & Bangladesh Dance Artist Association. tory as it explores ways to deliver the essence of Isadora into the 21st century. Duncan Holt MA DC FMCA is a Lecturer in the School of Arts and New Me- J. Ereck Jarvis studies Restoration & 18th-century British Literature as a PhD dia at the University of Hull, England. He trained at the School of the Toronto student (ABD) in the UW-Madison English Department. He received a UW-Madi- Dance Theatre and the London Contemporary Dance School. His career spans son University Fellowship 2000-02. He completed a BA at Wesleyan University professional performance in Canada, the United Kingdom and Australia. Dun- graduating Phi Beta Kappa with high honors, and his Scrapbook: For John can was Dance Artist in Residence at Theatre Clwyd in Wales for nine years Waters, Divine, and Cookie Mueller won the Dorchester Prize for best under- programming touring, teaching and initiating community dance activity. Since graduate thesis in English. He has worked with Dr. Yu & the UW-Madison Dance his MA at The Laban he has worked academically at Bretton Hall College (Uni- Department since January 2007. During this time, he has coordinated the 2008 versity of Leeds), University of Western Sydney and the University of Hull. His ACDFA North Central Regional Conference, the 2009 WDA-Americas General research and scholarly interests include dance making and criticism, including Assembly, and the 2010 UW-Madison Summer Dance Institute. He is founder mediated performance. Recent conference presentations include the WDA in and artistic director of an imaginary dance company Ballet Arthritique which per- Brisbane 2008 and Wisconsin 2009 and the Dance and the Child International forms regularly in his mind. in The Hague 2007 and in his second career in Chiropractic, the Performing Arts Carole Johnson - Formerly soloist with NYC’s Eleo Pomare Dance Company, Medicine Symposium in Aspen, Colorado 2005. this Juilliard graduate has pioneered dance projects in the USA and Australia. Christina Hong, PhD, (Aus), MA (USA), BA (Hons), DipEd, DipTchg, (NZ), is the She established NYC’s Dancemobile; was founder of dance magazine, FEET; Assistant Dean, Teaching and Learning, Creative Industries Faculty, Queensland and initiated through M.O.D.E. (Modern Organization for Dance Evolvement) The University of Technology, Brisbane, Australia. As an arts educator, researcher, First National Congress of Blacks in Dance -1973 at the University of Illinois, and consultant, Christina has extensive experience in leading K-12 and higher Bloomington Indiana. Responsible for establishing contemporary dance among education curriculum development and assessment reform. Current research ac- Australia’s Indigenous peoples and beginning processes that fuse contemporary tivity includes inquiry into curriculum as ‘complicated conversation,’ the impact dance with Aboriginal traditional dance, she founded NAISDA Dance College (Na- of digital convergence on discipline pedagogies, assessment for better learning, tional Aboriginal/Islander Skills Development Association) and Bangarra Dance enterprise learning, and arts-based leadership in higher education. Theatre. Ms Johnson received an Australia Council Fellowship to collate histori- Avril Huddy is a lecturer in Dance at the Queensland University of Technology. cal material for writing about the development of Australian Indigenous dance She is actively involved in the Australian dance industry, maintaining a diverse as performance art. She was installed into the Australian Dance Awards’ Hall of performing and teaching career. Her independent performance career spans the Fame in 1999 and in 2003 awarded the Centenary Medal in recognition of service last 17 years. She is a qualified level 2 STOTT pilates instructor. Avril has taught to Australian society and the Indigenous community through dance. dance technique, creative movement and pilates classes for community groups, Chris Johnson performed and choreographed with Dale Scholl’s Dance/Art in amateur and professional dance organisations and across the three tiers of the Sacramento and taught for the Sacramento Ballet. She has performed reper- Australian education system. She has designed and led community workshops, tory works of Jose Limon, Doris Humphrey and Alwin Nikolais. She won the dance teacher ‘in-service’ training and professional development opportunities. 2004 Laureate and Grand Prix, Seventh International Competition: Festival of In 2009, Avril received an Australian Learning and Teaching Council Citation for Choreography, Moscow, Ru. Her dance Wreath of Memories was performed at Outstanding Contributions to Student Learning. the US Holocaust Memorial Museum in Washington, D.C., 2002. She has been a Marcus Hughes is the Executive Director of The Australian Dance Council – professor of dance at Beloit College since 1991 where received the Underkofler Ausdance Queensland Inc – the organisation responsible for the development of Award for Excellence in Undergraduate Teaching, 2002. She has a B.A. from The Bell Tower Choreographic Workshop – and has over 20 years working in the Luther College, an M.A. from California State University, and an M.F.A. from the field of arts support throughout Australia and the UK. He is co-chair of the WDA University of Illinois at Urbana. She is a movement analyst from the graduate Asia-Pacific Management & Promotion Network and was the program director for program in Laban Movement Analysis (GLCMA) at Columbia College, Chicago, the Brisbane 2008 WDA Global Summit, hosted by Ausdance Queensland. Ini- 2007. She was elected to National Board of Directors of the American College tially trained as a dancer, he has a dynamic performance making practice across Dance Festival Association representing the North Central Region, 2006. a variety of disciplines and in a diversity of contexts. Darrell Jones performs in the United States and abroad with a variety of cho- Samina Husain Prema started her training in Manipuri dance in Bangladesh reographers and companies, including Bebe Miller, Urban Bush Women, Ron- under Shantibala Sinha, Tamanna Rahman & Sharmila Banerjee at Chhayanaut ald K. Brown, Min Tanaka, Ralph Lemon and KOKUMA Dance Theater. He has Sangeet Vidyayatan. She has a master’s degree in Manipuri dance from Rabindra collaborated with other choreographers (Fiona Millward, Jeremy Wade, Angie Bharati University of Kolkata, India, and trained under Guru Kalavati Devi. Prema Hauser), writers (Cheryl Boyce Taylor), musicians (Brian Schulur, Jesse Manno, participated in classes and workshops on various folk dances of Bengal. Signifi- NOMAD), and designers (Mahwish Syed), in dance films, documentations and cantly, she was part of a group of dancers, lead by Tarun Prodhan, who learned interactive multimedia installations. In addition to his collaborative duets he also about raibeshe during a month-long stay in Medinipur, in rural Bengal. Currently works in solo forms. His choreography has been presented at The Place Theater she is a Manipuri dance teacher at Chhayanaut, and performs frequently in Ban- in London, Kwanju Biennale in South Korea, The Kennedy Center in Washington gladesh & India. She is the founder and director of the dance group Bhabna, DC and Judson Memorial Church in New York City. Darrell has taught workshops World Dance Alliance Global Dance Event 2010 88 Lori Belilove & The Isadora Duncan Dance Company Photo: Vladimir Lupovsky

World Dance Alliance Global Dance Event 2010 89 Biographies and master classes throughout the United States and in other countries such as Annie Kloppenberg’s current creative and theoretical research hinges on impro- South Africa, UK, and South Korea. He is an Assistant Professor at the Dance visation. She has presented papers examining spontaneity in the creative pro- Center of Columbia College Chicago. cess at DAB NYU, WDAA 2009, and SDHS. Her article “Improvisation in Process: Silvia Kaehler (Argentina), BA Choreographic Composition (Arts University), Na- Post-Control Choreography” will appear in the Dance Chronicle. She performs tional Dance teacher, Independent Dance Artist, Contemporary Dance Teacher at and teaches nationally as a member of the Columbus, OH-based improvisational Colon Theater. Board Member, World Dance Alliance Americas (South America). ensemble, Like You Mean It. Kloppenberg has been called “A choreographer of nu- Silvia directs her own company, “Danza 7”. She formerly directed the Belgrano ances” by the Boston Globe. Most recently, her work has been supported by resi- University Contemporary Ballet. She has presented her works in Argentina, Bra- dencies through Dance Theater Workshop (Outer/Space), OhioDance/Dublin Arts zil, Peru, Bolivia and Los Angeles (USA). She has judged domestic and interna- Council, and the Taft School in CT. Kloppenberg holds an MFA from The Ohio State tional dance competitions and served as juror for the National Endowment for the University and a BA from Middlebury College and will join the faculty of Colby Col- Arts Fund and the State Culture Secretariat. She has written articles and lectured lege in fall 2010. For more information, please visit www.anniekloppenberg.com. on her speciality. She received an award from the “Consejo Argentino de la Dan- Alexandra Kolb is Senior Lecturer (from Feb 2010) and Chair of Dance Studies za”, and the National Dance Prize. Her dance and multimedia work “Metamorfo- at the University of Otago in New Zealand, having received her doctorate from sis” won first prize at the Ecuador Dance on Video International Festival. Cambridge. She trained professionally in dance in Düsseldorf and at John Neu- Adrienne L Kaeppler is a social/cultural anthropologist and Curator of Oceanic meier’s Academy of the Hamburg Ballet. Prior to her time at Otago, she worked Ethnology (Polynesia, Micronesia, Melanesia, New Guinea, and Australia) at the in academic publishing and at the Northern School of Contemporary Dance in National Museum of Natural History/National Museum of Man, Smithsonian Insti- Leeds (UK). Her research interests include European dance and literature in tution in Washington, DC. She attended the University of Wisconsin–Milwaukee twentieth-century modernism; dance, politics, and globalisation. She is the author and received her BA, MA, and PhD degrees from the University of Hawai’i. Be- of Performing Femininity: Dance and Literature in German Modernism (Oxford: fore joining the Smithsonian she was an anthropologist on the staff of the Bishop Peter Lang 2009), and is currently preparing an edited book on Dance and Poli- Museum in Honolulu, Hawai’i. She has taught anthropology, ethnomusicology, tics, to be published in 2010. anthropology of dance, and art history at the University of Hawai’i; the University Hui-cheng Kuo, born in Taiwan, is a medical doctor, an acupuncturist, and a of Maryland, College Park; The Queen’s University in Belfast, Northern Ireland; graduate student of dance theory in Taipei National University of the Arts. During Johns Hopkins University; and the University of California, Los Angeles. She has the medical training at Kaohsiung Medical University, Kuo was interested in the published widely on the visual and performing arts. Her publications include Po- expression of suffering body and the interaction between culture and disease. He etry in Motion: Studies in Tongan Dance (1993) and Hula Pahu: Hawaiian Drum then became highly interested in learning dance himself. After graduating from Dances (1993) and From the Stone Age to the Space Age in 200 Years (1999). the medical university and receiving the medical license, Kuo began his dance Evadne Kelly is currently a PhD candidate in dance studies at York University. study in Taipei National University of the Arts, majoring in dance criticism and She completed her MA in the department of anthropology at McMaster Univer- cultural studies. Now Kuo’s research focuses on cancer culture and the dance sity and her BA in equity studies and anthropology at the University of Toronto. community constituted by the cancer patients. Evadne is also a graduate of the School of Toronto Dance theatre. She has Andre Largen (Trinidad) - Passion and perfection fused in this artist & dancer. written, presented and published on topics relevant to the fields of anthropology These pursuits led him to some of the leading US dance institutes – Dance The- and dance studies with a particular focus on topics of time, memory and affective atre of Harlem, Alvin Ailey American Dance Center and Martha Graham School. experience. Alongside her work as an independent dance artist, Evadne is also For more than two decades he has imparted skills in performance technique to a core member of Dancetheatre David Earle with whom she has performed and persons of like passion. So whether it is as dancer with Ailey II, Marie Brooks taught for eleven years. Caribbean Dance Company, Humming Birds Dance Company (USA / Trinidad), Hyung-sook Kim, whose research on creativity in education is currently ongo- or teacher/choreographer at Alvin Ailey Dance Center, Harlem School of the Arts, ing, is a member of the Sports Science Institute of the Republic of Korea and Carol Straker’s Dance Foundation (London), Ballet Creole (Canada) or in Trini- teaches Laban movement theory in the Department of Dance at Seoul National dad, Tobago or Guyana he is the consummate Artiste-in-Residence. Andre also University. co-owns G-City Films and Bahia Productions (USA). At present he is a part-time lecturer at the Department of Festival and Creative Arts at UWI. Yongchul Kim, choreographer and dancers, has been the artistic director of the Seoul, Korea based SEOP Dance Company since its founding in 1992. Cur- Amy Larimer was a founding member of Nicholas Leichter Dance and toured rently, an Instructor at Korea National Univ of Arts, Sejong University, and Yongin internationally with the company until 2002. She has also enjoyed working with University, he received his BA from Kei-Myung University and his M.A/PhD. from Clare Byrne, Daniel Clifton, Colin Connor, Aaron Draper, Polina Klimovitskaya, Sejong University. Kim received scholarships from Korea Culture and Art/ New Patricia Nanon and Debra Wanner. Her own work has been performed at both York, was a dancing member of the Seoul Metropolitan Dance Company, and art dance and comedy venues in New York and New England including Dixon Place, director of KUMI City Dance Company. In addition to performing work in Korea, P.S. 122, Caroline’s Comedy Club, Catch a Rising Star, DTW, HERE, Joe’s Pub, Kim has toured his choreography internationally in Germany, Taiwan, Bangkok, Rhinebeck Performing Arts Center and the West End Theater. She received her India, Singapore, Beijing, Shanghai, Guangzhou, Yanbian (China), Tokyo, Osa- yoga certification from Om Yoga in 2004 and her M.F.A. from the University of ka, and New York. Wisconsin at Milwaukee in 2007. She is an Assistant Professor in the Dance/ Theatre program at Lehman College. Keiko Kitano, a “Masterful choreographer” (The Globe and Mail), is an independent dance artist with a unique style influenced by her study of Butoh and Cynthia Lee creates choreography that bridges the worlds of American postmod- Japanese dance. She has been a guest artist at numerous festivals, has worked ern dance and North Indian classical kathak. Influential teachers include Simone with many artists in Tokyo and abroad.A resident of Toronto since 2003, Keiko Forti, Eiko & Koma, Kumudini Lakhia, Bandana Sen, and Anjani Ambegaokar. has collaborated with many local artists, danced for Holly Small, Sashar Zarif and Cynthia collaborates with artists from diverse backgrounds, including visual artist other Toronto choreographers. Her choreography has been presented at various YaYa Chou, new music/jazz composer David Cutler, and West Sumatran cho- venues and festivals. Keiko holds a Master’s degree in Dance and shares her reographer Ery Mefri. The recipient of a 2002-3 Thomas J. Watson Fellowship, passion of dance as a part-time faculty of York University. She is excited to be a Cynthia was also invited to participate in the 2006 Asia Pacific Performing Arts part of Toronto’s “First Impression Campaign” and looks forward to her own up Exchange, the 2007 Asian Young Choreographers Project in Taiwan, and the coming production with the Green Tea Collective, as well as performing in a solo 2008 Indonesian Dance Festival. Her choreography has been shown in Taiwan, work collaboration by Sashar Zarif and Emily Cheung. India, Indonesia, and throughout the United States at venues such as REDCAT, World Dance Alliance Global Dance Event 2010 90 Biographies the Irvine Barclay Theater, and the Painted Bride Arts Center. Cynthia holds an Chun-hui Eddie Lin graduated from Social Work Department of Tung-Hai Uni- MFA in choreography from UCLA’s Department of World Arts and Cultures and versity in 2003, where he majored in therapy of mental disorders. Currently he is a member of the Post Natyam Collective, a contemporary South Asian dance is a graduate student at the Graduate Institute of Performance and Choreog- collective. raphy, Taipei National University of the Arts. His performing career as dancer Marin Elizabeth Leggat, MFA, is a dance educator, choreographer, dancer, and and actor began in 2005. Since then, he has worked with many professional founder of M.E.L.D. Danceworks, a project-based company committed to “dis- dance companies in Taiwan, including Sun-Shier Dance Theatre, Jade & Art- solving religious and cultural barriers through the art of dance.” NYC perfor- ists Dance Troupe, Contemporary Jazz Dance Theater, Assembly Dance The- mances include Cunningham Studio Theater, 14th Street Y, Bronfman Center atre, National Symphony Orchestra and The Party Theatre Group as a dancer (NYU), and DUMBO Dance Festival. In 2008, she was named a U.S. Cultural and actor. He has also given overseas performances with the groups in New Envoy to India and set a new work, Light Traces, on the Terence Lewis Con- York, California, Korea, and Paraguay. Lin is currently a leading workshop in- temporary Dance Company in Mumbai. Other workshops and master classes structor of the Modern Dance Society of Tung-Hai University from 2006~2009 have been presented in Cambodia, Thailand, Sri Lanka, Taiwan, Morocco and and has choreographed for their final presentations. Recently, he’s begun South Africa. Ms. Leggat currently serves as an Associate Lecturer of Dance at to appear in rehearsals and performance of different performance troupes. Brigham Young University. I-Ching Liu is a graduate student of Taipei National University of Arts. Her major Li Chiao-Ping (Director/Choreographer/Performer) was named by Dance Maga- is Dance Education. She has been to San Francisco to present the conference zine as one of the 25 to watch, formed Li Chiao-Ping Dance in 1990, and has paper “An Analysis of the Implication of Taiwanese Folk dance Curriculum— A created over 80 works for the stage and screen. Renowned for her solo work, she case study on the dance department of Taipei Physical Education College.” Her is equally well-known for her multimedia and/or intergenerational productions. research purpose in graduate school is to find creative teaching strategies for Screen dance collaborations with Douglas Rosenberg include filmsDe L’Eau and traditional dance. Also she likes to investigate a way to enhance the learning Residues and a new production co-funded by Wisconsin Public Television and motivation. Bravo! FACT of Canada. Her choreography has been shown throughout the world I-Ying Lin graduated from National Yunlin University of Science and Technology, and at festivals including Jacob’s Pillow, Bates, The Yard, ADF, and the Interna- majoring in English. Now she is a graduate student of Dance Theory at the Taipei tional Festival of Video & Dance in Argentina. Li has received numerous awards, National University of the Arts. In 2008, she presented the paper, “A study of the including grants from the NEA, fellowships from the Wisconsin Arts Board and Eastern Dance Course of the seven-year program at the Taipei National Univer- Scripps/ADF Humphrey-Weidman-Limon. A faculty member UW-Madison, she is sity of the Arts” at the conference held by World Dance Alliance in Australia. the recipient of the Romnes Award, the Creative Arts Award from the Arts Insti- Chu-Ching Liu, while studying at Fu Jen Catholic University, strove to appreci- tute, and the Emily Mead Baldwin-Bascom Professorship in the Creative Arts. ate any kind of dance performance not just ballet in the freshman year. In her Zihao Li is a dancer, a choreographer, a teacher, & a researcher. Following two junior year, she developed a preference for avant-garde theatre and experimental years of teaching at the Beijing Dance Academy, he began performing worldwide modern dance. Now she studies in Graduate Institute of Dance Theory, Taipei with the Guangdong Modern Dance company, the first contemporary dance com- National University of the Arts, with a major in Dance Theory. pany in China. In 1997, Zihao was the only one from mainland China selected Wen-jinn Luo received Master of Fine Arts degree in dance from University of Il- to study at the Hong Kong Academy for Performing Arts with full scholarship. linois at Urbana-Champaign department of dance in 1998. In 2001, Wen-jinn was Since coming to Canada, he has received a Bachelor of Education & a Masters invited to perform the solo Lotus at Biennale de danse du Val-de-Marne, Paris of Arts in Dance. Recent dance performances include the Dim Sum Festival, the France. In 2005, Her works Magic Box and Birds of Paradise were selected to be IFIDA International Dance Festival, Desiraeda, Nuit Blanche, & the 2009 Cana- performed in Asian World Dance Conference in Malaysia and Malaysia Interna- dian Symposium for Arts and Learning. Currently, he teaches Modern & Ballet at tional College Dance Festival. In 2006, the work Time without End was invited York University while finishing his Ph.D in Education at the OISE, University of to be performed in 2006 Hong Kong International Dance Festival. In 2006, she Toronto. “Zihao is a sensational dancer with superb ballet technique.” P. Citron, was selected to participate in the Asian Young Choreographers’ Project, hosted The Globe and Mail ( Canada ) by World Dance Alliance-Asian Pacific, and presented the work Under My Hob- Dr Robert Liew is the founder and managing director of Arts Management Asso- bling. In 2008, her work Shadow of Andersen’s Illusion, collaborated with Shu-yi ciates (AMA). AMA has brought to Singapore such internationally renowned art- Chou, received the 2007-2008 Pursuit of Excellence in the Performing Arts Proj- ists as the New York Philharmonic, Paris Opera Ballet, American Ballet Theatre, ect Grants from National Culture and Arts Foundation of Taiwan. and Alvin Ailey Dance Theatre. He has a doctorate in Interdisciplinary Arts. Dr Anadel Lynton - Investigadora co-fundadora del Centro Nacional de Investig- Liew was the first Singaporean artistic director of the Singapore Festival of Arts ación de la Danza del INBA (México 1983), además de creadora de acciones (1985 – 1988) and is the co-chair of the Federation of Asian Cultural Promotion artísticas, coreógrafa y maestra. Bailó con los Ballets Nacional, Independiente, and was chairman of the Economic Development Board’s Performing Arts Task Tropicanas y en Iris de Abigael Jara (2008). Imparte talleres de Danzando en Force. He has also served on the Renaissance Singapore Committee and the Comunidad, Movimiento/Expresión/Comunicación, coros de movimiento, historia Economic Review Sub-Committee for Human Resources and is adjunct lecturer de la danza, análisis de movimiento y coreografía para espacios alternativas, en- in Philosophy, National University of Singapore. He is President of the Associa- tre otros. Conduce los Diálogos de Percepciones entre públicos y artistas . Con tion of Concert and Event Managers, Singapore (ACEMS) and in 2007 was con- el Colectivo Romerías presentó Romerías Tours, un recorrido por la memoria de ferred the title of Chevalier des Arts et des Lettres by the French government for un barrio de la Colonia Roma, que combina video, danza, teatro, performance y outstanding contributions to the arts. diálogos bailados y verbales entre públicos, residentes y performeros (2006-08). Dawn Lille, trained in ballet, modern dance and Labananalysis, and Certified En 2009 estrenó Ollin: Danza para la tierra y Catastrofistas, esperancistas y vale- teacher of Labanotation, has worked with dancers and actors as a performer madristas dentro de los festivales Performática y Performagia. Recibió recono- and rehearsal coach. She has taught internationally, has headed the graduate cimientos de la Sociedad Mexicana de Coreógrafos, Nueva Danza y Música y program in dance and reconstruction at City College and currently teaches dance como co-fundadora del CenidiDanza y del Ballet Independiente. history at the Juilliard School. Her writing has appeared in encyclopedias, books Nona McCaleb is currently a candidate for the degree of Doctor of Philosophy and numerous periodicals. Dr. Lille is the author of the book Michael Fokine and in Dance at Texas Woman’s University. She is concurrently completing a M.A. in most recently, Equipoise: The Life and Work of Alfredo Corvino. She serves on Women’s Studies. She comes to TWU from the San Francisco Bay area where several boards, including the Dance Heritage Coalition and the Dance Notation she worked with diverse populations in movement as a means to embody active Bureau, and writes for Art Times.

World Dance Alliance Global Dance Event 2010 91 Biographies health. Her research is focused on issues of embodiment, movement as health, and conference proceedings in Brazil and abroad. She published the chapter life-long creativity and learning, and the role of the witness in movement. entitled” Writing in the Flesh: Body, Identity, Disability and Difference”, in Sherry Lubna Marium (General Secretary, Shadhona – A Center for Advancement of Shapiro book´s Dance in a world of change (Human Kinectic, 2008). She is part Southasian Dance and Music) is a dancer/researcher/writer. Though a dancer, of Management Group of RED – Red Sudamericana de Danza. Lubna’s artistic endeavors have taken a path beyond the rituals of artistic expres- Virginie Victoire Mécène (Principal Dancer, Buglisi Dance Theatre) Former sion and entered the realms of a search for Creative Unity. She has traveled Principal Dancer with The Martha Graham Company, Ms. Mécène joined BDT from her early training in an avant-garde style of dance taught at Bulbul Lalit in 1994 originating Ms. Buglisi’s Requiem, Suspended Women among others. Kala Academy of Dhaka, in the early sixties, to later train in Bharatnatyam and She has worked with Pearl Lang, Susan Stroman, Lucinda Childs, and Max Luna Manipuri; ultimately finding refuge in Robindro Nritto, a fusion of dance styles III; choreographed and taught for Metz Opera Ballet in France, Martha Graham promulgated under the inspired guidance of the Poet Laureate Rabindranath Ensemble, Joffrey Midwest Workshop, Singapore Dance Ensemble; served as Tagore. She has taken up the study of Sanskrit and has studied the Natyasastra Lecturer at Barnard College and set Graham’s works for Washington University, under Dr. Radhavallabha Tripathi. For the last two decades she has also been University of The Arts, Temple University; and Harvard. Her article on the Martha working tirelessly in promoting music, dance and indigenous performing arts of Graham Technique appears in the French magazine Dancer. Ms. Mécène was Southasia through her organization ‘Shadhona’. appointed Director of the Martha Graham School and Artistic Director of Graham Nina Martin, MFA, has had her choreographic/improvisational works and mas- II in 2007. ter teaching presented in New York City, the US and abroad including Russia, Jeff Meiners is a lecturer and researcher at the University of South Australia’s Austria, Ireland, Finland, Italy, the Netherlands, Germany, Venezuela, Mexico, School of Education. He has worked widely with artists, teachers and community and Japan. Performance credits include David Gordon Pick-Up Company, Mary leaders to support dance development in metropolitan and rural regions. He has Overlie, Deborah Hay, Martha Clarke, and Simone Forti, among others. She taught in schools, universities, as leader of a dance education team in London and was a founding member of Channel Z (NYC), New York Dance Intensive, and manager of Ausdance New South Wales Outreach Projects. His work includes: Lower Left (www.lowerleft.org ) and presently is a youth dance, disability projects, partnerships with government and education de- board member of Marfa Live Arts, which hosts the March 2 Marfa Performance partments plus programs with companies in England and Portugal; dance advisor Labs and Dance Ranch Marfa workshops. She has served on the faculties of for ‘The Green Sheep’, choreographer for ‘Cat’ and ‘Boom Bah!’ with Windmill UCLA’s Department of World Art and Cultures and New York University’s Ex- Theatre in Australia. Jeff won the 2009 Australian Dance Award for Outstanding perimental Theatre Wing. Presently she is assistant professor at Texas Christian Services to Dance Education for “his dedication to dance and dance education, University while continuing her PhD studies at Texas Woman’s University. Her and the inspiration and mentorship he provides to teachers and artists; for his vi- article “Ensemble Thinking: Compositional Strategies for Group Improvisation” sion and advocacy through his membership of the Australia Council Dance Board was published in the Contact Quarterly in Spring 2007. (2002-8), National Advocates for Arts Education and Ausdance”. Ulises Martínez Martínez (Mexico), actor and dancer, has a BA in Dramatic Ann Moradian, director of Perspectives In Motion, has “a deep respect for dance Literature and Theater from UNAM’s Centro Universitario de Teatro. He has per- tradition and at the same time delves courageously into the experimental.”* Her formed throughout North America, South America, and Europe, dancing alone work has been presented at venues including the New York Center for the Per- and in companies such as Utopia, Contradanza, La manga, Asalto diario, and forming Arts and Dia Center for the Arts in NY. In addition to performances in Humanicorp. He currently is a member of Bruja Danza Contemporánea. Ulises the US, Perspectives In Motion has toured India at major venues in Bombay, has studied with numerous international dance artists, including Guillermo Mal- Calcutta, New Delhi and Madras. Ms. Moradian has been strongly influenced by donado, Roberto Oaks, Tayuka Ishide, Nike Minotau, Raul Platas, Mónica Mal- her studies with Nguyen Thanh Thiên (martial arts), Jim May* (Sokolow/Hum- donado, Gustavo Herrera, and Andrew Howard. As an actor, he has performed in phrey/Limon), Eric Beeler (yoga), Finis Jhung (ballet), and her studies at the works by Camus and Hugo, on stages in Mexico, Cuba and Spain. He premiered Gallatin Division of NYU. Ms. Moradian has also performed with Anna Sokolow’ his Instantes del Dedeo in Madrid, Spain in 2006; since then, he has performed Players’ Project and the Manuel Alum Dance Company (among many others), this work in El Salvador and Mexico. Since 2002, he has led multiple dance and and performed and choreographed for films by Indian, Spanish and American theater classes for differently-abled, secluded, and underprivileged children. filmakers. She is currently working in collaboration with visual artist Nannette Nicoletta Massignani trained at the Italian National Dance Academy in Rome Bertschy in Paris. where she obtained her BFA and MFA. Her Masters thesis focuses on the applica- Moving Company (MC) hails from Weber State University in Ogden, UT. MC is tion of new technologies within a contemporary dance class. She has performed the WSU dance program’s outreach organization, bringing dance education and in numerous productions in Italy and internationally and frequently collaborates performance opportunities to local schools and non-profit organizations. During with the dance company Scenamobile. She has participated in events organized the 2009/2010 school year MC, along with American Sign Language/Movement by La Sapienza University, York University, FAO and Plexus International. Her Collaborator Alysia Woodruff, created works generated with an emphasis on creation process regularly explores the relationship between dance and technol- Deaf Culture. Bridging a specific movement form (ASL) and an abstract one ogy, including 3-D animation, video, photography, and sound. In NYC in 2008, (Modern Dance) we taught, performed for, and with, hundred’s of Deaf and non- she collaborated as a media artist and assisted the choreographer Jonah Bokaer. deaf audience members throughout Northern Utah. In 2009 she was honored with the Accolade Festival Award in San Diego, CA for Lynn Neuman, Artistic Director of Artichoke Dance Company, pushes the possi- her video dance CENSORED which was produced by WDA-Europe and Viepo. bilities of partnering from subtle to extreme with a style reflecting her background Since 2006, she has collaborated with WDA-Europe and in December 2009 was in gymnastics and eclectic training in ballet, modern, a variety of social cultural voted a board member. dances, and contact improvisation. In New York she has taught at Peridance, Lúcia Matos, professor at the Dance School of the Federal University of Bahia Ballet Arts and the Joffrey Ballet School and has been a guest artist at colleges is a member, co-leader and associate researcher with PROCEDA (Corporeo- and universities across the United States. About her work, Attitude, The Dancer’s graphic and Educational Processes in Dance). She holds a PhD in Scenic Arts Magazine has written, “Its magic on the audience was that you were afraid to look (2006). She was nominated as a representative of the State of Bahia in the Sec- and afraid to look away!” She believes in the power of the arts to effect positive torial Dance Council of the Federal Ministry of Culture. She worked as Dance change in people’s lives and works with youths and adults to promote cultural Director of the Cultural Foundation of the State of Bahia, Jan 2007- Feb 2009. literacy and to engage people in dance experiences. Ms. Neuman is a Lincoln She has taught contemporary dance to deaf youth and organized and chaired Center Institute teaching artist, has a BFA from the University of Michigan and an the 9th DaCi Conference – 2003 (Brazil). She has published articles in journals MFA from Temple University.

World Dance Alliance Global Dance Event 2010 92 Biographies

Leda Muhana is a choreographer and educator working in the under-graduate Texas Woman’s University. In June 2008, Shelley led a round-table discussion for and graduate programs of the Dance School of the Federal University of Bahia “Awareness Through Movement” at the Teaching for a Change Conference, pre- (UFBA) in Salvador, Bahia, Brazil. She completed her B.A. in Dance at UFBA sented her research “Exploring Somatic Sensitivity in Ballet Technique Instruc- (1978), her M.A. in Dance Kinesiology from the University of Utah (1984), her tion: Attuning to Individual Difference” at the 2009 World Dance Alliance Confer- Ed.D in Dance Education at Temple University (1993), and post doctorate studies ence, and had choreographic work adjudicated and performed in the Regional at Smith College (2003). She is currently Professora Titular and Vice-Director of Dance of America Festival in May 2008. Shelley lives with her husband and four the Dance School of UFBA. As an artist she maintained a contemporary dance children in Allen, Texas. company (Grupo Tran Chan) from 1980-98, and has had her 3 most recent inde- Michael Parmenter started dancing in New Zealand in 1977. In the 1980’s he pendent artistic proposals accepted and funded by the Cultural Foundation of the studied with Erick Hawkins and danced with Stephen Petronio and Dancers in State of Bahia (FUNCEB). Her work centers on educational and corporeographic New York and studied with Min Tanaka in Japan. In 1988, back in New Zealand, processes in dance, with emphasis in the themes of dance and university, creative he created his own Commotion Company, and over twenty years has created a process, dance in alternative spaces, body studies and composition in dance. long list of major works for this company and for the Royal New Zealand Ballet Madeleine M. Nichols is an attorney who has combined her knowledge and and Footnote Dance Company. In addition to his company work, Parmenter has skills gained from work in the law, performing arts and investment fields for over written and performed a number of solo works, most notably A Long Undressing 35 years. She is an international speaker on copyright and a recipient of a New and Nightingale Fever. In 2005 Commotion Company toured a major retrospec- York Dance and Performance Award (“Bessie”) and Dance USA’s “Ernie” Award. tive and in 2008 presented the new work TENT. In the same year Parmenter com- As curator of NYPL’s Dance Division, she negotiated contracts and counseled pleted a Master’s degree and is currently undertaking doctoral research between participants for: acquisition and preservation of arts materials; for recordings of the dance faculty at the University of Auckland, New Zealand and the philosophy theatrical performances, involving film, video and television; and with choreogra- department at the l’Université de Paris-1 (Panthéon/Sorbonne). phers, composers, designers, photographers, performance companies, theaters Sue Peacock has danced with the Australian Dance Theatre, Limbs Dace Co, and theatrical unions. She currently advises artists about pertinent legal docu- Helen Herbertson, One Extra Dance Company, Fieldworks Performance Group, ments that need to be in place for the best interest of their creativity and success, Chrissie Parrott, ID339 Dancegroup and Co.Loaded. She received Best Female and counsels on how to take action steps at a pace consistent with the growth Dancer in Ausdance WA’s 2005 inaugural dance awards and in 2006 was award- and health of their creative process for immediate and longer-term benefits. ed for ‘Services to Dance’ and in 2009 for Outstanding Achievement in Choreog- www.mnicholslaw.com raphy for her latest work Questions Without Notice. Sue has made commissioned Professor Dr. Mohd Anis Md Nor is Professor of Ethnochoreology and Ethno- works for ADT, the One Extra Company, 2-Dance Plus, Chrissie Parrott Dance musicology at the Cultural Centre (School of Performing Arts), University of Ma- Co, WAAPA, Steps, deckchair Theatre Co, Extensions, Dance North, Co.Loaded, laya in Kuala Lumpur. He is a member of the International Council for Traditional LINK, AIT Arts Adelaide and Expressions Dance Company. Her independent work Music (ICTM); President of World Dance Alliance – Asia Pacific (WDA-AP); Na- Give up the Ghost was performed in the 2004 Perth International Arts Festival. tional Advisor to MyDance (World Dance Alliance-Asia Pacific Malaysia Chapter); Sue lectures at the West Australian Academy of Performing Arts, is a founding and Artist-in-Residence/Consultant to the Johor Heritage Foundation. He was member STRUTdance and is currently their Artistic Program Manager. Sue was appointed as the Advisory Committee of the Islamic World Arts Initiative (IWAI) a 2002/03 Churchill Fellow and received a 2004 ArtsWA Creative Development supported by the Doris Duke Foundation for Islamic Art for the period of 2004- Fellowship. 2005. Professor Anis is the curator for the Zapin International Dance Festival Associate Professor Maggi Phillips is the coordinator of Research and Creative and the International Malay Performing Arts for the State Government of Johor Practice at the Western Australian Academy of Performing Arts, a position that in Malaysia. He is the 2007 William Allan Neilson Distinguish Professor of Music, enables daily access to the integration of artistic innovation and research. Her Dance and Theatre at Smith College, Northampton, Massachusetts, USA. life path has crossed many disciplines and worldviews, from dancer to a world Seónagh Odhiambo defines dance as a point of contact through which ideas, literature doctorate, circus ring to university boardroom. Recent research has inspiration, movement, and meaning travel. Assistant Professor of Dance Edu- centred on the value of discovery through embodiment in national research con- cation at CSULA, Odhiambo’s research examines theories of the body through texts. Together with Associate Professor colleagues, Cheryl Stock and Kim Vincs, dance processes. Working with dancers from diverse backgrounds, she brings Maggi has completed the publication of Guidelines for best practice in Australian movement traditions and pedestrian gestures into contact with one another, call- Doctoral and Masters Examination, encompassing the two primary modes of ing for audience reflection on one’s own agency in social justice issues. Odhiam- investigation, written and multi-modal theses, the culminating document of an bo developed numerous choreography projects as an award recipient, presenting Australian Learning and Teaching Council grant, Dancing between Diversity and at venues throughout the United States, Canada, and Great Britain. She recently Consistency: Refining Assessment in Post Graduate Degrees in Dance. received a Canada Council Grant in Dance (2009/10). She choreographed “Sand Heng Ping, currently the Dean of Dance College, Taipei National University of and Bone” at a New York college when she received the Fisher Center Fellowship the Arts. Founder and Artistic Director of Dance Forum Taipei and Crown The- (2006-2007). Odhiambo has a PhD in Dance from Temple where she developed ater. She is the ecipient of the Third National Arts Award in Dancing, Taiwan. a “radically international” approach to dance education. She also has an MA from Ping holds an MA degree in Dance from New York University and is a certified UBC where she explored dance and theatre as methods of teaching about social Labanotation teacher. Ping is dedicated to the research and recording of Taiwan issues. aboriginal dances. Ping also produces Crown Arts Festival annually since 1994. Shelley Padilla has performed with Colorado Ballet, Classical Dance Theater, Starting in1997, Ping presents Asian Little Theatre Exchange Network collaborat- Ballet Arts, Ballet Ariel, Collin County Ballet Theater, and Elle Danceworks. She ing with theaters and dancers in major cities in Asia. Ping served as Chairperson holds a Bachelor of Arts Degree in Mathematics from the University of North- of Performing Arts Alliance from 1997 to1999. She was CEO of Taipei Artist Vil- ern Colorado and a Master of Fine Arts Degree in Dance from Texas Woman’s lage in 2003 and served as a member in preparatory committee to International University. She has taught middle and high school mathematics, conservatory Dance Conference Taiwan 2004. Ping was the Artistic Director of National Chi- ballet and pointe classes, and ballet and modern technique for several post-sec- ang Kai- Shek Culture Center from 2004 to 2007. ondary institutions, including Collin College, North Central Texas College, and

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Harper Piver is a choreographer, performer, dance filmmaker, and educator. Her Audrey Ross’s first career was as a dancer, appearing with the Ballet Russe dance and multimedia projects explore themes of psychology and identity and de Monte Carlo, Lyric Opera of Chicago, Oklahoma! at Lincoln Center, National frequently incorporate site, text, and media. She has worked with students and Company of Camelot, and numerous other ballet and opera companies. After community members of all ages and backgrounds. Her choreography has been hanging up her dancing shoes, she was Dance Program Associate at the New commissioned and presented by festivals, companies, universities, and per- York State Council on the Arts, and publicist for Pentacle for two years. In 1982 forming arts high school dance programs. Her dance for camera work has been she started Audrey Ross/Publicity and since then has handled publicity for music, presented in dance film festivals both nationally and internationally. Harper has theater, and mainly dance companies. presented papers at numerous worldwide conferences on dance pedagogy and Cat Ruka is an emerging dance/performance artist working in the areas of indig- technology. She currently teaches dance technique, theory, and technology as enous activism and postmodern ritual. In July 2009 Cat completed her Masters adjunct faculty at Arizona State University, Scottsdale Community College, and in Creative and Performing Arts (Dance) at the University of Auckland gaining Mesa Community College in Phoenix, Arizona. She holds BFA and MFA degrees First Class Honours for her practice-led research. In October 2009 Cat performed in dance and is a licensed K-12 Dance Educator. To learn more about Harper and her solo work Playing Savage in Tempo New Zealand Festival of Dance and view samples of her work, please visit her website at www.harperpiver.com. was nominated for four awards, receiving the award for Best Short Production. Jeannine Potter received all of her early dance training with Dayton Ballet, under Throughout her studies Cat has received five scholarships, has mentored first the direction of Stuart Sebastian, in Dayton, Ohio. She holds degrees in Ballet and second year Maori and Pasifika dance students and has taught inter-cultural from Indiana University¹s School of Music and a Master of Fine Arts Degree in practice to third year dance and voice students. Various aspects of her research Dance from The Ohio State University. Between degrees, Ms. Potter spent her have been presented at the World Dance Alliance Summit in Brisbane, the Scop- time teaching and performing in Rhode Island and Massachusetts. She is cur- ic Bodies Dance Proceedings in Auckland and the International Oral History As- rently on the faculty of several Chicago area colleges, teaching and choreograph- sociation conference in Guadalajara. Cat is currently focusing on deepening her ing for students. Additionally, her work there involves investigating the intersec- artistry and performing her own works. tion of formal dance education with general university curricula, especially among Mauro Sacchi, born and raised in Italy, trained in basketball and theatre, and non-traditional students with little exposure to studio training. She also continues earned a BA in English (minoring in sports medicine) from Ripon College, USA. to perform as an independent artist and as a member of VADO/Valerie Alpert His professional basketball career cut short by bum ankles and a yearning to Dance Company. go deeper in life, he stumbled upon dance while working at Colorado College, Kevin Predmore (Principal Dancer, Buglisi Dance Theatre), holds a Master’s (re)dedicating himself to theatrical and physical experimentation, creating and from SUNY Purchase, is a founding member of BDT and has been instrumental performing in the US and Taiwan. Aside from working toward an MA in Dance in the creation of many of their dances. He has performed nationally and interna- Theory at the Taipei National University of the Arts, Mauro teaches workshops tionally with the Martha Graham Dance Company, Pearl Lang Dance Theater, and in physical theater and contact improvisation, trains with Legend Lin Dance Pascal Rioult Dance Theatre. He has worked with Sophie Maslow, Stuart Hodes, Theatre, and performs with local artists. His interests include physical theatre, Moses Pendleton, Daniel Nagrin, and Max Luna III. With Virginie Mécène, Kevin contact improvisation, the human body, art as community and embodied ritual, co-produced Profiles, an evening of solos and duets at the Sylvia & Danny Kaye Eastern traditions of movement and stillness, cooking, communication, rhythm, Playhouse, and Offering, An Evening of Dance, in Cobe and Iroshima in Japan. and exploring how all these can come together within a wholesome, artful life. He He is currently a faculty member and student adviser at The Ailey School and the is very thankful to his many teachers. Martha Graham School. Paramita Saha, Co-director of Sapphire Creations, is a 1st class postgraduate in Mahbub Reza Mithun is a fourth year undergraduate student at the Depart- English literature. Trained in contemporary dance by Sudarshan Chakravorty at ment of Music in Dhaka University, Bangladesh. His educational focus is on folk Sapphire, also trained in modern dance and jazz from France-based Nana Glea- music and theater, and he learned raibeshe and its percussion accompaniment son, dance and Movement Therapy under Janet Kaylo and Laurence Higgens during workshops with Tarun Pradhan. Mithun is also learning folk dance and from Laban Center, London, she has worked closely on improvisation work resi- Bharatanatyam under M.R. Wasek in Nandan Kala Kendra in Bangladesh. He dencies with text-body work with Michel Casanovas (Switzerland), Christopher has participated in several dance-drama productions, and performs frequently Lechner (Germany). Performing as the lead female dancer from 1999 and lead- as part of dance groups sent abroad by the Bangladeshi government. Besides ing the company as co-director since 2002 her role in the group includes handling playing South Asian percussion instruments such as the dhol, khol and tabla, he conceptualization, improvisation training and mind body conditioning for school can also play the harmonium and harmonica. and repertory dancers, documentation, management, copy writing, costume de- Melissa C. Rolnick has a BFA from SUNY Purchase College and an MFA from sign, and public relations. With her expertise in event concept and marketing, Mills College. She has performed with many notable choreographers including branding, lifestyle management, marketing strategy and brand communication Cliff Keuter, Elina Mooney, Ruth Davidson Hahn, Joe Goode, Mel Wong and she also runs India’s only arts management company Arts Forward promoting Margaret Jenkins in whose company she toured nationally and internationally. novel arts ideas and concepts. Paramita has received the Bharat Nirman Award She has taught at Sonoma State University, Western Washington University, Cal for Dance in 2007. State Fresno, and Arizona State University where she received the Distinguished Hiromi Sakamoto has been a producer/director in performing arts and television Teaching Award. Her choreography has been produced at all of the above men- and has worked in the field of cross-cultural understandings between the U.S. and tioned institutions including the Scottsdale Center for the Arts, Glendale Col- Japan. He brought a group of the New York City Ballet dancers to Tokyo to intro- lege, University of Texas Pan American, Kaleidoscope Dance, Cornish College duce Balanchine ballets, created two African-American musicals with Broadway of the Arts, On the Boards:12 Minutes Max in Seattle, Dancers’ Group Studio staff and cast and brought them to Osaka and Kobe. Hiromi produced Kyogen in San Francisco, Contemporary Dance Wyoming and Gustavus Adolphus Col- workshops and Tah-teh (Samurai Swords Movement) workshops for American lege. She is a life long dancer and long time practitioner of Authentic Movement actors in New York. He was vital in creating the Japan Foundation’s ‘Performing and Yoga. Melissa is presently on the faculty at Gustavus Adolphus College. Arts Japan’ funding program in the U.S. With Ping Chong, Hiromi co-directed the award-winning Secret History in Tokyo and New York. Currently at the Na- tional Institute of Creative Arts and Industries at The University of Auckland, Hi- romi is investigating the role and meaning of Kapa Haka (Maori performing arts).

World Dance Alliance Global Dance Event 2010 94 Biographies

Sapphire Creations Dance Workshop is Eastern India’s only experimental create an effect at once sad & beautiful. SEOP integrates this tradition with a dance company striving to develop an organic, radical, dynamic & alternative decidedly contemporary perspective—dramatic visions & cutting-edge poetics. idiom of movement. With a forte for innovation the ensemble is fresh, young SEOP strives to combine traditional & contemporary movement into a new gram- & exudes a ready awareness of contemporary global concerns. Sapphire has mar of dancing. performed with a new idiom for the last 17 years across Malaysia, Spain, Po- Nirmala Seshadri, born in Singapore, began her training in Bharatanatyam un- land, Singapore, Australia, Thailand, Italy, Bangladesh, Canada, Sri Lanka, & der Santha Bhaskar in Singapore. She later received training from several gurus India. Sapphire’s work approaches issues of gender, art, relationships, society, in India. She has also studied dance theory under the guidance of scholar and polity, consumerism & HIV through a global perspective, South Asian sensitiv- musicologist TS Parthasarathy. A recipient of the National Arts Council’s Young ity & an experimental body stylistic. The Sapphire experiment imbibes ancient Artist Award, Nirmala is a dancer, choreographer, arts educator and writer. Nir- Indian body history to relevant modern contact & improvisatory solo & group mala’s choreographic work is experimental in nature. In seeking contemporary work methods presenting itself as proscenium, site-specific, improvisatory, instal- expression through her classical form, she has been pushing the boundaries of lations, multimedia work. Beyond dance Sapphire thrusts on community build- her dance form, gradually moving into a cross-cultural and interdisciplinary ap- ing for prevention & awareness of HIV/AIDS, promotion of contemporary arts, & proach. Her recent works include ‘Outcaste Eternal’, ‘Crossroads’, ‘Then & Now’, dance therapy for different communities. Currently Sapphire has both School & ‘The Celestial Web’ and ‘Radha Now’. Nirmala is currently on the Board of the Repertory sections. National Arts Council and a member of its Arts Resource Panel. Bala Sarasvati, UGA Jane Willson Professor in the Arts, is a director, choreog- Toni Shapiro-Phim is a dance ethnologist and cultural anthropologist with a fo- rapher, and Certified Movement Analyst. She has performed, trained dancers cus on the performing arts of Southeast Asia. She received her Ph.D. in cultural and/or presented choreography throughout the U.S and internationally in Argen- anthropology from Cornell University in 1994, and has written extensively about tina, Australia, Brazil, China, Costa Rica, France and Taiwan. She holds a M.F.A. Cambodian dance in journals, magazines, books and encyclopedias. Co-author from The Ohio State University and has served as faculty member for the Jose of Dance in Cambodia (1999), she has been a visiting professor at the University Limon School and Laban/Bartenieff Institute of Movement Studies, NYC. Her of California, Berkeley and San Jose State University, and is currently teaching choreography was selected for Seattle Bumbershoot Arts Festivals, Piccolo Spo- dance ethnology at Khmer Arts in Takhmao, Cambodia, where she is also direct- leto Festivals, National Dance Therapy Association, National Dance Association, ing a research and archive initiative. Toni’s research interests cover the intersec- National American College Dance Festival and the National Society for Literature tion of dance and justice issues, including war, gender oppression, and forced and Science. As Founding Artistic Director of CORE Concert Dance Company, displacement. She recently co-edited a collection entitled, Dance, Human Rights she has created experimental and interdisciplinary works, integrates aerial dance and Social Justice: Dignity in Motion (2008). and engaged in collaborative ventures with Georgia Museum of Art, UGA Institute Elizabeth Shea, Clinical Associate Professor & Coordinator of the Indiana of Ecology, Marine Sciences and Ideas for Creative Exploration. Bala currently University Contemporary Dance program, has received numerous grants & serves on the board for the Laban/Bartenieff Institute of Movement Studies. commissions to create dance works. Her choreography has been chosen for Dr. Urmimala Sarkar Munsi is a Visiting Fellow, teaching Theatre and Perfor- performance by the World Dance Alliance, the National Dance Association, the mance Studies and Visual Documentation at the School of Arts and Aesthetics, American College Dance Festival Association, the International Computer Music Jawaharlal Nehru University, New Delhi. She is a social anthropologist and a Association, Regional Dance America & for other national and international ven- dancer/choreographer, with extensive research on “Indian Dance: Theory and ues. She has served as faculty & as a guest artist at many American universities, Practice,” “Living Traditions,” “Dance, Gender, Society” and “Performance Docu- dance companies, and dance schools. Liz was also an Artist-in-Residence for the mentation”. Urmimala has contributed articles to numerous journals, and has State of Florida, & in May of 2006, traveled to China, teaching master classes edited “Dance: Transcending Borders” has been published by Tulica Books in & presenting choreography. She also sits on the national board of directors for 2008. “Engendering Performance,” a book jointly authored by her and Dr. Bish- the American College Dance Festival Association & earned the 2009 School of nupriya Dutt has been accepted for publication by Sage India and is due to be HPER Teaching Award at Indiana University. Liz recently received funding from in print by June, 2010. She is the Vice President, South Asia, and the co-chair of the National Endowment for the Arts to direct the reconstruction of Bella Lewitz- Research and Documentation Network of the World Dance Alliance- Asia Pacific, ky’s Suite Satie at Indiana University. and the Secretary, Dance Alliance- India Chapter. W. Robert Sherry, a member of the Rollins College community since 1984, is Scarecrow Contemporary Dance Company (SCDC) was founded in 1989 in a tenured full professor who received his B.S. from Indiana University in 1979, Tainan City, the southern region and first capital in the history of Taiwan. In 1998, his M.F.A. from Southern Methodist University in 1984 where he received a full choreographer Wen-jinn Luo became the artistic director of SCDC & has led and academic fellowship, and his J. D. (cum laude) from Stetson University College SCDC to the direction of creating & performing a variety of distinctive, artistic, & of Law in 2000. In addition, he received dance/theatre training in New York, Los innovative dance styles since then. SCDC has been selected to be one of the Angeles, and the Royal Academy of Dramatic Arts in London. His performance dance companies to be included in Taiwan Performing Arts Groups Fostering credits include work in New York City, regional theatres and dance companies, Plan sponsored & supported by the Council for Cultural Affairs of Executive Yuan national tours, and summer stock. He has directed and/or choreographed a broad of Taiwan from 2007 to 2010. SCDC has been invited to perform in Beijing 2008 variety of musicals, plays, industrial shows, and concert dance works in both Cross-strait Contemporary Youth Theatre Performing Festival, 2009 17ª Quinze- professional and academic settings. Professor Sherry teaches classes in dance na de Dança de Almada - Contemporary Dance Festival in Almada, Portugal, & technique, dance history, movement for actors, theatre, and musical theatre. 2010 Avignon Off Festival in France. Marcia B. Siegel, dance critic and lecturer, has written four collections of reviews SEOP-Dance Company - In Korean, a seop is the stick supporting flowers of a and essays, the latest of which, Mirrors & Scrims – The Life and Afterlife of Ballet, flowerpot or the outer collar of a korean traditional coat. Yongchul Kim, founder has just been published by Wesleyan University Press. Her other books include & artistic director of SEOP-Dance Company, identifies dance as the ‘Seop’ of his Howling Near Heaven – Twyla Tharp and the Reinvention of Modern Dance, life. Kim established SEOP in 1992, thereby opening a new chapter of original Days on Earth – The Dance of Doris Humphrey, and The Shapes of Change – dancing in Korea. The company’s artistry springs from the roots of Korean dance Images of American Dance. Siegel’s writing has appeared in newspapers, books, with sentimental motions & neatly arranged movements in an acute line which

World Dance Alliance Global Dance Event 2010 95 Biographies and journals, including the Hudson Review, where she has been a Contributing Amanda Sowerby, Director of Moving Company, is an Assistant Professor of Editor since 1973. She currently reviews dance for the Boston Phoenix. Siegel Dance at Weber State University in Ogden, UT. She received her Bachelor of holds a certificate in Laban Movement Analysis (CMA). She was a member of the Fine Arts from the California Institute for the Arts and her Master of Fine Arts resident faculty in the Department of Performance Studies, Tisch School of the from the University of Utah. She was a co-founder of Paradigm Dance Project; Arts, New York University, from 1983-1999. She received the CORD award for a dance organization designed to foster arts education for under-served popula- contributions to dance research in 2005. tions. Amanda worked for several years with the Gary Palmer Dance Company Holly Small is a dance artist with a keen interest in inter-disciplinary collabora- in California’s Bay Area and assisted the company’s artistic director in setting tion. Her choreography, described as “a flawless integration of music and dance” new and repertory pieces on the National Ballet of Peru and the National Ballet (Globe & Mail, Toronto) has been featured in dance, music and theatre festivals of Chile. Currently, Amanda sits on the board of the Utah Dance Education Orga- throughout Canada and the US, the UK, Europe and Asia. Many of her 50-odd nization as the Higher Education Representative. dances are large-scale works featuring dance, live music, video and inter-active Eileen Standley is a dancer, choreographer, video artist and teacher. Her work new media. Radiant, her most recent collaboration with composer/media artist in dance and video has been presented by international arts institutions and fes- Johan Oswald and stage designer Emile Morin, received a record four Dora tivals throughout Europe and Japan. She has collaborated with artists of diverse Award nominations for outstanding choreography, music, performance and pro- disciplines (such as Sher Doruff, Katie Duck, Michael Vatcher, Bik Bent Braam, duction. She is a recipient of the UCLA Woman of the Year Award and the Paula Mia Lawrence, Monica Page, and Michael Schumacher). Currently, she is on the Citron Award for outstanding choreography. Small is a professor of Dance at faculty at Arizona State University as Clinical Professor-Creative Dance Prac- York University in Toronto, where she has been teaching and researching for tices. Prior to this she resided in Amsterdam, the Netherlands, where she was 20 years in the areas of choreography, music & dance, new media & dance and teaching at the School for New Dance Development (SNDO). She is also an creativity studies. Alexander Technique instructor. Allison Smith, Costume Designer - Back & to the Left Production, a native from Dr. Cheryl M. Stevens received her Ph.D. in dance from Temple University. Phoenix, Arizona, is a recent graduate from Knox College where she received While at Temple, Stevens specialized in dance education and the Umfundalai a BA in Theater with a emphasis in Costume Design. While at Knox College, African dance technique created by Dr. Kariamu Welsh. Presently, Dr. Stevens Allison designed for such productions as “Angels in America” and “Intimate Ap- is an adjunct dance instructor in the Department of Visual and Performing Arts parel”. In the summer of 2009 she held an internship at the Black Hills Repertory teaching Modern dance, Dunham Technique, Body Works, and World Dance and Theatre, located in South Dakota. Allison has been designing costumes for Back Culture. Dr. Stevens has taught dance in the public school system, has been an & to the Left Productions since the fall of 2008. artist in residence, and conference presenter recently co-presenting at the 2009 Jennifer Smith, Artistic Director - Back & to the Left Production, received her NCAAHPERD Convention. Over the past four years Dr. Stevens has traveled to BA in Dance and her MA in Interdisciplinary Arts from Columbia College Chicago South Africa twice to study traditional South African dance forms and has worked and holds and MFA in Dance from the University of Wisconsin-Milwaukee. Jen- with various South African teachers in South Africa and the US. nifer has presented her company, Back & to the Left Productions nationally in Kym Stevens is a Lecturer in Dance Education at the Queensland University Chicago, Detroit, Ann Arbor, Minneapolis and Milwaukee, and internationally at of Technology. She has over 25 years experience teaching and developing pro- the Fringe Festival for Independent Dance Artist in Toronto, Canada and at the grammes in dance education at primary, secondary and tertiary levels and contin- Festival Off’Avignon in France. In 1999 she was names on of the “30 Young ues to develop arts implementation strategies with Queensland primary schools. Show-Stoppers under 30” by the Chicago Tribune and later in 2002, she was Collette Stewart is a contemporary choreographer, performer, movement edu- granted an artists residency at the Atlantic Center for the Arts where she worked cator and body worker. She currently resides in Madison, Wisconsin where she with New York choreographer, Doug Elkins. She is currently the Director of Dance has danced as a member of Jin-Wen Yu Dance for 4 years, and prior to that, as at Knox College in Galesburg, Illinois. a member of Li Chiao-Ping Dance. Ms. Stewart is a founding member of and Merián Soto has been creating & presenting solo, group & collaborative pieces presenter for Bare Bones Dance, a performance group emphasizing choreogra- across the US and internationally for more than 30 years. She is one of the phy made for intimate spaces. Her work has been presented in New York, New Founding Directors, along with Patti Bradshaw & Pepón Osorio, of Pepatian, Jersey, Texas, New Mexico, South Carolina and Madison. Ms. Stewart has been the Bronx- based, multi-disciplinary Latino arts organization. In that capacity, teaching dance, Pilates and Yoga for the past 20 years. She earned her BFA she developed, curated & produced numerous projects featuring new works by in Modern Dance from TCU in 1995, her Pilates certification from the Pilates emerging Latino dance & performance artists from 1983-1999. She is the recipi- Center in Boulder, Colorado in 2000 and her Kripalu Yoga certification in 2007. ent of numerous grants & awards for her choreography including a Bessie (New In 2004, Ms. Stewart started her company Movement Insights. Through Move- York Dance and Performance Award) for sustained achievement in 2000 & a ment Insights, she teaches a unique synthesis of Pilates, imagery, meditation ROCKY (Greater Philadelphia Dance and Physical Theater Award) for the One and energy work. Year Wissahickon Park Project (OYWPP) in 2008. Soto lives in Philadelphia Associate Professor Cheryl Stock works at Queensland University of Technol- where she is Associate Professor and MFA Coordinator of the Department of ogy across research, post-graduate supervision and teaching in the areas of Dance at the Esther Boyer College of Music & Dance at Temple University & a dance, interdisciplinary, new media and site-specific practice, Asian performing PennPAT roster artist. arts and intercultural perspectives; publishing in all these areas. She was Head Wilfried Souly is a choreographer, dancer, drummer and Taekwondo expert from of Dance 2000-2006 and in 2004 received the Lifetime Achievement Award at the Ouagadougou, Burkina Faso. In September 2000 he co-founded Compagnie Australian Dance Awards for her outstanding contribution to contemporary dance Tâ with Olivier Tarpaga and Auguste Ouédraogo. He has collaborated with in- as a performer, choreographer, artistic director, and leader in tertiary dance edu- ternational choreographers and performed in works such as “Space i Tiempo” cation. Dr. Stock has created over 50 dance/theatre works, was founding Artistic choreographed by Robert Battle (Battleworks Dance Company USA) and Ge- Director of Dance North (1984-1995) and has directed twenty cultural exchange rardo Delgado (Mexico) in Tampico, Mexico. He also collaborated and performed programs in Asia. In 2006 she produced and directed an interdisciplinary, inter- in “Dole Danle” with Company E.Go (French Hip-Hop) directed by Eric Mezzino active performance installation Accented Body, in collaboration with artists and and Gilles Schamber in 2006. In 2007, he co-assisted Esther Baker-Tarpaga in technology experts from Australia, UK, Korea, Japan and Taiwan. Cheryl curated creating the solo “Arbre d’Adaptation,” which won Best Choreography and was and convened the 2008 World Dance Alliance Global Summit and is currently nominated for a Lester Horton award for best male dancer. Secretary General for World Dance Alliance.

World Dance Alliance Global Dance Event 2010 96 Biographies

Fatima Suarez, Director of Mantra Dance Center, concluded her studies in in Performance Studies from NYU and a BA in Theater from UNICAMP, Brazil. classical dance at Castro Alves Theatre Ballet School in 1987. She studied with Selma worked for five years as a Research Assistant to Dr. Nancy Ruyter on La Ismael Guiser (São Paulo), Eugenia Feodorova and Tatiana Leskova (Rio de Meri’s biography, which is currently being reviewed for publication. She received Janeiro), Maryon Lane and Alan Herdmann (London), and Carlos Moraes and a grant from DTW to create a choreography based on the “Fire Dance” of “El Antônio Carlos Cardoso (Bahia). In New York she met her master in Isadora Amor Brujo”, choreographed by La Meri in 1953. In 2007 she presented the Duncan technique, Lori Belilove. She has been the director of Escola Contem- research process and the choreography at the World Dance Alliance Americas porânea de Dança in Bahia, Brazil since 1992 and has established a permanent in Brazil. In 2008 as a guest artist at the University of California, Irvine, Selma exchange between that instituteion and the Isadora Duncan Foundation. As a co-directed and performed the entire “El Amor Brujo” reconstructed. In 2009 professional dancer, she served as dancer in Mantra Cia. De Dança since its she graduated from the MA program with an essay discussing media archive, creation in 1987. She dances in the performances of Escola Contemporânea memory, temporality and identity in a reconstruction process. de Dança’s Contemporânea Ensemble and has performed with Mantra Cia de Natalie Teichmann, Artistic Director of ANAHATA Dance, is a graduate of the Dança since its creation in 1987. She is graduating in Dance from the Federal University of Wisconsin-Madison, where she received her BFA in dance in 2006. Unversity of Bahia. While attending the university, she had the pleasure of dancing in the Li Chiao- Shobha Subramanian is a trained Indian Classical dancer, teacher, choreogra- Ping Dance company, where she performed in New York, LA, and Madison, WI. pher and singer. Under her leadership, Jayamangala dancers have performed Dan Wagoner, Nina Watt, Rosalind Newman, Marlene Skog, Larry Keigwin, and across the DC metro area (like Kennedy center, Smithsonian) and the east coast. Jin-Wen Yu have also honored her with the opportunities to dance in their works. Subramanian has collaborated with artists across genres. She is currently work- After three years of training in massage, yoga, and Reiki, Natalie has returned ing towards a Masters Degree, MFA in Theater, Towson Univ. Performances/ to dance with the goal of creating dynamic choreography that utilizes the natural awards include: World Dance Showcase 2008 (Maryland National Capital Park movement capabilities of each individual dancer. This year marks the inaugural & Planning Commission); Maryland Traditions Apprenticeship award for FY08 by season of her company, and the premiere of “Floating on Rooftops,” a site spe- Maryland State Arts Council; three-time winner of Individual Artist Awards from cific modern dance concert that takes place in a loft apartment, on its roof, and Maryland State Arts Council; produced a documentary film “Rhythmic Expres- in a park nearby. sions” screened at the World Congress on Dance Research in Greece in Oct. Robyn Torney is the recipient of an Australia Research Council-Industry schol- 2003; on the Advisory Panel for Maryland State Arts Council/Mid-Atlantic Arts arship from CCii, the ARC Centre of Excellence for Creative Industries and In- Foundation; conceived and coordinated two one-day Conferences “Pravaah - novation. She was sponsored to represent Western Australian Academy of Per- The Flow” in Mar. 2007, and “Natya 2009” in Mar 2009 at Towson University. forming Arts/ECU at the 2009 ARC Cultural Research Network Conference - The SUMMATION dance company, founded by Sumi Clements and Taryn Vander State of the Industry: the future for cultural research in the university. Robyn’s Hoop in 2010, is a New York City based modern dance company creating excit- career encompasses both performance and teaching/research in Australia and ing, innovating, and highly physical work. The mission of SUMMATION is to find USA. She has taught at universities in Denver, Houston, Sydney and Perth. the beauty in struggle, the humor in the mundane, and the grace in humanity. She is currently researching the model of graduate-performance-companies in Australia, UK and USA. Her research primarily focuses on Perth based LINK Danny Tan Koon Meng, a renowned Singaporean dance practitioner, is well Dance Company, WAAPA’s graduate contemporary dance ensemble; the Hot- known for his remarkable milestones in dance-making and production, dance Bed Ensemble, Black Swan State Theatre Company’s professional development education and outreach in Singapore. Many of Danny’s commissioned works programme; and FirstHand, Spare Parts Puppet Theatre’s professional transition have graced theatres and festivals across Asia and Europe. He has directed and year for emerging Western Australian performers. produced 52 mainhouse seasons and 3 dance festivals at ODT, 24 of which have involved international exchanges and collaborations. Danny’s choreography in- Kristin Tovson received her MFA from Arizona State University in 2009 and cluded 14 full-length works and more than 40 short works that are performed is the current recipient of a Fulbright Grant to research artistic and pedagogic to more than 130,000 locals and 8,000 international audiences. As an educa- practices within the contemporary dance context of Berlin, Germany. As a dancer, tor, consultant, choreographer and reviewer, Danny has received accolades for she has performed primarily in New York and Boston working with Sara Sweet his sustainable dance education programmes and initiatives since 1994. He has Rabidoux/hoi polloi. She is now making her own work and collaborating with set strong benchmarks and foundation for the dance development in Singapore, Thomas Lehmen. pioneering notable programmes such as the Dance Artiste-In-School and Fitness Yi-Chieh Tsai is presently pursuing her 2nd year in an MFA Choreography pro- & Aesthetics programmes which are new models for Singapore, and benefiting gram at Taipei National University of the Arts having received her BFA in Martial students from more than 65 government schools since 2000. Arts from the Chinese Culture University. Tsai Yi-Chieh, born in 1983 in Taichung Olivier Tarpaga is a choreographer, dancer, and musician from Burkina Faso. Taiwan, started as a dancer and choreographer in 2002 working in the Ting Chu He is co-founder and co-artistic director of Baker & Tarpaga Dance Project (2004) Dance Troupe. During that time, she worked with some of the great Taiwanese with Esther Baker-Tarpaga, co-founder of internationally acclaimed Burkina choreographers, such as Cho Ting-Chu, Cheng Tsung-Lung, and Lai Tsui-sh- Faso’s Compagnie TA (2000) with Auguste Ouédraogo and Wilfried Souly and uang. She has been choreographing from 2001 until now, and produced “Hears founder of Dafra Drum and Dance Ensemble (1995). Currently, Olivier is an ad- the ocean singing”, “Dark Ocean”, “Coins” and other important works. In 2004, junct faculty at The Ohio State University’s Dance Department and Kenyon Col- Yi-Chieh was a representative of the Taiwan Tourism Bureau attending the re- lege and is a company member of David Rousseve/REALITY. From 2006-2009, nowned “Yosakoi Soran Festival” in Japan. In 2006, she received a scholarship Olivier was a dance faculty at UCLA’s World Arts & Cultures Department where from the Chin-Lin Foundation for the American Dance Festival and performed the he developed a teaching method called “Movement Transformation Technique.” work, “Modern Line” which was choreographed by Larry Keigwin, artistic director From 1997 to 2007 he choreographed and toured thirteen major dance pieces of the “Keigwin + Company.” in African, Europe, Asia, and North America. His works are dedicated to social Ra-Yuan Tseng began her dance training when she attended National Taiwan issues such as immigration, politics, injustice and colonization. He received the Academy of Arts. She received her B.F.A. in dance from Chinese Culture Uni- Durfee ARC Grant and the 2007 Southern California CHIME Mentorship grant. versity. In 1992,she received her M.A. from Ohio State University where she Selma Treviño is a co-founder of Corporeal Arts Incorporated, a non-profit com- acquired her Labanotation training. Now she is an associate professor at Taipei pany with the mission to explore the body in performance. Selma holds a MA Physical Education College where she teaches Elementary Labanotation, Dance Composition and Introduction to Dance.

World Dance Alliance Global Dance Event 2010 97 Biographies

Ying-Ying Tu is currently an TA at Dance College, Taipei National University Faculty of Education and was a writer for the Ontario Curriculum documents for of the Arts. She received her MA from Taipei National University of the Arts in grades 9-12. A specialist in Canadian dance, in 1996, she published Toronto 2009, majored in dance criticism and holds a BA. Dance from the Taipei Physical Dance Teachers: 1825-1925. She was the organizer for the World Dance Alliance Educational College. Ying-Ying’s research has been presented at Taiwan Dance Global Assembly held at York in July 2006. She is the recipient of a SSHRC grant Research Society in Taiwan (2007, 2008) and at WDA in Brisbane (2008). to document the work of several senior choreographers in Canada. Ann Vachon, director of the Limón Institute, was a member of the dance fac- Graeme Watson has worked as a dancer and choreographer on stage, in film, ulty at Temple University for over 28 years. A graduate of the Juilliard School, and on television. He joined the Dance Company (NSW) in 1973 and worked her teachers included Doris Humphrey, Louis Horst, Martha Graham and José periodically with that company until 1980, by which time it was renamed Sydney Limón. She performed with the Limón Dance Company from 1958 until 1975, Dance Company. The companies with whom he has worked as a choreographer with time off for raising a family. In 1981 she founded Dance Conduit, a Phila- include Australian Dance Theatre, Nederlands Dans Theater, TasDance, Human delphia-based company for which she choreographed, commissioned guest cho- Veins Dance Theatre, the Dancers Company, 2 Dance Plus, Expressions Dance reographers, and directed historic reconstructions, including Limón’s “Mazurkas” Company, the One Extra Company, Meryl Tankard Company, Dance North and and Doris Humphrey’s “Dawn in New York.” She produced the award-winning the Queensland Ballet. In March 1974 Watson became the Queensland Modern documentary Limón: A Life Beyond Words, with her son Malachi Roth. and Contemporary Dance Company’s guest artistic director and choreographed two works, Something Turbid and Eccentric Foliage, for the Queensland Festival Taryn Vander Hoop hails from Wisconsin, where she received her B.S. in Dance, of Arts season. He has also been artistic director of One Extra Company and English Literature, and Spanish from the University of Wisconsin-Madison. While Dance North, and is currently head of contemporary dance at the National Ab- getting her undergraduate degree, she was privileged to perform for Li Chiao- original and Islander Skills Development Association Dance College (NAISDA). Ping Dance and Jin-Wen Yu Dance. She moved to New York in 2008 to pursue her MFA in Dance Performance and Choreography at NYU’s Tisch School of the Lynne Weber is the Executive Director and Board Chair of the Dance Notation Arts which she completed in 2010. Since moving to NYC, her work has been Bureau. She is a Certified Notator with fifteen scores to her credit. She is also shown at Danspace and the 92nd St Y. Just this year she co-founded SUMMA- a Certified Movement Analyst (CMA). She was a professional ballet, modern, TION dance company, which will be presenting their first full evening length work and off-Broadway dancer and choreographer. She earned a BFA in Dance from this fall. Taryn also works with Gallim Dance and teaches yoga. the University of Wisconsin, an MBA from the Wharton School and an MSE in Engineering in Computer Science from the University of Pennsylvania. Many Maria Adriana Verdaasdonk (Netherlands-Australia) is a theatre studies / visual years in business at KPMG and Goldman Sachs managing large projects and arts graduate who based herself in Tokyo in the early 1990s to study aikido and budgets took her away from the nonprofit sector. She returned to the DNB in Japanese dance theatre butoh. In 1994 she co-founded Tokyo-based multimedia 2005. performance unit 66b/cell, a loose collective of dancers/performers, visual artists, sound creators and researchers in information design. Ongoing investigation Lance Westergard, graduate of the Juilliard School, made his debut at the Met- employs a multi-layering of visual and sonic textures to integrate the performing ropolitan Opera House in a work-- Concerning Oracles-- especially created for body within virtual and imaginary landscapes. In 2007 she completed a prac- him by choreographer, Antony Tudor. As a performer, he has worked with the tice-led PhD under the title of Living Lens at Queensland University of Technol- Metropolitan Opera Ballet Company, Eliot Feld’s American Ballet Company, Lotte ogy. Performances and presentations include media arts festival Ars Electronica, Goslar’s Pantomime Circus, Kathryn Posin Dance Company, Los Angeles Dance ISEA2002, The Japan Virtual Reality Society, Seoul International Dance Festival, Theater (co-director), and Remy Charlip’s International All Stars. He has been the Brisbane Festival, WDA Global Summit (Brisbane) and Kobe Biennale. ballet master for both the Joffrey II Dancers and Ballet Hispanico of New York. His choreographic talents have been recognized with grants from the National Yu-Chia Wang received her Master’s degree in Physical Education and Dance Endowment for the Arts, the New York Foundation for the Arts, and the Jerome from National Taiwan College of Physical Education in 2007 and her Bachelor’s Foundation. Mr. Westergard received a certificate in honorarium for his achieve- degree in Dance from National Taiwan University of the Arts in 1983. She has ment in dance from the Isadora Duncan Institute, and is a board member of the been teaching dance and physical fitness in elementary schools and educational Lotte Goslar Pantomime Circus Foundation. Having retired as Director of Dance institutes over 20 years. Currently she is a dance teacher at HongMing Experi- at Hofstra University, he currently works with the New York Chamber Ballet. mental Elementary School and DoXing Elementary School. Michael Whaites has been a performer, choreographer and teacher for the past Yunyu Wang, Professor of dance at Colorado College and Taipei National 25 years. He was a founding member of Dance North, Queensland and danced University of the Arts. She is a founding dancer of Cloud Gate Theatre, Taiwan with Australian Dance Theatre before moving to NYC in 1991. Over the following (1973- 81). Yunyu has MFA from the U. of Illinois (1983) and is certified as La- four years he was a member of Twyla Tharp and Dancers, and Irene Hultman ban Movement Analyst (1996), Labanotation Reconstructor (1985) and Teacher Dance. He performed in the Tharp/Baryshnikov Cutting Up tour throughout Mex- (1984). She has been setting master dances of Humphrey, Sokolow, St. Denis ico and North America. In 1995 Michael joined the Tanztheater Wuppertal Pina and Nijinsky since 1986. Her publications include Analyzing Dancers between Bausch in Germany until moving back to Australia in 2000. Michael has taught East and West; Quality Life for Elderly; Taiwanese Female Young Choreogra- and made works on a variety of different companies and institutions across the pher; and Dance and Human Rights. Wang was full time dance faculty in Illinois globe. As a performer/collaborator he has worked with Company in Space, The Wesleyan U. (1984-85), the U. of Georgia (1985-89, 90-91) and National Institute Light Room Project; Wendy Houstoun, In the Dark; and Julie-Anne Longs’ The of the Arts, Taipei (1989-90). She was the Chair for the 2004 CORD/WDA/ICKL/ Nun’s Picnic. Michael is currently based in Perth, Australia as Artistic Director DNB International Dance Conferences in Taiwan. She serves as the Vice-Presi- of LINK Dance Company and lectures at the Western Australian Academy of dent of World Dance Alliance- Asian Pacific. Performing Arts, ECU. Mary Jane Warner - Currently Chair of the York University Dance Department, Hui Niu Wilcox has trained and performed with Ananya Dance Theatre since Dr. Warner has taught courses in Laban movement analysis and notation, his- May 2004. She has appeared in the following Ananya Dance Theatre projects: tory, repertory, ballet technique and dance education. She is a certified notation Bandh, Duurbaar, Pipaashaa, Daak and Ashesh Borsha. Hui is an assistant teacher and has reconstructed works by Doris Humphrey and Marion Scott. Re- professor of Sociology, Critical Studies of Race/Ethnicity, and Women’s Studies cently she notated First Music and Skyling by Patricia Beatty, and National Spirit at St. Catherine University in St. Paul, MN. by Danny Grossman. She developed the dance education courses for York’s

World Dance Alliance Global Dance Event 2010 98 Biographies

Alysia Woodruff, a collaborator with Moving Company, received her BA from SheenRu Yong is currently based in Taipei where she is an MFA candidate at Goucher Maryland and her MFA from the University of Utah. She was co-founder Taipei National University of the Arts and a member of Legend Lin Dance The- of Paradigm Dance Project; a dance organization designed to foster arts educa- atre. Originally from the US, she started dancing at Wesleyan University where tion for under served populations. Alysia’s creative research focuses on the inte- she received her BA in Letters and Dance. Her research/choreographic interests gration of American Sign Language (ASL) and modern dance. Her collaboration include interdisciplinary and community collaboration, somatic practices and cre- with Deaf poet, Ayisha Knight-Shaw informed her creative research on the solo ative applications, ritual and embodied enactment, and practicing dance as both form and was performed at The Performance Works Project, Boston. Her work art and social action. with inFluxdance began with “This Fairy tale is Not Working Out” making its Bos- Jin-Wen Yu, EdD & MFA, currently professor and chair of the UW-Madison ton debut in 2006. Alysia has taught at Emerson College, DeSalles University, Dance Department, has created, performed, directed, and produced more than and at Bridgewater State College as a Visiting Lecturer. Currently, she resides 100 works for the stage in the Americas and Asia, including 40 commissioned in Utah and teaches at the Creative Arts Academy. She is a state certified ASL works for professionals and institutes. Dr. Yu has also presented, performed, and /English interpreter, and Adjunct Professor at Weber State University. taught at many national and international dance festivals. In 1999, he founded Yi-jung Wu received her Ph.D. in dance and Emerging Dance Scholar Award the Madison-based Jin-Wen Yu Dance. The company has performed in most from Temple University, USA in 2005 and MA in dance from Columbia University major US cities. Dr. Yu has received numerous grants, honors, commissions, in 1998, focusing on dance education for children, curriculum design, and peda- residencies, and awards such as the Outstanding Dance Artist Award from Tai- gogy. She is currently an Assistant Professor in the Department of Dance at Tai- wan, Wisconsin Arts Board Choreographer Award, the first Madison CitiARTS pei Physical Education College where she teaches Dance Education in School, Commission Signature Grant, Ira and Ineva Reilly Baldwin Wisconsin Idea En- Dance Teaching and Practicum, Dance Pedagogy, Selected Readings in Dance, dowment, National Culture and Arts Foundation of Taiwan, Chinese Information and Research in Dance Education. and Culture Center in New York. Involved with WDA for many years and director Kuei-Chuan Yang got her MA degree from the UCLA. Now she is a professor in of the 2009 WDA-Americas General Assembly held in Madison, Wisconsin, Dr. the National Taiwan University of Arts Dance Department. She is also the Artistic Yu was elected president of WDA-Americas in 2009. Director of Assembly Dance Theatre in Taiwan. At NTUA, she has served as Sashar Zarif is an internationally renowned multi-disciplinary artist, educator, chairperson: her responsibilities included directing the “NTUA Cultural and Aca- and researcher in the field of dance ethnology and ethno musicology. His areas demic Exchange Group” which visited American university campuses and over- of interest are identity, globalization, dance rituals, and cross-cultural collabo- seeing faculty and student dance works which were chosen for the 10th and 11th rations. His practice is based on traditional and Sufi-Shamanic arts of Central National American College Dance Festival. Miss Yang has created over 30 works and Western Asia including Azerbaijan, Iran, Afghanistan, Uzbekistan, Tajikistan, for the stage and toured extensively in her homeland Taiwan, the United States, Turkmenistan, and Western Mongolia. Sashar has collaborated with such re- and England. Her works have earned much acclaim: “[the] maneuvers are serene nowned artists as Alim Quasimov and Rizwan- Muazzam Qawwali. He performs while daredevil-athletic, eastern in a uniquely western way.” -Village Voice “The nationally and internationally with his company, Sashar Zarif Dance Theatre, and powerful male dancers, executing the same maneuvers as the delicate females, is the recipient of many awards including the New Pioneers Arts Award/artistic are truly fascinating.” -The Scots Man ambassador for diversity in arts, Dora Mavor Moore nomination for outstanding Nai-Hsuan (Sunny) Yang is a graduate student at Taipei National University of performance in his dance creation, Choreographies of Migration, and grants from the Arts, Taiwan. She focuses on choreography, performing & actor training. She Canada Council for the Arts, Ontario and Toronto Art Councils. He is a faculty would like thank all the dancers, professors, the school staff & WDA. member at York University Dance Department and sits on the board of directors of Dance Ontario. Shu-Fen Yao, artistic director of Century Contemporary Dance Company, graduated from New York University as a Master majoring in performing arts and cho- Xiao-Xiong Zhang is Associate Professor of Dance at National Taipei University reography. She teaches at the National Taiwan University of Arts mainly focusing for the Arts, teaches modern dance for Cloud Gate Dance Theatre of Taiwan, and on improvisation, composition, and contemporary technique. She is now also is a freelance choreographer and photographer. the main choreographer of Century Contemporary Dance Company. During her time of studying in the USA she received scholarships from Merce Cunningham School and American Asian Cultural Foundation. The American dance magazine Attitude commented “from her there are many things to learn, and she is a pre- cious dance performer.” In 1999, she was selected by the Ministry of Education, Taiwan to go to Paris Artist Village for one year. Her style changes with the time and her main concern is to reflect our time and the relationship between humanity and the environment. Hou Ying is currently an independent artist and choreographer. She also serves as occasional Rehearsal Director for Shen Wei Dance Arts while guest teaching throughout China and privately in New York (guest professor in Pomona college ,CA and UCI university in AL). Her early works include Spirit of the Night which took the first place in the Russian International Dance Competition in 1996; Kiss which won awards at the International Ballet Competition in Vienna in1998. In 2001, awarded by the Asian Cultural Council Scholarship, she spent the next five years dancing for Shen Wei Dance Arts and was named as “one of the best dancers of the year” by The New York Times in 2004. From 2006 to 2008, she choreographed a series of works presented mainly in US and China. In the end of 2007, she helped teach movement for the Olympic opening ceremonies in Beijing.

World Dance Alliance Global Dance Event 2010 99 Jin-Wen Yu Photo: John Maniaci

World Dance Alliance Global Dance Event 2010 100 GENERAL INFORMATION Tech & Rehearsal Schedules Locations & Map Event Team

World Dance Alliance Global Dance Event 2010 101 Evening Concerts Tech Schedule Monday July 12, 2010 (Performance @ 7:30 pm) 2:30 pm – 3:00 pm L. Muhana, ILINX TO (group, ~10 min) 3:05 pm – 4:05 pm Ulises Martinez Martinez, Instantes del deseo (solo, 20 min) 4:10 pm – 4:35 pm J. Yu, Excursion (trio, ~10 min) 4:50 pm – 5:20 pm M. Whaites, Memorial (group, ~10 min) 5:25 pm – 5:55 pm Buglisi Dance Theatre, Sospiri (duet, 6 min) 6:00 pm – 6:30 pm K. Kitano & Z. Li, Beyond (group, 11 min)

Tuesday July 13, 2010 (Performances @ 5:00 pm & 7:30 pm) 10:30 am – 11:00 am K. Corby, Yoke (solo, 4 min) 11:05 am – 11:50 am M. Soto, States of Gravity and Light (solo, 12 min) 11:55 am – 1:00 pm Sapphire Creations, Parivahitam (sextet, 22 min) 1:15 pm – 1:45 pm B. Saravasti, Coeur de CORE (quartet, 7 min) 1:50 pm – 2:25 pm J. Fontano, “Adesso NYC” translated is “Now NYC” (duet, 8 min) 2:30 pm – 3:20 pm C. Hsieh, Anarchy’s Dream (trio, 19 min)

Wednesday July 14, 2010 (Performances @ 5:00 pm & 7:30 pm) 10:30am – 11:05 am S. Zarif, Dancing Freedom (solo, 10 min) 11:10 am – 11:55 am L. Belilove, Art of Isadora 1 (group, 12 min) Noon – 12:30 pm V. Alpert, The Chat (duet, 6 min) 12:35 pm – 1:20 pm H. Franco/UWI Festival Dance, Hosanna (group, 12 min) 1:35 pm – 2:25 pm S. Cash, Tree Woman (solo, 15 min) VIDEO 2:30 pm – 3:30 pm K. Yang/Assembly Dance, Drop and Fall (quartet, 17 min)

Thursday July 15, 2010 (Performances @ 5:00 pm & 7:30 pm) 10:30 am – 11:00 am E. Gillaspy, Thread (solo, 6 min) 11:05 am – 11:35 am T. Anwar & M. Haque, Me, Myself, n I (duet, 10 min) 11:40 am – 12:20 pm A. Sowerby, Winter Haiku (group, 8 min) 12:25 am – 1:05 pm C. Avaunt/8213 Physical Dance, It’s not too late… (trio, 8 min) 1:20 pm – 1:45 pm J. Potter, New Morning (solo, 5 min) 1:50 pm – 2:25 pm S. Campus & C. Ruka, Vault (duet, 12 min) 2:30 pm – 3:30 pm S. Peacock/WAAPA, any given moment (group, 24 min)

Friday July 16, 2010 (Performances @ 5:00 pm & 7:30 pm) 10:30 am – 11:25 am W. Luo/SCDC, An Independent Sleep (trio, 16 min) 11:30 am – 11:55 am C. Lee, ruddha (rude, huh?) (solo, 8 min) Noon – 12:25 pm C. Stewart, Over, Under, Escape (solo, 8 min) 12:30 pm – 1:10 pm F. Suarez, Art of Isadora 2 (group, 10 min) 1:25 pm – 1:55 pm S. Douglas Roberts, Moonfall (solo, 7 min) 2:00 pm – 2: 25 pm A. Ernst, Raft (duet, 4 min) 2:30 pm – 3:30 pm Y. Kim/SEOP Dance, A Man’s Requiem (group, 24 min)

Saturday July 17, 2010 (Performances @ 5:00 pm & 7:30 pm) 10:30 am – 11:00 am C. Hanson, Thrift (duet, 8 min) 11:05 am – 11:50 am Baker & Tarpaga Dance Project, Sira Kan/On the Road (trio, 12 min) 11:55 am – 12:30 am H. Small, Invisible Thread (duet, 9 min) 12:30 pm – 1:25 pm S. Yao/CCDC, Double Happiness (group, 12 min) 1:40 pm – 2:25 pm A. Chatterjea, “Bazzaar” (trio, 12 min) 2:30 pm – 3:30 pm X. Zhang/ TCDC, Rusty Walls (quartet, 20 min)

World Dance Alliance Global Dance Event 2010 102 DTW Studios Rehearsal & Spacing Schedule Monday July 12, 2010 David R. White Studio 4:00 – 4:45 pm Kate Corby & Joseph Fontano 5:00 – 5:45 pm Merián Soto 6:00 – 6:45 pm Bala Saravasti/CORE Concert Dance Company 7:00 – 8:45 pm Sapphire Creations Dance Workshop 9:00 – 9:45 pm Jeannine Potter

Jerome Robbins Studio 2:30 – 8:10 pm Opening Concert Warm-up 8:15 – 9:45 pm Jeff Hsieh

Tuesday July 13, 2010 David R. White Studio 4:00 – 4:30 pm Valerie Alpert/VADCO 4:35 – 5:05 pm Tammi Gissell/Graeme Watson 5:10 – 5:40 pm Susan Cash 5:45 – 6:15 pm Lori Belilove & The Isadora Duncan Dance Company 6:20 – 6:50 pm Marin Leggat/M.E.L.D. Danceworks 6:55 – 7:25 pm Elizabeth Shea 7:30 – 8:00 pm Annie Kloppenberg 8:05 – 8:35 pm Sashar Zarif 8:40 – 9:10 pm Anisul Islam Hero 9:15 – 9:45 pm Chun-hui Lin

Jerome Robbins Studio 4:00 – 8:10 pm Concert A Warm-up 8:15 – 9:10 pm Kuei-Chuang Yang/Assembly Dance Theatre 9:15 – 9:45 pm Hazel Franco/University of West Indies Festival Dance Ensemble

Wednesday July 14, 2010 David R. White Studio 4:00 – 4:30 pm Elizabeth Gillaspy 4:35 – 5:05 pm Tahmina Anwar Anika/Mehraj Haque Tushar 5:10 – 5:40 pm Melissa Rolnick 5:45 – 6:15 pm Sarah Gavina Campus 6:20 – 6:50 pm Amanda Sowerby/Moving Company 6:55 – 7:25 pm Paige Cunningham/Darrell Jones 7:30 – 8:00 pm TBD 8:05 – 8:35 pm Sheenru Yong 8:40 – 9:10 pm Nai Hsuan Sunny Yang 9:15 – 9:45 pm SUMMATION Dance Company

Jerome Robbins Studio 4:00 – 8:10 pm Concert B Warm-up 8:15 – 9:10 pm Sue Peacock/ Western Australian Academy of Performing Arts 9:15 – 9:45 pm Casey Avaunt/8213 Physical Dance Theater

World Dance Alliance Global Dance Event 2010 103 DTW Studios Rehearsal & Spacing Schedule

Thursday July 15, 2010 David R. White Studio 4:00 – 4:45 pm Amy Ernst 4:55 – 5:40 pm Fatima Suarez/ Escola Contemporâne de Dança 5:45 – 6:15 pm TBD 6:20 – 7:25 pm Colette Stewart 7:30 – 8:15 pm Cynthia Lee 8:20 – 9:45 pm Scarecrow Contemporary Dance Company

Jerome Robbins Studio 4:00 – 8:10 pm Concert C Warm-up 8:15 – 9:45 pm Yong Chul Kim/SEOP-Dance Company

Friday July 16, 2010 David R. White Studio 12:05 – 12:35 pm Carrie Hanson/The Seldoms 12:40 – 1:20 pm Susan Douglas Roberts 1:25 – 2:05 pm Century Contemporary Dance Company 2:30 – 4:00 pm [master class] 4:00 – 4:40 pm Yi-Chieh Tsai 4:45 – 5:30 pm Anaya Chaterjea/Ananya Dance Theatre 5:35 – 6:20 pm ANAHATA Dance 6:25 – 6:55 pm TBD 7:00 – 8:40 pm Carin Carino/ Nanyang Academy of Fine Arts 8:45 – 9:25 pm Artichoke Dance Company 9:30 – 9:45 pm TBD

Jerome Robbins Studio 4:00 – 8:00 pm Concert D Warm-up 8:05 – 8:45 pm Baker & Tarpaga Dance Project 8:50 - 9:50 pm Xiao-Xiong Zhang

Saturday July 17, 2010 David R. White Studio 4:00 – 9:45 pm C-4

Jerome Robbins Studio 4:00 – 8:10 pm Concert E Warm-up 8:15 – 9:45 pm C-4

World Dance Alliance Global Dance Event 2010 104 2010 WDA Global Dance Event Team Director Jin-Wen Yu

Coordinator J. Ereck Jarvis

Technical Director Claude Heintz

NYU Steinhardt Coordination Susan Koff

Assistance in New York City Marcia De La Garza Lauren Rosenstein Ann Vachon Lance Westergard

WDA Point People at DTW David Iannitelli (during the Event) Kai-Fong Liao Leda Muhana

WDA Point People at Kimmel Center Susan Koff (during the Event) Lúcia Matos Lauren Rosenstein

Publicity Audrey Ross

Video Compilation Becca Kesting Jim Vannes

Receipt Assistance & RSVPs Jamie Landry

Poster & Program Cover Design Nancy Zucker

Program Booklet J. Ereck Jarvis

Website Carlyn Pitterle

Thanks to all who helped make the WDA Global Dance Event possible and who contributed to its rich and diverse program. Special thanks to everyone at DTW (especially Gretchen Weber and Chloë Z. Brown), Mary Shoei-shian Hsu and Chi-Ping Yen at the Taipei Cultural Center in New York, Robert Abrams and Karyn Collins with the Dance Critics Association, Cheryl Stock, Nancy Zucker, Sally Roedl, Kate Corby, Kenneth Burns, the UW-Madison Dance Department, the UW-Madison School of Education, the vibrant dance students of UW-Madison, Yunyu Wang, Jeff Hsieh, and Yooyoung Lee.

World Dance Alliance Global Dance Event 2010 105 Anarchy’s Dream by Chieh-hua Hsieh Photo: B.K CHEN (Dancecology) WDA-Americas’ presentation of the WDA Global Dance Event In Time Together: Viewing and Re- viewing Contemporary Dance Practice at Dance Theater Workshop is made possible through Dance Theater Workshop’s Guest Artist Series. The Guest Artist Series is a comprehensive rental program benefiting a diverse group of dance and theater companies and producing organizations interested in self-producing their work at Dance Theater Workshop. Individual components of the WDA Global Dance Event are supported by: