DANCE at the UNIVERSITY of MICHIGAN We Encourage Deep Engagement Through the Transformative Experiences of Dancing and Dance Making

Home , Dance and health, Dore Hoyer, Japanization, Wheelchair DanceSport, Women in dance

MAKE YOUR MOVE GET YOUR MFA IN DANCE AT THE UNIVERSITY OF MICHIGAN We encourage deep engagement through the transformative experiences of dancing and dance making. Hone your creative voice and beneft from an extraordinary breadth of resources at a leading research university. Two-year MFA includes full tuition coverage, health insurance, and stipend. smtd.umich.edu/dance School of Performing Arts

School of Performing Arts Oﬀ ering programmes at undergraduate and postgraduate levels on Dance, Music, Theatre and Performing Arts.

[email protected] +356 2340 3524 um.edu.mt/performingarts um.edu.mt/admissions DEPARTMENT OF DANCE dance.osu.edu | (614) 292-7977 | NASD Accredited

PhD in Dance Studies MFA in Dance Emerging scholars motivated to study critical Dance artists eager to commit to a rigorous theory, history, and literature in dance three-year program

AGILE MINDS THINKING BODIES /

PhD, MFA, BFA, Minor Faculty Movement Practice, Performance, Improvisation Susan Hadley, Chair • Harmony Bench • Dave Covey Choreography, Dance Film, Creative Technologies Melanye White Dixon • Karen Eliot • Hannah Kosstrin Pedagogy, Movement Analysis Crystal Michelle Perkins • Susan Van Pelt Petry History, Theory, Literature Daniel Roberts • Mitchell Rose • Eddie Taketa • Valarie Music, Production, Lighting Williams • Norah Zuniga Shaw

Application Deadline: November 15

DSA Program Ad 2.22.18.indd 1 2/23/18 3:36 PM OXFORD ONLINE OXFORD SCHOLARSHIP ONLINE oxfordscholarshiponline.com OXFORD BIBLIOGRAPHIES oxfordbibliographiesonline.com VERY SHORT INTRODUCTIONS ONLINE veryshortintroductions.com OXFORD HANDBOOKS ONLINE oxfordhandbooks.com

global.oup.com /academic

Visit the OUP exhibit for book discounts and more!

MFA IN DANCE @ RUTGERS TRANSFORMING THE ARTIST / EDUCATOR / RESEARCHER

• Designed for professional artists • Fosters an interdisciplinary approach • Integrates theory with practice • Located 45 minutes from New York City Applicants should have minimum ﬁve years’ working experience

FUNDING AVAILABLE

Next cohort of MFA students begins in Summer 2019

MASONGROSS.RUTGERS.EDU/DANCE/MFA 848-932-1345 [email protected]

3 Table of Contents President’s Welcome ...... 5 Anne Flynn Welcome from the University of Malta Conference Chair ...... 6 Dance Studies Association Board and Committees ...... 7 Malta 2018 Conference Program Committee ...... 9 Local Information ...... 10 Useful Contacts ...... 11 Sponsors DSA 2018 ...... 12 Maps & Directions ...... 13 Bus Cards and Tickets ...... 19 Local Transportation Information Other Useful Information...... 20 Book Exhibit ...... 21 Graduate Student Events...... 22 Evening Performances ...... 23 Dance Studies Association Annual Awards 2018 ...... 24 Keynote Speakers ...... 26 Bojana Cvejić ...... 26 Nicholas Rowe ...... 27

Schedule Overview ...... 29 Detailed Schedule ...... 39 Biographies & Abstracts ...... 71

Citation Regulations ...... 159 Proceedings Submission Guidelines ...... 160 Sample Entries ...... 162 President’s Welcome Anne Flynn

UM Department of Dance Studies, Dance Tour 2015. Photo: Lucía Piquero

On behalf of the board of directors of the Dance Studies Association (DSA), I would like to welcome everyone to the second DSA conference, Contra: Dance & Conﬂict, and to extend special thanks to our hosts at the University of Malta, especially Rector and Professor Alfred J. Vella for the University’s generous in-kind support.

In addition, DSA thanks Professor elections brought ten new directors this gathering of scholars and artists. Frank Camilleri, Director of the School on board and there is tremendous From four days of programming to of Performing Arts, and Professor momentum that’s been generated local host arrangements, the project Vicki Ann Cremona for the School’s through the cooperative eforts of of bringing together hundreds financial support, as well as Lucienne the merger and the reafirmation that of participants is an enormous May Bugeja and the team of the professional organizations are vital to undertaking and the board extends its Conferences and Events Unit. support the growth of the field. warmest congratulations and thanks for this important service to the field. It’s only been one year since the Dance The DSA board extends its sincere Studies Association became the new thanks to Conference Chair Brandon Wishing everyone a stimulating and legal entity created through of the Shaw and Vice-Chair Malaika Sarco- lively few days—re-connecting with merger of the Congress on Research in Thomas of the Department of Dance colleagues and friends, making new Dance (CORD) and the Society of Dance at the University of Malta who have ones, and gathering energy to re-fuel History Scholars (SDHS). The recent 2018 worked for eighteen months to stage and re-charge.

5 Welcome from the University of Malta Conference Chair

Welcome to Malta! We are excited Indeed, we come here with an Committee for their keen eyes toward to have you here and have been opportunity to enrich our scholarship selecting presentations and assistance and practice, but our personal and with the groupings; and DSA’s Board and planning an engaging, enriching, communal lives may be fortified as Conference Committee members (with transformative conference. well. Leading researchers, dance artists, special mention to Anne Flynn, Hannah theorists, and teachers from around Kosstrin, and Hanna Järvinen) who have the world convene in Valletta to provided helpful steering and invaluable If you look around Malta, it’s easy to see acknowledge and address an elemental advice in the planning of the conference. how a conference addressing conflict dynamic inherent to and continually A huge thank you is due to Janet is especially at home here. Routinely addressed by dance: conflict. Through Wilhelms, Courtney Harris, and the rest bombed in WWII, underground a variety of formats, many delegates of the team at AEG for many details of catacombs were adapted to function are speaking to and dancing out organization. And a very special thanks as bomb shelters. Before bombs from dificult issues and experiences they also goes to my assistant, Patsy Chetcuti, aircraft existed, bastions and fortresses have personally encountered; together our impassioned, unflagging interns built by the Knights of Malta served to we are endeavoring to understand, as well as our volunteers, who have guard against invaders. Some fortresses coordinate, and respond to each other. provided that full-bodied labour that has have recently been de-weaponized into I hope you’ll take opportunity to listen made this conference possible. What you cultural centers and bomb shelters also and make some connections that you see (and don’t have to see) is the result function as unique performance venues. will sustain over the coming years. of this incredible team. These moves bode well for the arts, yet Dance Studies’ battles lie ahead. This conference would not be possible We hope you enjoy your time in Malta without the support of our sponsors, and have a wonderful conference so please see this list of allies in the The theme of ‘Contra: Dance & Conflict’ experience! invites the field of Dance Studies to programme book. I would like to extend my deepest gratitude to the look inward and outward: for intra- and In solidarity, Local Committee: Malaika Sarco- inter-disciplinary scrutiny and action. Brandon Shaw Dance artists and scholars are uniquely Thomas (vice-chair), Sara Accettura, Jo trained in skills enabling us to perceive, Butterworth, Kathrina Farrugia-Kriel, Conference Chair strategize, and respond to social concerns Lucia Piquero, and Francesca Tranter; Department of Dance Studies and their corporeal manifestations. to the international Programme University of Malta Shifting between individual and mass perspectives on migration of bodies, pinpointing bodily ways of being that perpetuate sexism and racism, recognizing the strength and cohesion acquired through strategizing and body-storming as well as theorizing and brain-storming, and spreading awareness that there is no cohesion without friction, DANCE STUDIES HAS Dance Studies has invaluable strengths to contribute to ongoing, intensifying INVALUABLE STRENGTHS contemporary social struggles. And our TO CONTRIBUTE TO ONGOING, presenters have found the import of their scholarship and practice, as is evident in INTENSIFYING CONTEMPORARY our programme. SOCIAL STRUGGLES.

6 Dance Studies Association Board and Commitees

Malaika Sarco-Thomas Board of Directors Standing Commitees University of Malta Anne Flynn on Awards Julia Ritter University of Calgary Janet O’Shea, Chair Rutgers University Anusha Kedhar VK Preston Jefrey Friedman University of California, Riverside University of Toronto Rutgers University Joanna Dee Das Joanna Dee Das Susan Manning Washington University, St. Louis Washington University in St. Louis Northwestern University Hannah Kosstrin Avanthi Meduri Victoria Fortuna The Ohio State University Roehampton University Reed College Jens Giersdorf Cindy Garcia Yatin Lin Marymount Manhattan College University of Minnesota Taipei National University of the Arts Jacqueline Shea Murphy Allana Lindgren University of California, Riverside Department of Theatre, Janet O’Shea University of Victoria University of California, Los Angeles Kin-Yan Szeto Standing Commitees Ray Miller Appalachian State University on Finance Appalachian State University Lena Hammergren Joanna Das, Chair Stockholm University Kin-Yan Szeto Bridget Cauthery Appalachian State University York University Victoria Fortuna Anne Flynn Reed College University of Calgary Imani Kai Johnson Standing Commitees Hannah Kosstrin University of California, Riverside on Conferences The Ohio State University Jacqueline Shea Murphy, Chair Jasmine Johnson Brown University Hannah Kosstrin The Ohio State University Royona Mitra Brunel University Kathrina Farrugia-Kriel Standing Commitees Royal Academy of Dance London Prarthana Purkayastha on Professional Royal Holloway University of London Dasha A. Chapman Development Hampshire College Melissa Melpignano Ray Miller, Chair UCLA Mario LaMothe Jingqiu Guan University of Illinois UCLA Brandon Shaw Michael Huxley University of Malta De Montfort University

7 Ann Dils University of North Carolina Nominations Commitee Studies in Dance History Charlotte Barbara Sellers-Young Anusha Kedhar Editorial Board York University University of California, Riverside Rebecca Rossen University of Texas at Austin Imani Kai Johnson Stacey Prickett University of California, Riverside University of Roehampton Clare Croft University of Michigan Freya Vass-Rhee Anurima Banerji University of Kent UCLA Sanja Andus L’Hotellier Columbia University Hannah Kosstrin The Ohio State University Standing Commitees Conversations Across San San Kwan on Publications Field of Dance Studies University of California, Berkeley and Research Sanja Andus L’Hotellier Royona Mitra Columbia University Jens Richard Giersdorf, Chair Brunei University, London Melissa Blanco Borelli Helen Thomas Linda J. Tomko Royal Holloway, University of London Trinity Laban Conservatoire University of California, Riverside of Music and Dance Melissa Blanco Borelli Rebecca Rossen Royal Holloway, University of London University of Texas at Austin Sanja Andus L’Hotellier Dance Research Columbia University Journal Editorial Board Helen Thomas Melissa Blanco Borelli Dance Research Journal Trinity Laban Conservatoire Royal Holloway University of London of Music and Dance Advisory Board Clare Croft Theresa Buckland Ariel Osterweis University of Michigan University of Roehampton California Institute of the Arts Prarthana Purkayastha Kent De Spain Gay Morris University of London Antioch University Independent (Scholar) Jens Giersdorf Susanne Franco Mark Franko Marymount Manhattan College Ca Foscari University of Venice Temple University Susan Jones Lester Tomé University of Oxford Smith College Stephanie Jordan Stacey Prickett University of Roehampton Standing Commitees University of Roehampton on Website Julie Malnig Danielle Goldman Anusha Kedhar, Chair New York University The New School Jasmine Johnson Dee Reynolds Brown University University of Manchester Royona Mitra Gerald Siegmund Brunel University London Justus Liebig University Michael Bodel Michael Bodel Dance Arts

8 Malta 2018 Conference Program Commitee

Brandon Shaw Meiver De la Cruz Danielle Robinson University of Malta, Chair Oberlin College York University Malaika Sarco-Thomas Thomas F. DeFrantz Kin-Yan Szeto University of Malta, Vice-chair Duke University Appalachian State University Takiyah Nur Amin Jens Richard Giersdorf Sarah Whatley Davidson College Marymount Manhattan College Coventry University Karima W. Borni Nicole Haitzinger Middlebury College University Salzburg Ramsay Burt Jasmine Johnson De Montfort University Leicester Brown University Jo Butterworth Janet O’Shea University of Malta University of California, Los Angeles Yaping Chen Stacey Prickett Taipei National University of the Arts University of Roehampton

Malta 2018 Local Commitee Brandon Shaw University of Malta, Chair Sara Accettura Assistant to the Chair University of Malta Patsy Chetcuti Jo Butterworth University of Malta Kathrina Farrugia-Kriel Royal Academy of Dance Conference Interns Lucia Piquero Laura Kuukkanen University of Malta Ariadne Mikou Malaika Sarco-Thomas Gloria Borge Lasarte University of Malta UM School of Performing Arts, Collective Moritz Zavan Stoeckle Performance 2015. Photo: Darrin Zammit Lupi Francesca Tranter University of Malta Cassandra Straub

9 Local Information

UM Department of Dance Studies University of Malta Department Final Choreographies 2016. Department of of Dance Faculty Photo: John Ambrogio Dance Studies Professor Vicki Ann Cremona Founded in 2010, the Department of Head of Department Dance Studies provides institutional Dr Malaika Sarco-Thomas support and theoretical undergirding for Malta’s long-standing passion Dr Brandon Shaw for dance. With a harmonized Ms Lucía Piquero Alvarez engagement with practice and theory, the program prepares Ms Sara Accettura students for careers in performance, Ms Francesca Abela Tranter choreography, dance education, Mr Dorian Mallia cultural management, and dance scholarship. The 3-year Bachelor’s Ms Valentina Cauchi degree (Honours) hosts students from Malta, the EU, and around the world, and provides training for contemporary dance, choreographic techniques, dance and technology, University Of Malta dance and health, dance education, Valleta Campus and an international third-year The Valletta campus which is housed tour. Master’s degrees offer further in the Old University Building dates opportunities in these areas as well back to the founding of the Collegium as Practice as Research, and deeper Melitense and incorporates the Aula engagement with critical theory. The Magna. The Valletta Campus serves as Department is part of UM’s School of a prestigious setting for the hosting of Performing Arts, working closely with international conferences, seminars, the Theatre and Music departments, short courses and summer schools. It and has ongoing exchange with is also the venue of the University’s leading researchers, choreographers, International Collaborative Masters dancers, companies, and partner- Programme and the Malta University universities across the world. Holding Company.

Local Atractions & Cultural Information Museums, churches & other attractions Beaches

St. John’s Co-Cathedral – St. John’s Street, Valletta Sandy Beaches Fort Rinella - Fondazzjoni Wirt Artna – St. Rocco Road, Kalkara Ghajn Tufieha – Limits of Mgarr (from Valletta, bus no.44) Hal Saﬂieni Hypogeum – Burial street, Paola Golden Bay – Limits of Mellieha (from Valletta, bus no.44) Casa Rocca Piccola – 74 Republic Street, Valletta Fort St Elmo National War Museum – Fort St. Elmo, Valletta Rocky Beaches Upper Barrakka Gardens – 292, St. Ursula Street, Valletta Exiles – Sliema (from Valletta, bus no.13A) Manoel Theatre – Old Theatre Street, Valletta Mellieha Bay – Mellieha (from Valletta, bus no.49)

10 Useful Contacts

George Zammit Taxis Car Rentals St Paul’s str, Valletta Ecabs Rentalcars Tel: 00 356 2123 6553 Tel: 00 356 2138 3838 Tel: 00 356 2778 0187 Web: ecabs.com.mt/zonesrates Web: rentalcars.com/en/country/mt Fresh Direct 143, Old bakery str, Valletta Hicabs Avis Tel: 00 356 9922 3335 Tel: 00 356 2137 2137 Tel: 00 356 2567 7550 Web: freshdirectmalta.com Web: hicabs.com.mt Web: avis.com.mt

Post Office/Courier Airport Transfer Dry Cleaners Castille Post Ofice Shared Shuttle Bus Portughes Laundry & Dry Cleaning 1, Annona House Web: www.maltatransfer.com Baystreet Level 1, St Julians Castille Square, Valletta Return ticket approx Eur16/person Tel: 00 356 2144 4444 Web: portughes.com Opening hours: Public Bus Service Monday - Friday 08:15 am - 15:45 pm Web: www.maltairport.com/passenger/ The one stop laundry shop Saturday 08:15 am - 12:30 pm getting-here/bus-service Spinola Road, St. Julians Tel: 00 356 9920 1176 Main Post Ofice Reaching the airport in Malta by bus Web: theonestoplaundryshop.eu Old Bakery Street, Valletta is very straightforward thanks to four Tel: 00 356 2122 4421 express lines designated X1, X2, X3 and X4. Opening hours: Monday - Friday 08:30 am - 14:00 pm They are fully air-conditioned and have Laundromats Saturday 08:30 am - 13:00 pm extra space for luggage and passenger Laundry services comfort. Jump on any one of these and 121, Ponsonby road Gzira you’re either heading towards Malta Tel: 00 356 7949 1682 International Airport or away from it. Visit the website https://www.publictransport. com.mt/ for detailed information about these services and other bus routes to and from the rest of Malta. Grocery Stores Wembley Store Taxis 305, Republic str, Valletta See contacts above. Taxis are also Tel: 00 356 2122 5147 available at the airport. Web: www.thewembleystore.com

EU Emergency Services Floriana Health Centre Ambulance, Police, Fire & Rescue Frangisk Saver Fenech Road, Floriana

112 Free to dial from any phone or mobile 00 356 2124 3314 24/7Health Services Sponsors DSA 2018

DSA WOULD LIKE TO THANK OUR SPONSORS FOR OUR 2018 CONFERENCE

12 Maps & Directions

Valleta Campus Plans Ground Level 13 Valleta Campus Plans Level 1 14 Valleta Campus Plans Level 2 15 16

Archbishop Street

Republic Street

Excelsior Hotel to Valleta Campus Directions 17 Valleta Campus to Palazzo Pereira Directions 18

Valleta Campus to Transport for Awards Dinner Directions Bus Cards and Tickets Local Transportation Information

Personalised Accessibility tallinja card All buses are low ﬂoor and are While bus tickets can be purchased equipped with a wheelchair ramp from our drivers on all buses, we and have a step free entrance. also offer travel cards specifically designed for visitors: the ExplorePlus Prices card, the Explore cards and the 12 Summer €2.00 Single Day Journey card. These can be Night Service €3.00 used immediately without the need to Mobility scooters & register. Motorised Wheelchairs 0ur priority is the safety of our The ExplorePlus travel card gives you passengers and due to size and 7 days of unlimited travel on public weight restrictions, it may not be Tickets can be purchased from the Bus transport; 2 trips on the Valletta ferry; safe or possible to use all motorised Driver on all our busses (although exact and a full-day tour on the hop-on, hop- wheelchairs or mobility scooters. change is sometimes expected). of buses visiting Malta’s landmarks, or a round trip to Comino by boat. These Cash Tickets are Single Journey tickets that can be used to get to any Our 7-Day Explore card provides destination within two hours, including unlimited travel for one week whilst Bus Terminals interchanging. the 12 Single Day Journeys card ofers Valletta Bus Terminal ﬂexibility with reduced fares for 12 The Valletta Bus Terminal is accessible You can also opt for our tallinja cards. journeys. It can also be shared and is from the main entrance to Valletta as These are a range of bus cards ofering valid for a year. well as from Castille Place. added value and reduced fares to suit your needs, depending on your https://www.publictransport.com.mt/ • Area A serves routes 1 to 4, travelling patterns. en/order-your-travel-card 71 to 74, 80 to 88, 90 to 94, 122, 130 to 133 and X4 • Area B serves routes 13 to 16, 21 to 24, 31 and 32, and 41 to 49 • Area C serves routes 50 to 58 and 61 to 64

Malta International Airport Bus Interchange The Airport Bus Interchange is located just outside the Departures Hall.

UM Department of Dance Studies Dance Tour 2014. Photo: Emma Tranter

19 Other Useful Information

SLIEMA TO VALLETTA FERRY SERVICE

Adult Tickets Single: €1.50 Return: €2.80

60+ ID Card Holders & Blue Badge Holders Tickets Single: €0.50 Return: €0.90

PLEASE SEE OUR INSERT for a list of recommended restaurants and cafes for lunch, dinner, and meetings.

20 Book Exhibit

Cambridge University Press Intellect, Publishers of Original Thinking

Palgrave Macmillan Oxford University Press

UM School of Performing Arts Collective Performance 2018. Photo: Rafael Mielczarek

PUBLISHERS’ TABLES ARE LOCATED IN THE HALLWAY ON LEVEL ONE OF THE VALLETTA CAMPUS.

21 Graduate Student Events

nurture and fuel this conversation, draw Graduate Student Graduate Student attention to matters that feel urgent to Professionalisation Professionalisation graduate students, and plan graduate Workshop #1: Workshop #2: Scholarly work at future conferences. Publishing in Dance and Pedagogical Issues Session Chair Studies Today in Diversity Melissa Melpignano FRIDAY, 2:30–4:30 P.M. SATURDAY, 11:00 A.M.–1:00 P.M. UCLA VALLETTA CAMPUS, LEVEL 1, VALLETTA CAMPUS, LEVEL 1, LECTURE ROOM 3 LECTURE ROOM 3 Presenters Anurima Banerji Session Chair This discussion panel addresses the UCLA Raphael (Ray) Miller concept and practice of diversity Appalachian State University in relation to graduate student life, Bernard Brown responding to the experiences and California State University, Presenters urges of MA, MFA, and PhD students. Sacramento Norman Hirschy Proposed discussion topics for invited Senior Editor, panelists and graduate students Rebecca Chalef Academic & Trade, range from how to craft a diversity University of California, Oxford University Press statement for a job application to how Riverside to tactically overcome the limits of Helen Thomas institutional diversity policies working Jasmine Johnson Editor for Dance Research Journal as a Teaching Assistant or making Brown University work in the studio within coursework. Clare Croft Cristina Fernandes Rosa Editor for Studies in Dance Graduate students are invited to join the University of Roehampton, History book series DSA Graduate Student Working Group to London

Melissa Blanco Editor for Conversations

Rachel Fensham Series Co-Editor for New World Choreographies Palgrave

Tomas Rene Editor Palgrave

Graduate Student Party FRIDAY, 6:30–8:15 P.M. PALAZZO PEREIRA

Wine and music provided!

UM Department of Dance Studies, Dance Tour 2014. Photo: Emma Tranter

22 Evening Performances

UM School of Performing Arts Collective Performance 2016. Photo: Darrin Zammit Lupi

EVENING PERFORMANCES AT THE VALLETTA CAMPUS THEATRE

Each evening features unique performances from local choreographers and University of Malta Dance Studies staf, alumnae, and students. All performances are held at Valletta Campus Theatre and begin at 8:30p.m. Tickets (€13) may be purchased at the Registration and Information desk.

THURSDAY FRIDAY SUNDAY 5 July, 8:30p.m. 6 July, 8:30p.m. 8 July, 8:30p.m.

50,000 The Other Door | Tag Choreography: Francesca Tranter What’s wrong, Why not!? Choreography: Pamela Kerr Choreography: Dorian Mallia and Kostas Papamatthaiakis Petrichor Performed by: Moveo Dance Company Choreography: Lucía Piquero The Fragmented Mind Performed by: ŻﬁnMalta Dance Documentary Video & Flashmob Choreography: Silvia Scalici Ensemble Step up for Parkinson’s Malta Performed by: the Junior Dance Company Total time Saucha 50 min Choreography: Gaby Davies Inter-Identity (no intermission) Choreography: Patsy Chetcuti Hypnagogia Choreography: Cassandra Straub LX 2 Choreography: Moritz Zavan Stoeckle Actualité Choreography: Margherita Borg Total time 70 minutes Total time (including short technical pause) 90 minutes (including 10-minute intermission)

23 Dance Studies Association Annual Awards 2018

The Dance Studies Association is pleased to announce its annual awards for 2018. These prestigious awards support the work of dance scholars at various stages of their careers. The following awards will be given at the Awards Dinner at Le Meridien Hotel in St Julian’s Malta on Saturday, 7 July. The ceremony begins at 6:45pm.

Distinction in Dance Award: Joanne Buterworth Panel the first Director of the School of the Artistic Advisory Committee. She Friday, 6 July, 5:00 - 6:30pm Performing Arts at its inception in 2012. is currently a trustee of ŻfinMalta, the at the Palazzo Pereira’s main room. Butterworth retired from University of National Dance Ensemble of Malta, Malta in July 2017 but is still active in and President of Opening Doors Professor Joanne (Jo) Butterworth writing, choreographing and mentoring. Association Malta, an NGO that works is the recipient of the Dance Studies for the active involvement of adults Association’s 2018 Distinction in Dance Butterworth’s scholarly contributions with learning disabilities in the artistic Award. Recently retired as Professor have made significant contribution and creative sector. She is a patron of of Dance Studies at the University to the field of dance studies. Her Qdos Creates in South Yorkshire, and of Malta, Professor Butterworth has publications include Contemporary a board member of Dundee Rep and made significant contribution to the Choreography: A Critical Reader (2009), Scottish Dance Theatre in Dundee. scholarly, teaching and performance co-edited with Liesbeth Wildschut, Over the last thirty years, she has communities across several British and Dance Studies the Basics (2012). mentored many across a diversity of and European contexts. Butterworth A radical new second edition of dance communities. Butterworth has was Head of Dance at Bretton Hall Contemporary Choreography: A Critical championed emerging choreographers, from contemporary dance to ballet (University of Leeds) from 1986-2005, Reader was published in January and beyond, as well as developed where she initiated the BA Hons Dance 2018. In her retirement, she is also the field of dance studies in northern degree, the MA in Performance Studies contributing chapters in forthcoming England, Holland and more recently in and the MA in Choreography. She also anthologies, including The Oxford Malta. The 2018 Distinction in Dance taught on postgraduate courses at Handbook of Shakespeare and Dance, Award recognises Jo Butterworth’s truly the Liverpool Institute of Performing Interdisciplinarity in the Performing remarkable contribution to dance. Arts (LIPA) and at Fontys University in Arts, and The Oxford Handbook of the Netherlands. In 2010 Butterworth Contemporary Ballet. Butterworth Kathrina Farrugia-Kriel established the Department of Dance chaired Wayne MacGregor|Random Studies at the University of Malta, Dance for twelve years and was a Head of Research where she wrote and validated the Board member of Northern Ballet, Faculty of Education BA and MA programmes. She became Leeds, where she still has a role on Royal Academy of Dance

24 Selma Jeanne Cohen Award In recognition of Selma Jeanne Cohen’s great contributions to dance history, the Society of Dance History Scholars inaugurated an award in her name at its 1995 conference. The Selma Jeanne Cohen Award aims to encourage graduate student members by recognizing excellence in dance scholarship.

Sammy Roth Natalia Duong Jessica Friedman Reproducing the Foreclosed White Body: Agent Orange Ecologies: Josephine Baker’s Decolonial Racial Imaginary and White Womanhood Choreographing Kinship Corporeal Borderland in Competition Dance in Rhizophora

Presenting in Panel Presenting in Panel Presenting in Panel Dance & Competition 1: Dance into Film, Film into Dance Dance Contra Postcolonialism Battling For Visibility & Viability

Friday, 6 July, 11:30am-1pm Sunday, 8 July, 8:30-10am Sunday, 8 July, 10:15-11:45am, Valletta Campus, Ground level, Valletta Campus, Level 2, Valletta Campus, Ground level, Meeting room 3 Lecture room 3 Meeting room 4

UM Department of Dance Studies, Dance Tour 2014. Photo: Emma Tranter

The Graduate Student Travel Award Grants are aimed at encouraging broad graduate student participation in the annual conference. Graduate Student The Graduate Student Travel Award committee awards 2018 travel Travel Award Grants grants to Miriam Althammer, Elan Marchinko, and Filip Petkovski.

25 Keynote Speaker Bojana Cvejić

Aesthetic Obfuscations of Conflict in White Western Dance For the past fifty years or so, white Euro-American dance has attempted to define itself in opposition of wars and protracted conflicts. Failing to address Cold War era political crises in a critical manner, such dance displaced or repressed the politics it renounced. Bojana Cvejić The result has been an aesthetic figure of what Fredric Bojana Cvejić’s work spans philosophy, theater/ Jameson and Andrew Hewitt refer to as the political dance dramaturgy and performance education. unconscious. This symptomatic figure, or ideologeme, can be She is author of several books, including observed in a variety of forms of “white harmony” (examples Choreographing Problems (Palgrave 2015), Public include contact improvisation, release technique, gaga) in Sphere by Performance, with A. Vujanović (bbooks which dance is immunized against confrontation. 2012) and Drumming & Rain: A Choreographer’s Score, co-authored with A. T. De Keersmaeker This talk will draw on the research I conducted for the (Mercatorfonds 2013). exhibition project Danse-guerre (Musée de la danse, 2013) with focus on American experimental dance and social She has been (co-)author, dramaturge or performer choreography in former Yugoslavia, on the one hand, in many dance and theater performances since and the Vietnam War and the Cold War, on the other. 1996, with a.o. J. Ritsema (Verwantschappen; TODAYulysses; Pipelines, a construction; I will then look at more recent cases of thematic subsumption knowH2Ow; Cocos, Breeding, Brains and Beauty), and choreographic abstraction of war-related dance material X. Le Roy (Mouvements für Lachenmann, The Rite and “folklore” in order to examine how cultural critique can of Spring, More Mouvements für Lachenmann), aesthetically obfuscate cultural appropriation. E. Salamon (And Then; Tales of the Bodiless), M. Ingvartsen (It’s In The Air; The Artificial Nature Project, 69 Positions), C. De Smedt (Untitled [Four Choreographic Portraits]).

She directed ﬁve experimental opera stagings, most notably Don Giovanni at BITEF, Belgrade, 2008. Her latest works are videos …in a non-wimpy way… and Yvonne Rainer’s WAR (in collaboration with Lennart Laberenz) for the exhibition Danse Guerre at CCN Rennes (she co-curated with Cosmin Costinas 2013) and Spatial Confessions at Tate Modern (2014), the program she curated and made choreography, conference and performance for (in collaboration with a.o. Christine De Smedt). She is Associated Professor of Dance and Dance Theory at the Oslo National Academy of the Arts KHIO and coordinator Research Studios Program P.A.R.T.S. Brussels where she has been teacher since 2002.

26 Keynote Speaker Nicholas Rowe

Dance Academia in the 21st Century: Trump’s Missionaries, Mercenaries and Minions? The Brexit referendum, the election of US President Donald Trump, and the growth of far-right populism reveal a peculiar, complex neoliberal-isolationist political momentum, which is challenging cross-cultural interaction and excluding an increasing proportion of the world’s population from political Nicholas Rowe decision-making. Nicholas Rowe is an Associate Professor in Dance Studies at the University of Auckland and an This far-right political momentum is not floating in an Associate Investigator in the ArtsEqual Project, abstract, disembodied bubble, but is directly shaped by Academy of Finland. He is a graduate of the the ways in which we collectively generate and regenerate Australian Ballet School and holds a PhD from the knowledge about our creative moving bodies. London Contemporary Dance School, University of Kent at Canterbury. Nicholas has choreographed So how might dance academia be responsible for and performed with The Finnish National Ballet, promoting, exploiting, or unwittingly perpetuating these Australian Ballet, Sydney Dance Company, Royal politics of exclusion? This presentation extends upon post- New Zealand Ballet, Nomad Dance Theatre, Modern nationalist and post-colonial research that has revealed Dance Turkey and Ramallah Dance Theatre. how contemporary political exclusion in Palestine has been fostered by the historical and ongoing ethno-nationalist From 2000-2008 he resided in the Occupied dance knowledge generated by Zionism. Palestinian Territories working in refugee camps on dance projects with local artists. Nicholas’ film In the urgent context of global trends towards political work includes the feature-length children’s film The exclusion, this presentation argues for the relevance of Secret World, which has been screened at festivals reflexive, critical, humanist research, pedagogy and around the world. advocacy within dance academia. He has published extensively on education and dance in diverse cultural contexts, and his books include Talking Dance: Contemporary Histories from the South China Sea (2015) Talking Dance: Contemporary Histories from the Southern Mediterranean (2014), Moving Oceans: Celebrating Dance in the South Pacific (2013), Raising dust: a cultural history of dance in Palestine (2010), and the performing arts workshop manual Art, during siege (2004).

He was awarded a University of Auckland Teaching Excellence Award in 2011 and a University of Auckland Research Excellence Award in 2012.

Schedule OVERVIEW th Thursday 5 July 2018

Hourly Schedule Hourly Schedule Room

evel 9:00 10:00 11:00 12:00 13:00 14:00 15:00 16:00 17:00 18:00 19:00 20:00 21:00 Building L

Opening Reception & Ballroom Provocation/Plenary

Registration & Information Foyer Excelsior Meet & Mix

Terrace Hors d’oeuvres, drinks, and dancing

Main Room DSA Board Meetings

DSA Standing Editorial Board Board Room DSA Board Meetings Committee for Palazzo Pereira Dance Research Journal Publications

Hallway Meeting Room 1 Meeting Room 2 Meeting Room 3 Meeting Room 4 Ground Level Meeting Room 5 Meeting Room 6 Lecture Room 1

Valletta Campus Lecture Room 2

Level 1 Lecture Room 3 Aula Magna

Lecture Room 2

Level 2 Lecture Room 3

Performance: Black Box UM Dance Studies and Guests Ground

Studio Valletta Campus Theatre

30 th Thursday 5 July 2018

Hourly Schedule Hourly Schedule Room evel 9:00 10:00 11:00 12:00 13:00 14:00 15:00 16:00 17:00 18:00 19:00 20:00 21:00 Building L

Opening Reception & Ballroom Provocation/Plenary

Registration & Information Foyer Excelsior Meet & Mix

Terrace Hors d’oeuvres, drinks, and dancing

Main Room DSA Board Meetings

DSA Standing Editorial Board Board Room DSA Board Meetings Committee for Palazzo Pereira Dance Research Journal Publications

Hallway Meeting Room 1 Meeting Room 2 Meeting Room 3 Meeting Room 4 Ground Level Meeting Room 5 Meeting Room 6 Lecture Room 1

Valletta Campus Lecture Room 2

Level 1 Lecture Room 3 Aula Magna

Lecture Room 2

Level 2 Lecture Room 3

Performance: Black Box UM Dance Studies and Guests Ground

Studio Valletta Campus Theatre

31 th Friday 6 July 2018

Hourly Schedule Hourly Schedule Room

evel 7:00 8:00 9:00 10:00 11:00 12:00 13:00 14:00 15:00 16:00 17:00 18:00 19:00 20:00 21:00 Building L

Ballroom Keynote Speeches

Registration &

Excelsior Foyer Information

Dance in Malta 1: Dance Heritage, Distinction in Dance Award Panel Dancing to Connect Graduate Student Party Main Room Training, & (Inter)Nationalism for Professor Jo Butterworth

Maltese dance connection(s): Histories, Pereira Palazzo Boardroom diferences, developments and contretemps

Hallway Registration & Information Registration & Information

Working Group ...Dance Meeting Embodying Politics: for the South Handbook Trauma & Reconciliation Choreographing Division & Discrimination Dance in the Middle East and North Africa Room 1 Asian... Project

Meeting Choreographing Conﬂict: Nation, Politics, Critical multiculturalisms in the UK Dance & the Martial Room 2 and Resistance in Argentina

Meeting Dance & Competition 1: Dancing Afro-Europe: Circulations, Institutionalizing Dance Room 3 Battling For Visibility & Viability Embodiments, and Postcolonial Tensions Ground Level Meeting Contra Rhythms and Contra Flows: Contact Improvisation and Pedagogy 1: Dance in Higher Education Room 4 Dance, Site and Urban Resistance Somatics as Confrontation

Meeting Caribbean Bodies of Conﬂict: Dancing Sovereignty, Dance & Activism 1: Dance as Protest Choreographies Of & Against Racism Room 5 Citizenship and Gender with and against the State

Meeting Dancing right(s): Dance, disability Bodies of War: Nationalisms, Émigrés, Female Choreographic Responses to Violence and human rights in times of conﬂict Repatriation, and Shifting Alliances

Valletta Campus Room 6

Lecture Moving Memories, Forgotten Steps: Contemporary Chinese Dance Performance & Public Grief: Creating Embodied Room 1 Popular Dance, Memory and Conﬂict under Cross-cultural Communications Narratives in Response to Cultural Conﬂict

Lecture Conﬂict’s Choreographics: Choreography as Core Structure Resistance and Activism of Artists in Room 2 Suspension, Contamination, Debility of Political Action and Social Movement Performance from India and South Africa Level 1 Lecture Negotiating Recognition: Graduate Student Professionalisation Dance Criticism, American Postmodernism, Workshop #1: Publishing in Conﬂicts between Visual and Aural Movements Room 3 and Native American Martial Arts Dance Studies Today

Lecture Choreographing Carnivalesque Inversions Conﬂict in Dance Adaptations Room 2 and Confrontations of Shakespeare’s Works

Level 2 Lecture Post-war British Dance: Dance, Hegemony, & Disappearance Dance & Activism 2: Dance as Witness Room 3 ballet, class, conﬂict and the popular

Performance: The Choreography of Resolution: Us Sinful Women: Indu Mitha, Kishwar Naheed A Choreographic Conversation on UM Dance Black Box Conﬂict, Movement and Neuroscience & Dancing girl of Mohenjodaro, Pakistan Contemporary Dance in North Africa Studies and Guests Ground Theatre Ethics, Choreographic Witnessing, and the Urban-Rural Divide Valletta Campus Studio Stillness as a choreography of protest All I Ask of My Enemies

32 th Friday 6 July 2018

Hourly Schedule Hourly Schedule Room evel 7:00 8:00 9:00 10:00 11:00 12:00 13:00 14:00 15:00 16:00 17:00 18:00 19:00 20:00 21:00 Building L

Ballroom Keynote Speeches

Registration &

Excelsior Foyer Information

Dance in Malta 1: Dance Heritage, Distinction in Dance Award Panel Dancing to Connect Graduate Student Party Main Room Training, & (Inter)Nationalism for Professor Jo Butterworth

Maltese dance connection(s): Histories, Pereira Palazzo Boardroom diferences, developments and contretemps

Hallway Registration & Information Registration & Information

Meeting Choreographing Conﬂict: Nation, Politics, Critical multiculturalisms in the UK Dance & the Martial Room 2 and Resistance in Argentina

Meeting Caribbean Bodies of Conﬂict: Dancing Sovereignty, Dance & Activism 1: Dance as Protest Choreographies Of & Against Racism Room 5 Citizenship and Gender with and against the State

Valletta Campus Room 6

Lecture Choreographing Carnivalesque Inversions Conﬂict in Dance Adaptations Room 2 and Confrontations of Shakespeare’s Works

Level 2 Lecture Post-war British Dance: Dance, Hegemony, & Disappearance Dance & Activism 2: Dance as Witness Room 3 ballet, class, conﬂict and the popular

33 Saturday 34 Palazzo Valletta Campus Theatre Valletta Campus Pereira Building

Ground Level 2 Level 1 Ground Level Level Black Box

Hallway Meeting Meeting Meeting Meeting Meeting Meeting Room 3 Room 2 Room 3 Room 2 Room 1 Room 6 Room 5 Room 4 Room 3 Room 2 Room 1 Lecture Lecture Lecture Lecture Lecture R Studio Room Main oom 8:00 Dance andMedicalApproachestotheBody Aesthetics andPracticeasIdeology:Dances Responses toContemporaryRefugeeCrises Borders andImmigration:Choreographic that De Contemporary Cross-CulturalContexts What’s goingonbackthereanyway? From PlatototheEarlyModernEra: Modern andPost-ModernAmerican Female ChoreographicCriticism Contemporary DanceEducation Unraveling EmbodiedTerrains: An InsightintoFemaleProtest, Sociopolitical Choreographies Queercolored Contemporary Dance, PeaceandCon fi (Contact) Improvisation Resistance andSurvival ne, Resist,andRefuseIdentityin Testimonies, Archives, and DanceinCon Pedagogy 2:Issuesin Dance &Activism3: Postmodernisms 9:00 fl ict fl

ict

Registration &Information

Hourly

10:00 S chedule Graduate StudentProfessionalisationWorkshop#2: Borders andImmigration:Con Dancing BetweenDiplomacy&AestheticAssault Cold War1:Politics&DancePractices Scholarly andPedagogicalIssuesinDiversity Philosophy, Dance,Alterity,andCommunity Embodying ViolenceandArmedCon Dance &Competition2:StagesofBattle Andree GrauandthePowerofDance 11:00 We areinseparablethereisnotime Dance inMalta2:Heritage, Coalescence ofDisparateDances: Training, and(Inter)Nationalism Hybridity: Contra& in Greco-RomanAntiquity Between Sound&Noise Con Dance forEmpathy’ Trouble intheField fl ict andCreativity fl ict Within&Without 12:00 fl

ict

13:00 Choreographic Workshopwith Paolo Mangiola–Z Break Latino andCaribbean LatinAmerican, Working Group Dance Studies fi 14:00 nMalta Registration &Information within DanceandAutismingenerating newdancelanguages Con Creating aninclusivedanceperformancecanbeconsidered agency re Surveillance andprivacy-familyunder suspicionofsecret an artisticproduct?Theroleofcon fl ict withRace,Nationalism,&TrainingtheDancingBody Choreographic RenderingsofViolence&Con Dancing BeyondtheFissuresofColonialism 15:00 fl Con Cold War2:Choreographies Choreographing (Contra)Orientalism ected inchoreography(LectureDemonstration) Folk Dance:Identity&Appropriation Abstraction, Narrative,&Con Shakespeare, Dance,&Con fl ict WithinMediterraneanDances Vibrational Continuities: Masculinity &Dance Hourly Cabaret &Con S chedule fl fl ict ict betweenworking fl

ﬂ 16:00 ict ict ﬂ ict 17:00 18:00 7 Banquet intoDinner th 19:00 July2018 Begin Awards 20:00 Saturday Palazzo Valletta Campus Theatre Valletta Campus Pereira Building

Ground Level 2 Level 1 Ground Level Level Black Box

Hallway Meeting Meeting Meeting Meeting Meeting Meeting Room 6 Room 5 Room 4 Room 3 Room 2 Room 1 Room 3 Room 2 Room 3 Room 2 Room 1 Lecture Lecture Lecture Lecture Lecture R Studio Room Main oom 8:00 Dance andMedicalApproachestotheBody Aesthetics andPracticeasIdeology:Dances Responses toContemporaryRefugeeCrises Borders andImmigration:Choreographic that De Contemporary Cross-CulturalContexts What’s goingonbackthereanyway? From PlatototheEarlyModernEra: Modern andPost-ModernAmerican Female ChoreographicCriticism Contemporary DanceEducation Unraveling EmbodiedTerrains: An InsightintoFemaleProtest, Sociopolitical Choreographies Queercolored Contemporary Dance, PeaceandCon fi (Contact) Improvisation Resistance andSurvival ne, Resist,andRefuseIdentityin Testimonies, Archives, and DanceinCon Pedagogy 2:Issuesin Dance &Activism3: Postmodernisms 9:00 fl ict fl

ict

Registration &Information

Hourly

ict

ﬂ 16:00 ict ict ﬂ ict 17:00 18:00 7 Banquet intoDinner th 19:00 July2018 Begin Awards 20:00 35 Sunday 36 Valletta Campus Valletta Campus Theatre Building

Ground Level 2 Level 1 Ground Level Level

Black Box Hallway Meeting Meeting Meeting Meeting Meeting Meeting Room 3 Room 2 Room 3 Room 2 Room 1 Room 6 Room 5 Room 4 Room 3 Room 2 Room 1 Lecture Lecture Lecture Lecture Lecture R Magna Studio Aula oom 8:00 Contemporary Techniques&Technologies From AncientGreekLiteratureintoDance Contemporary Conceptual&Pedagogical Con Consumerism, Integrity,andImmersion Representing Con War &Peacein17thCenturyDance a rules-basedapproachtostudying fl Dance intoFilm,Film Dancing ColdWar(1940s-1960s) West AfricanDanceConfronting Pedagogy 3:Professionalization Collective Toolsand Obstacles Con ict inContemporaryAfricanDances Choreographing Contention, and creatingchoreography Labor andNeoliberalism1: Archiving DancingBodies: fl icts AmidstGlobalization Communal Body: War &Genocide fl 9:00 ict throughDance:

Registration &Information Hourly Johannesburg, Berlin,Chicago:NelisiweXaba Dance &Activism4:asSocialCriticism S Dance andCon Reconceptualisation ofculturalrelations chedule 10:00 Intercultural ChoreographicDialogue: MESH publicritualsoftogetherness through ‘M West AfricanDanceConfronting Social DanceContraHegemony Dance ContraPostcolonialism Pedagogy 4:Multiculturalisms Con Theatrical Protest&Assault Labor andNeoliberalism2: ﬂ Sharqi (BellyDance) ict Within&AroundRaqs in DanceEducation War &Genocide ﬂ ā ict inEarlyModernEurope ori-centred’ research 11:00

12:00 13:00 Interventions forDanceStudies Anti-Racist andDecolonial Agonistic Acts: Registration &Information 14:00

15:00 Contact ImprovisationJam 16:00 Hourly S chedule 17:00 18:00 19:00 8 th 20:00 July2018 Performance: Studies and UM Dance Guests Sunday Valletta Campus Valletta Campus Theatre Building

Ground Level 2 Level 1 Ground Level Level

Black Box Hallway Meeting Meeting Meeting Meeting Meeting Meeting Room 6 Room 5 Room 4 Room 3 Room 2 Room 1 Room 3 Room 2 Room 3 Room 2 Room 1 Lecture Lecture Lecture Lecture Lecture R Magna Studio Aula oom 8:00 Contemporary Techniques&Technologies From AncientGreekLiteratureintoDance Contemporary Conceptual&Pedagogical Con Consumerism, Integrity,andImmersion Representing Con War &Peacein17thCenturyDance a rules-basedapproachtostudying fl Dance intoFilm,Film Dancing ColdWar(1940s-1960s) West AfricanDanceConfronting Pedagogy 3:Professionalization Collective Toolsand Obstacles Con ict inContemporaryAfricanDances Choreographing Contention, and creatingchoreography Labor andNeoliberalism1: Archiving DancingBodies: fl icts AmidstGlobalization Communal Body: War &Genocide fl 9:00 ict throughDance:

12:00 13:00 Interventions forDanceStudies Anti-Racist andDecolonial Agonistic Acts: Registration &Information 14:00

15:00 Contact ImprovisationJam 16:00 Hourly S chedule 17:00 18:00 19:00 8 th 20:00 July2018 Performance: Studies and UM Dance Guests 37

Detailed SCHEDULE th Thursday 5 July 2018

Dance Studies Registration Opening Reception Association Board & Information & Provocation Plenary of Directors Meeting THURSDAY, 4:00–9:00 P.M. THURSDAY, 6:15–7:30 P.M. THURSDAY, 9:00 A.M.–3:00 P.M. EXCELSIOR HOTEL GRAND FOYER EXCELSIOR BALLROOM PALAZZO PEREIRA You may purchase tickets for our three dance performances (5, 6, and 8 July with a diferent programme each evening), WiFi passes (for those who do Working it Out DSA Standing not have access to Eduroam), and drop Presenters Commitee for of your books here for our rafle. The Flaming Bitches: Publications You may also purchase tickets here Ann Cooper Albright, THURSDAY, 3:00–4:00 P.M. for DSA’s Annual Book Raffle in Oberlin College PALAZZO PEREIRA support of the Graduate Student Travel Grant. The raffle will take Melissa Blanco Borelli, place at Saturday’s Awards Dinner. Royal Holloway University of London Bring your books to donate! Support graduate student travel grants! Prarthana Purkayastha, Editorial Board Royal Holloway University of London Dance Research Free WiFi available at the Excelsior Journal Hotel: Username and Password is ExcelsiorHotel THURSDAY, 4:00–5:30 P.M. PALAZZO PEREIRA Hors d’oeuvres, drinks, and dancing Meet & Mix THURSDAY, 7:30-9:00 P.M. THURSDAY, 5:00–6:00 P.M. EXCELSIOR’S OUTDOOR EXCELSIOR HOTEL GRAND FOYER BASTION TERRACE

Cash bar available. Light hors d’oeuvres will be served while you meet your fellow delegates.

Dance Performance THURSDAY, 8:30 P.M.

Valletta Campus Theatre

40 th Friday 6 July 2018

Registration Walk to Valleta Campus Coffee & Nibbles & Information FRIDAY, 10:30–11:30 A.M. FRIDAY, 10:45 A.M.–11:30 A.M. FRIDAY, 7:30–8:30 A.M. VALLETTA CAMPUS, Cofee and cookies will be waiting for you! EXCELSIOR HOTEL GRAND FOYER GROUND LEVEL AND LEVEL 1

Registration will continue at Valletta Note: This is a 15-minute walk, first up Campus after keynotes a hill from the Excelsior, then flat to the Valletta Campus. If you have concerns You may purchase tickets for our about the walk, please ask the Excelsior SESSION 1 three dance performances (5, 6, and 8 Reception desk for a shuttle. Friday, 11:30 a.m.–1:00 p.m. July with a diferent programme each evening), WiFi passes (for those who do In general when walking in Valletta not have access to Eduroam), and drop (including on campus), please be aware Embodying Politics: of your books here for our rafle. that the stone frequently used for stairs and pathways can be slick. Dance in the Middle You may also purchase tickets here for East and North Africa DSA’s Annual Book Rafle in support FRIDAY, 11:30 A.M.–1:00 P.M. of the Graduate Student Travel Grant. VALLETTA CAMPUS, GROUND LEVEL, The rafle will take place at Saturday’s MEETING ROOM 1 Awards Dinner. Bring your books to Registration donate! Support graduate student & Information Pre-formed Panel travel grants! FRIDAY, 10:30 A.M.–5:00 P.M VALLETTA CAMPUS, GROUND LEVEL, This panel will address current themes Free WiFi available at the Excelsior HALLWAY and pressing issues related to dance Hotel: Username and Password is practice and performance both in the ExcelsiorHotel You may purchase tickets for our Middle East and North Africa and in its three dance performances (5, 6, and 8 diaspora. These topics include politics July with a different programme each of the body, dance in conservative and evening), WiFi passes (for those who do controversial contexts, postcolonial not have access to Eduroam), and drop identities, transnational circulations Keynote Speeches of your books here for our rafle. and global arts markets, racialized/ gendered bodies and the restriction FRIDAY, 8:30–10:30 A.M. of movement across borders, local/ EXCELSIOR HOTEL BALLROOM You may also purchase tickets here for DSA’s Annual Book Rafle in support global feminisms, nationalism and neoliberalism in the cultural production Bojana Cvejić of the Graduate Student Travel Grant. of dance, and conflict zones, violence Aesthetic Obfuscations of The rafle will take place at Saturday’s and performance. Conflict in White Western Dance Awards Dinner. Bring your books to donate! Support graduate student Session Chair Introduced by Malaika Sarco-Thomas travel grants! Karima Borni Middlebury College Nicholas Rowe Dance Academia in the 21st Century: Presenters Trump’s Missionaries, Mercenaries Guellouz Mariem and Minions? Book Exhibit Université Paris Descartes 10:30 A.M.–5:00 P.M. Arab Nationalism, Feminism and the Introduced by Toni Shapiro-Phim VALLETTA CAMPUS, LEVEL 1 Construction of the Belly Dancer’s Body

41 th Friday 6 July 2018

Meiver De la Cruz, Session Chair Presenters Oberlin College Timmy De Laet, Kate Marsh, Dead Serious: dancing the Temple University (Philadelphia, USA)/ Coventry University present as a conﬂict zone University of Antwerp (Belgium) Dance as an act of remembering

Margaret Morley, Presenters Charlotte Waelde, Indiana University Stacey Prickett, Coventry University Dancers Inciting Debauchery: University of Roehampton and Legitimizing the New Egyptian Regime Ballet for All: Breaking through Lars Waldorf, barriers in Post-war Britain Dundee Law School Human rights: rhetoric and reality Larraine Nicholas, University of Roehampton Hetty Blades, Post-war British Dance: Atlantic Crossings: Film Representations Coventry University Ballet, Class, Conflict of the Windmill Theatre in the 1940s Reparative dancing and the Popular in postwar Sri Lanka Geraldine Morris, FRIDAY, 11:30 A.M.–1:00 P.M. University of Roehampton VALLETTA CAMPUS, LEVEL 2, The Evolution of English Ballet Style LECTURE ROOM 3

Pre-formed Panel Pedagogy 1: Dance in Higher This panel draws together three papers Education Dancing right(s): that examine diferent aspects of post- FRIDAY, 11:30 A.M.–1:00 P.M. World War II British dance, including Dance, disability VALLETTA CAMPUS, GROUND LEVEL, film choreography and popular dance and human rights MEETING ROOM 4 in revues, the evolution of ballet style in times of conflict and accessibility of ballet. Geraldine FRIDAY, 11:30 A.M.–1:00 P.M. Session Chair Morris argues that the evolution of VALLETTA CAMPUS, GROUND LEVEL, Meredith Lyons, an English ballet style is directly MEETING ROOM 6 Colorado Mesa University linked to how the Sadler’s Wells Ballet was funded, the demands of touring Pre-formed panel Presenters and the need to create for diverse Raphael (Ray) Miller, audiences away from its London home. This panel reflects upon three recent Appalachian State University Larraine Nicholas examines two ways projects which address the relationship Pedagogical Practices in Teaching in which the revue dance style was between dance, disability and human Dance History(s) in the 21st Century portrayed in popular culture, through rights. The panel comprises scholars the representation of the Windmill of law and dance, developing inter- Yvonne Hardt, Theatre dances in films on both sides disciplinary and cross-cultural University of Music and Dance Cologne of the Atlantic. dialogues about the rights of people Working through conflict and resistance with disabilities during and after in dance education: A critical perspective Stacey Prickett investigates how conflict, and reflecting on some of the on the institutionalization of competence a leftist belief in accessibility and ways in which dance and human rights based learning the desire to take art to the masses intersect in artistic and legal practices. contributed to the establishment of the Su Jin Lim, touring group ‘Ballet for All’, created Session Chair Composite Arts Institute under the auspices of the Royal Ballet. Lynn Brooks, The Reality and Future of the Issues of nation, class and creative Franklin & Marshall College Curriculum in Higher Education: accommodation in wartime conditions A Change and Task of Dance Education link the three presentations. as General Education in South Korea

42 th Friday 6 July 2018

Laura Katz Rizzo, Conflict’s Temple University Negotiating Choreographics: Performing Resistance with/in Recognition: Dance Suspension, Threatening Spaces: Ricki Starr Criticism, American the ballet-dancing wrestler’s Contamination, choreographic strategy as model Postmodernism, and Debility of conflict engagement Native American FRIDAY, 11:30 A.M.–1:00 P.M. Martial Arts VALLETTA CAMPUS, LEVEL 1, Yu-Cheng Wang, FRIDAY, 11:30 A.M.–1:00 P.M. LECTURE ROOM 2 Graduate Institute of Dance, VALLETTA CAMPUS, LEVEL 1, Taipei National University of the Arts LECTURE ROOM 3 Roundtable Dancing Polyphony: On Taiwanese Aborigines’ Contemporary Pre-formed Panel Session Chair Choreography Sarah Whatley, This panel addresses the conflicts that Coventry University arise when writers and movers dispute the canonical formations that subject Presenters their work to the margins of history Daniela Perazzo Domm, Critical Multiculturalisms and practice. These three papers Kingston University London in the UK analyze dance practices that contest the colonial and racialized formations FRIDAY, 11:30 A.M.–1:00 P.M. Kélina Gotman that judge, exclude, and obfuscate the VALLETTA CAMPUS, GROUND LEVEL, King’s College London contributions of embodied praxes that MEETING ROOM 2 maintain subversive relationships with Arabella Stanger conventional notions of canonicity. Session Chair University of Sussex Attending to conference themes Tamara Tomić-Vajagić, including choreographic techniques University of Roehampton for conflict management, antagonisms between bodies, and movement as Presenters a representation of violence, this Alexandra Kolb, Choreographing panel mobilizes a wide range of University of Roehampton movement and writing practices to Carnivalesque Inversions Multiculturalism in 21st-Century show how dancers and dance-makers and Confrontations Choreography: Collaborations cope with the historical and practical FRIDAY, 11:30 A.M.–1:00 P.M. and Conflicts realities of racialized exclusion in our VALLETTA CAMPUS, LEVEL 2, contemporary, sociocultural climate. LECTURE ROOM 2 Katherine Mueller, We ask: how do these resistant, University of Connecticut choreographic methodologies reframe Session Chair When English Folk Dance not only the field of dance itself, but Maxine Craig, and Hip-Hop Collide: Contrast, the conflicts defined by the field? University of California Davis Common Ground, and the How do “vulnerable” artists stake Transformation of Public Space their claims in the mythical battles of Presenters canonicity and sovereignty? Michel Briand, Timmy De Laet, Université de Poitiers (France) Temple University (Philadelphia, USA)/ Session Chair Choreographic/political performances: University of Antwerp (Belgium) Jose Reynoso, bodies, spaces, actions (Steven Cohen, Conflicting Histories: De-canonizing University of California Riverside Femen, Nuit debout) the Past of Transatlantic Post-War Choreography, 1958–1991

43 th Friday 6 July 2018

Presenters This panel is afiliated with the PoP Madeline Kurtz, Tria Blu Wakpa, Moves network. SUNY Brockport University of California, Los Angeles Disheartening Disputes: The Academia Critiquing the Omission, Subordination, Session Chair vs. Competition Dance Training Debate and Criminalization of Native American Janet O’Shea, Martial Arts and Artists: Adrian Roman’s UCLA Tushka Homa (Red Warrior) System Presenters Rebecca Chalef, Clare Parﬁtt, Dance & Activism 1: University of California, Riverside University of Chichester Dance as Protest Living Exhaustion, Performing “The Commune is dead: Long live FRIDAY, 11:30 A.M.–1:00 P.M. Exclusion: Confronting Race in the carnival!”: the cancan in the VALLETTA CAMPUS, GROUND LEVEL, American Postmodernism aftermath of the Paris Commune MEETING ROOM 5 Kate Mattingly, Priya A. Thomas, Session Chair University of Utah Texas Woman’s University Nadra Assaf, Injustices of recognition: dance Courting Disaster (“I Don’t Remember Lebanese American University studies and critical frameworks the Rest”) Monstrous Missteps in the Ländler (The Sound of Music, 1965) Presenters

Nadine George-Graves, Stefanie Alisch, University of California San Diego Universität Bayreuth The Revolution Will Start on the Kuduro dance as an archive Moving Memories, Dance Floor Forgoten Steps: of popular memory Popular Dance, Madeline Charne, Memory and Conflict Yale School of Drama FRIDAY, 11:30 A.M.–1:00 P.M. Dancing in the Streets: Political VALLETTA CAMPUS, LEVEL 1, Dancers, Public Performance, Dance & Competition 1: and the Eficacy of Protest Dance LECTURE ROOM 1 Batling For Visibility Pre-formed panel & Viability Filip Petkovski, FRIDAY, 11:30 A.M.–1:00 P.M. UCLA Deeply embedded in everyday life and VALLETTA CAMPUS, GROUND LEVEL, Dance as protest, folk dance as conflict: popular cultural forms, popular dance MEETING ROOM 3 Cultural Revolution in Macedonia practices allow their performers to engage physically with political tension, Session Chair conflict and its aftermath. Improvising Jeanette Mollenhauer, with yesterday’s steps in rapidly Sydney Conservatorium of Music, changing political landscapes puts the The University of Sydney Dance in Malta 1: Dance popular dancer’s body at the centre Heritage, Training, of wider processes of remembering Presenters & (Inter)Nationalism and forgetting cultural trauma. The Sammy Roth, FRIDAY, 11:30 A.M.–1:00 P.M. papers in this panel approach questions New York University PALAZZO PEREIRA, LEVEL 2 of memory and conflict through four Reproducing the Foreclosed White distinct popular dance forms. Stefanie Body: Racial Imaginary and White Session Chair Alisch considers kuduro as an archive Womanhood in Competition Dance Francesca Tranter, of popular culture in the wake of University of Malta the Angolan Civil War (1975-2002). Daniela Ivanova-Nyberg, Priya Thomas analyses the Ländler’s Independent (Scholar) relationship to the Second World War in Who has the right to perform abroad? the film The Sound of Music (1965). And Field Studies in Bulgaria Clare Parfitt traces the cancan in the aftermath of the Paris Commune (1871).

44 th Friday 6 July 2018

Presenters Presenters Tanya Bayona, Michelle LeBaron, SESSION 2 MQR., FISTD, London. University of British Columbia Friday, 2:30 – 4:30 p.m. Artistic Consultant, Board Member of the Mediterranean Conference Carrie MacLeod, Centre (MCC) European Graduate School Maltese dance Felix Busutill, Nadja Alexander, connection(s): Dip LSC (London, UK), MA University Singapore Management University Histories, differences, of Malta (Dance Studies), MJE developments, and Director/Founder of: contretemps The YADA Dance Company / FRIDAY, 2:30–4:30 P.M. The College of Dance / PALAZZO PEREIRA BOARDROOM The YADA Dance Academies Stillness as a choreography of protest Pre-formed Panel Dorian Mallia, FRIDAY, 11:30 A.M.–1:00 P.M. Founder and Artistic Director, VALLETTA CAMPUS THEATRE STUDIO This panel focuses on three distinct Moveo Dance Company dimensions of dance in Malta: Workshop histories associated with ballet, Diane Portelli, dance and disability, and ‘national’ Executive Director, Session Chair choreographic identities The panelists Moveo Dance Company Stéphanie Goncalves, draw upon the context, culture and Fonds National de la Recherche histories associated with the Maltese Daphne Lungaro-Mifsud, Scientiﬁque / Université libre de identity across the twentieth and A.R.A.D., A.I S.T.D. Bruxelles twenty-first centuries. Paper 1 focuses Founder and Principal of The Ballet on the period of self-government Studio and Founder and Director of Presenters abolishment (1933–1947) and the The Daphne Lungaro Folklore Group Sara Giddens, identity of ballet as a colonial art University of Central Lancashire, UK form and wartime fundraiser. Paper Deborah McNamara, 2 discusses the cultural constructs LISTD, Pdb SDS, Ruth Spencer, of disability and the influence of Senior international examiner for the University of Central Lancashire, UK these attitudes towards dancers with Spanish Dance Society, Director Estudio learning disabilities, with specific de Danza reference to Opening Doors, a Maltese arts organisation for young adults with learning disabilities that Lunch Break promotes creativity. Paper 3 examines 1:00–2:30 P.M. contemporary theatre dance in Malta The Choreography from 2008, engaging with such issues of Resolution: as Maltese attitudes to culture and Conflict, Movement the arts, recent developments in and Neuroscience dance education and training, and Working Group for the interplay between national and FRIDAY, 11:30 A.M.–1:00 P.M. international forces. VALLETTA CAMPUS THEATRE the South Asian Dance Handbook Project Session Chair Workshop FRIDAY, 1:00–2:15 P.M. Ann Cooper Albright,

VALLETTA CAMPUS, GROUND LEVEL, Oberlin College Session Chair MEETING ROOM 1 Stephanie Schroedter, Freie Universität Berlin Group Coordinators Anurima Banerji and Prarthana Purkayastha.

45 th Friday 6 July 2018

Presenters site-informed dance practice resists Kathrina Farrugia-Kriel, normative modes of physical and Contemporary Faculty of Education, RAD (UK) conceptual urban engagement by Chinese Dance Contretemps: Ballet histories of working against dominant flows under Cross-cultural Princess Nathalie Poutiatine (1904– and rhythms. These papers unite 1984) during the self-government around a conceptualization of site- Communications abolition years in Malta (1933–1947) informed and site-responsive dance FRIDAY, 2:30–4:30 P.M. as a practice from which theory VALLETTA CAMPUS, LEVEL 1, Jo Butterworth, emerges. This perspective informs LECTURE ROOM 1 University of Malta (retired) considerations of how dance practice Contemporary theatre dance produces and presents alternative Roundtable in Malta: Questions of influence, modes of urban engagement that cultural nationalism and artistic identity challenge dominant physical, Stepping into the twenty-first century, conceptual and political power cross-cultural dance projects in China Ilona Baldacchino, systems and norms. Through this have boosted the development of University of Malta discussion site-responsive and Chinese dance at large. One of these The politics of diference: site-informed dance practices are projects is Artcross/Danscross, co- An insight into the context of situated as forms of ‘contra-flow’, hosted by Xu Rui, the vice president dance and disability in Malta working against the dominant order, and director of the Department of conflicting with and resisting habitual Dance Studies of the Beijing Dance norms to suggest alternative modes Academy in China, and Christopher of being in and engaging with lived Bannerman, professor of dance urban environments. and head of ResCen Research Contra Rhythms Centre at Middlesex University in Session Chair London. The project expanded in the and Contra Flows: following eight years to encompass Dance, Site and Cristina Fernandes Rosa, University of Roehampton London choreographers, dance scholars and Urban Resistance dancers from Mainland China, the FRIDAY, 2:30–4:30 P.M. Presenters U.K., the U.S., and Taiwan. Every year, VALLETTA CAMPUS, GROUND LEVEL, Victoria Hunter, Artcross/Danscross produced world MEETING ROOM 4 University of Chichester premiere dances and full-length Performing Parks and Squares: academic papers that circulated Pre-formed Panel Site-Dance and Urban Resistance around the world. As it successfully crossed the border between cultures This panel combines perspectives Melanie Kloetzel, and nations, the project also disclosed from researchers who each explore University of Calgary differences between China and how contemporary dance practices Site-Adaptive Dance: Conflict, the West, in areas such as training informed by and performed in Collaboration, and the Neoliberal Order system, choreographic approach, and urban locations contest, disrupt understanding of (post)modernism. and potentially challenge dominant Leslie Satin, This roundtable discusses these issues urban systems and hegemonic New York University/Gallatin School stimulated by the project. Composed practices. Informed by practice- Walking, Dancing, and the Politics by Xu Rui, Christopher Bannerman, based research and interdisciplinary of “No”: Conflicted Sites in Tel Aviv and Chinese dance scholars from theoretical frameworks drawn the Beijing Dance Academy, this from Human Geography, Eco- Chi-Fang Chao, roundtable offers their recent criticism, Performance Studies, Taipei National University of the Arts scholarships on cultural contrasts and Spatial and Architectural theory Heteroglossia: Dance as Resistance differences. Topics that the panelists and Phenomenology the Presenters in The Indigenous Theatre of Post- would cover include translation consider how site-responsive and Colonialism in Taiwan (panel guest) and comprehension, tradition vs. modernity, conflicting choreographic habits, and interruption of bodily construction. Exemplified by Artcross/ Danscross, cross-cultural projects not only show a China that willingly

46 th Friday 6 July 2018

embraces openness and is developing Gurur Ertem, its own cultural logic, but also Choreography as Core iDANS | Bimeras encourage the Chinese dance world Structure of Political The Body and Contentious to produce diverse contemporary Action and Social Performances: A Study on the Recent dance traditions. This panel will Political Landscape of Turkey in Three be given primarily in English, with Movement Moments occasional interpretation from FRIDAY, 2:30–4:30 P.M. Chinese as needed. VALLETTA CAMPUS, LEVEL 1, Sérgio Andrade, LECTURE ROOM 2 Universidade Federal de Session Chair Rio de Janeiro (Brazil) Fangfei Miao, Roundtable The sovereignty appeal of the University of California, Los Angeles choreographic and the choreographing The roundtable sets choreography as a of the fear in public protests Presenters core principle of organization in current Rui Xu, situations of political upheaval. As both Anna-Carolin Weber, Beijing Dance Academy a corporeal apparatus and an ordering Ruhr-University Bochum Translating the Hidden Meanings structure, mediating movement Choreography and its impact on news in Languages and Movements in particular temporal and spatial media coverage of political protests arrangements, choreography delineates Ya Su, ordering and disturbing principles Beijing Dance Academy at the same time. The participants “Classism” Established in Contemporary thus investigate individual protest Time —the Aesthetic Foundations of and collective action in the conflict Trauma & Reconciliation area of subversion and governance, Chinese Classical Dance FRIDAY, 2:30–4:30 P.M. as well as examining choreography VALLETTA CAMPUS, GROUND LEVEL, as mediation between locally and Yu Mu, MEETING ROOM 1 Beijing Dance Academy virtually coordinated protest and its capacities of drawing attention to The Individualized Choreography Session Chair current situations of conflict in the in the Name of “Folk Dance” in China Lars Waldorf, public sphere. The papers provide Dundee Law School Xin Wang, insight into specific examples of protest in the areas of Brazil, Germany, Turkey, Beijing Dance Academy Presenters and the US, and analyze particular “Global View” of Chinese Dance and Sabine Sorgel, case studies like the standing man the “Chinese Images” in World Dances University of Surrey (Istanbul, 2013) and the protests during Dance Beyond Pathos: Practising the G20 summit (Hamburg, 2017). Christopher Bannerman, Resilience in a Traumatized World Middlesex University Moreover, they will discuss theoretical frameworks, rethinking concepts of From a War of Words to Pushing Victoria Thoms, sovereignty and mediation in situations Hands: para and hypotactic Centre for Dance Research, of political change. Thus, choreography language and choreography Coventry University genuinely creates and shapes politics in Reconfiguring Testimony: Dance at the social interaction. Rebecca Loukes, Crossroads of Literature and the Body. University of Exeter Session Chair Conflict/Contact: Translation, Kathy Westwater, María Eugenia Cadús, Wu Wei and Gelassenheit in Sarah Lawrence College University of Buenos Aires the ArtsCross Project Tortured CONICET Sally Cai, Anisha Rajesh, Presenters Beijing Dance Academy Texas Woman’s University, Susanne Foellmer, Crossing cultural barriers – Department of Dance Coventry University translating Chinese classical dance Reconciling the “Imagined Choreo-medial Protest: Between Community”: The Postcolonial Emancipation and Governance Representation of Mohiniyattam

47 th Friday 6 July 2018

Urvi Vora, and music. Thus, choreographic Choreographies Independent (Researcher) adaptations of Shakespeare invite Of & Against Racism Performing Everyday Infinities examination from many diverse at the Wagah-Attari Border perspectives for exploring the theme FRIDAY, 2:30–4:30 P.M. of conflict in relation to dance. VALLETTA CAMPUS, GROUND LEVEL, Joseph Houseal, MEETING ROOM 5 Core of Culture Session Chair Buddhist Monastic Dance, Linda McJannet, Session Chair Its Martial Aspects and Cultural Bentley University Ananya Chatterjea, Conflict with China and the West University of Minnesota, Dance Presenters Biba Bell, Iris Julia Buehrle, Presenters Wayne State University University of Oxford Jennifer Fisher, Figuring Footwork: Nora Chipaumire’s Choreographing Conflict University of California Irvine boxing ring and the battles of Detroit’s Jit in Shakespeare Ballets Donald McKayle: still making statements as a mild-mannered Nancy Isenberg, modern dance militant Università Roma Tre (retired) Casting matters. Case in point: Othello Lynn Brooks, Franklin & Marshall College Conflict in Dance James Hewison, Blackface Minstrelsy: Race and Adaptations of Edge Hill University, UK Conflict on the Antebellum U.S. Stage Shakespeare’s Works Lust in Action: dancing, desire FRIDAY, 2:30–4:30 P.M. and conflict in the Sonnets Hanna Järvinen, VALLETTA CAMPUS, LEVEL 2, Theatre Academy of the LECTURE ROOM 2 Nona Monahin, University of the Arts Helsinki Mount Holyoke College Ballets Russes and Blackface Pre-formed Panel and Christian Rogowski, Jef Kintner, Shakespeare’s works identify and Amherst College The Ohio State University examine the tensions that define the Text, Music, Dance: Conflicting The choreography of taking a knee: human condition and the conflicts they Allegiances in Angelin Preljocaj’s understanding the intersections of determine within the self and at all Roméo et Juliette sports, race, gender, and protest through levels of social interaction in a way that historical context and queer dance has made them timeless and highly adaptable to other formats. Dance is

by no means an exception. Since the twentieth century, Shakespeare’s works have predominated as sources for Dance, Hegemony, Dance & the Martial literary dance plots. & Disappearance FRIDAY, 2:30–4:30 P.M. FRIDAY, 2:30–4:30 P.M. VALLETTA CAMPUS, GROUND LEVEL, In choreographic adaptations of VALLETTA CAMPUS, LEVEL 2, MEETING ROOM 2 Shakespeare’s writings, the focus on LECTURE ROOM 3 those tensions is heightened by the Session Chair expressiveness of danced narration. Session Chair Kin-Yan Szeto, Furthermore, like all adaptations, Tomasz Ciesielski, Appalachian State University Shakespeare-in-dance gives rise to University of Lodz tensions and conflicts with the source Presenters material in terms of genre, time and Presenters Holly Matthews, place of creation, social conditions, Liora Malka Yellin, Independent artists and audience. Within the specific Tel Aviv University Capoeira: Gesture of Conflict, genre, there are additionally the Yardena Cohen’s Alternative Vision Practice of Resolution tensions between words, choreography of Dance and National Ideology

48 th Friday 6 July 2018

Adeline Maxwell, Presenters Université Paul Valéry Montpellier III Institutionalizing Dance Norman Hirschy, Independent Dance in Chile: Practices FRIDAY, 2:30–4:30 P.M. Senior Editor, Academic & Trade, of Resistance against the Dictatorship VALLETTA CAMPUS, GROUND LEVEL, Oxford University Press MEETING ROOM 3 Rafael Guarato, Helen Thomas, Federal University Of Goiás Session Chair Editor, Dance Research Journal A bulwark in the history of dance Ruth Hellier-Tinoco, in Brazil: the character of political University of California, Santa Barbara Clare Croft, resistance in the choreographies of Editor, Studies in Dance History Ballet Stagium – 1971–1979 Presenters book series Theresa Goldbach, Eva Aymami Rene, UC Riverside Melissa Blanco, Anglia Ruskin University Losing the Center: Flamenco Editor for Conversations Choreographies of Silence in Madrid and the Fight for the in Democratic Spain Amor de Dios Dance Academy Rachel Fensham, Series Co-Editor for New World Wenbin Yuan, Choreographies, Palgrave Taipei National University of the Arts New Dance of Hakka Tradition: Tomas Rene, Female Choreographic research on the Intangible Editor, Palgrave Responses to Violence cultural heritage project FRIDAY, 2:30–4:30 P.M. “Cup Flower” as an example

VALLETTA CAMPUS, GROUND LEVEL, MEETING ROOM 6 Sheenagh Pietrobruno, Saint Paul University/ Dancing to Connect Session Chair University of Ottawa FRIDAY, 2:30–4:30 P.M. Lindsey Drury, Women Whirling Dervishes on YouTube PALAZZO PEREIRA, LEVEL 2 Freie Universität Berlin Regina Rossi, Alternative Format: Documentary Presenters Justus-Liebig-Universität Gießen Deniz Basar, Against institutional dynamics: Session Chair University of Toronto short analysis of new spaces and Josephine Fenger, A Feminist Archeology of Collective platforms for dance in the (of) Independent Memory in Turkey: A Retrospective scene in Hamburg, Germany. Look on Movement Atelier’s Two Presenter Dance Performances Dawn Lille, retired (City College/CUNY, Juilliard) Suzane Weber Silva, and interview with UFRGS Graduate Student Jonathan Hollander Violence Movements, Professionalisation Unveiling the Patriarchy Workshop #1: Publishing in Dance Studies Today Alba Vieira, Federal University of Vicos FRIDAY, 2:30–4:30 P.M. ...and the body moves: VALLETTA CAMPUS, LEVEL 1, Connections between contemporary LECTURE ROOM 3 dance and violence in Brazil Session Chair Carol Marie Webster, Raphael (Ray) Miller, Columbia University Appalachian State University Dance: African Diaspora Transforming Christian Spiritual Landscape

49 th Friday 6 July 2018

and the Politics of Exile in Fernando “Us Sinful Women”: SESSION 3 Solanas’ Tangos: El exilio de Gardel Indu Mitha, Kishwar Friday, 5:00 – 6:30 p.m. Naheed & Dancing María Eugenia Cadús, girl of Mohenjodaro, University of Buenos Aires-CONICET Choreographing Aesthetic and Political Conﬂicts in Pakistan Angelita Vélez’s Vidala (1946) FRIDAY, 2:30–4:30 P.M. Conflict: Nation, VALLETTA CAMPUS THEATRE Politics, and Resistance Konstantina Bousmpoura, in Argentina Independent (Researcher) Alternative Format FRIDAY, 5:00–6:30 P.M. Working Dancers: Conﬂicts and VALLETTA CAMPUS, GROUND LEVEL, Dynamics in Argentina´s National Presenter MEETING ROOM 2 Company of Contemporary Dance’s Feriyal Aslam, Choreographies (2010-2014) UCLA Pre-formed Panel

Across the 20th and 21st centuries, dance practices and practitioners have consistently responded to the Bodies of War: Ethics, Choreographic political shifts and conflicts that mark Nationalisms, Émigrés, Witnessing, and the Argentine history. This panel examines Repatriation, and Urban-Rural Divide the relationship between dance and political conflict at three distinct Shifing Alliances FRIDAY, 2:30–4:30 P.M. moments in Argentine history that FRIDAY, 5:00–6:30 P.M. VALLETTA CAMPUS THEATRE range from the 1940s to the present and VALLETTA CAMPUS, GROUND LEVEL, MEETING ROOM 6 Lecture Demonstration cross periods marked by state-centered populism, military dictatorship, and the Pre-formed panel Presenter ongoing efects of global neoliberal capitalism. Collectively, these Eric Mullis, “Bodies of War: Nationalisms, Émigrés, Queens University of Charlotte presentations evidence how dance practices have historically instantiated Repatriation, and Shifting Alliances” examines the aesthetic nomadism Session Chair and contested Argentine political imaginaries. The three presentations unleashed by some of the twentieth- Kélina Gotman, century’s great warring conflicts. Judith King’s College London engage with a breadth of dance genres, including social, folkloric, and concert Chazin-Bennahum, Lynn Garafola, forms, and track bodies in motion Rebekah Kowal, and moderator across concert stages, on film screens, Ninotchka Bennahum, consider how and in the streets in protest. As part of the tragic result of global conflicts and refugee status – exile, re- Coffee Break a quickly growing body of scholarship focused on Latin American dance, this territorialization, repatriation in some 4:30–5:00 P.M. panel aims to center Argentine dance cases – were written into the history studies as a particularly rich site for of contemporary ballet and third- Drinks and nibbles available on Ground generation American modern dance. Level and Level 1. examining the relationship between dance and political conflict. Focused on ideologies of the interwar and early Cold War eras, our panelists Session Chair interrogate notions of contemporaneity Yvonne Hardt, within the contexts of Stalinist Russia, University of Music and Dance Cologne World War II, and the Cold War.

Presenters Session Chair Victoria Fortuna, Ninotchka Bennahum, Reed College The University of California, Dancing Exclusion: Performance Santa Barbara

50 th Friday 6 July 2018

Presenters Nita Little (Nelson), Lynn Garafola, Institute for the Study Performance & Columbia University of Somatic Communication Public Grief: Creating An Era of Good Feeling: “Soviet” Somatic Activism: A Sword, not a Shield Embodied Narratives Ballets in World War II New York Malaika Sarco-Thomas, in Response to Cultural Rebekah Kowal, University of Malta, Conflict The University of Iowa Department of Dance Studies FRIDAY, 5:00–6:30 P.M. Dancing Repatriation After World War II The Materiality of Conﬂict in Contact: VALLETTA CAMPUS, LEVEL 1, Improvisational Explorations in “Pitch” LECTURE ROOM 1 Judith Bennahum, University of New Mexico Pre-formed Panel Ida Rubinstein: Her Wartime Bravery as Nurse and Philanthropist This panel explores the potency of our Choreographing bodies as agents of creation by focusing Division & Discrimination on the capacity of the moving body to activate gestures of understanding, FRIDAY, 5:00–6:30 P.M. connection, and healing in contexts VALLETTA CAMPUS, GROUND LEVEL, of cultural violence, loss and/or Contact Improvisation MEETING ROOM 1 and Somatics as trauma. Presenters will interrogate how participants in dance-making can Confrontation Session Chair potentially process and initiate healing FRIDAY, 5:00–6:30 P.M. Liora Malka Yellin, of cultural traumas through the stages of VALLETTA CAMPUS, GROUND LEVEL, Tel Aviv University creating, learning, and performing and MEETING ROOM 4 how this appreciation of dance-making Presenters can extend beyond traditional arenas Pre-formed Panel Sara Gibbons, in order to further cultivate agency and Independent (Artist) resilience. The Presenters investigate Contact Improvisation and Somatics The Choreographer-Curator: the possibilities (and limitations) of are often recognized as practices that Curation & Collaboration in extending a pedagogy of empathy from prioritize collaboration, democracy, American, Post-Judson Dance more closed learning environments and ease-fullness in movement such as academic dance studios to dialogues. This panel troubles notions Ting-Ting Chang, diverse community spaces and virtual of CI and somatic practices as pursuing National Taiwan University of Arts/ environments by foregrounding moving only harmonizing agendas, through University of Taipei bodies and the embodied stories they examples of pedagogical, practical, and Negotiating Transnational Culture carry with them into the world. artistic projects which foreground the Identity through the Contemporary confrontation inherent in touch-based Chinese Dance in Hong Kong Session Chair bodywork, improvisation, and activism. Priya A. Thomas, Anita Makuszewska, Texas Woman’s University Session Chair Warsaw SWPS University Sarah Pini, of Social Sciences and Humanities Presenters Macquarie University The Inﬂuence of the Institution Talani Torres, of Slavery on Ballet Theatre Florida State College at Jacksonville Presenters The Body as Memorial: Defne Erdur, Choreographing in Response IDOCDE (International Documentation to the PULSE Shooting in Orlando of Contemporary Dance Education) “Teaching” Contact Improvisation on Holly Masturzo, the Transitive Line Between Life and Florida State College at Jacksonville Art: Confrontations with the Self, the Embodiment and Community Ethics: Other and the State Interrogating the Transformative Potential of Collaborative Public Art

51 th Friday 6 July 2018

Susan Haines, Black artists’ awareness of existing both Western Washington University within and outside “dominant” culture Caribbean Bodies The Expansive Body: has been widely documented. Yet this of Conflict: Dancing Spreading into Virtual Spaces “double-consciousness,” and the way it Sovereignty, Citizenship connects and sustains Black expressive cultures, has been studied mainly and Gender with and from the standpoints of Anglophone against the State and/or American Black cultures. This FRIDAY, 5:00–6:30 P.M. Dance Activism 2: panel contributes to understandings VALLETTA CAMPUS, GROUND LEVEL, Dance as Witness of this form of consciousness, by MEETING ROOM 5 focusing on the experiences of Afro- FRIDAY, 5:00–6:30 P.M. European dancers, in an era of globally Pre-formed Panel VALLETTA CAMPUS, LEVEL 2, circulating images and sounds of LECTURE ROOM 3 Africanness vesting “being African” This panel aims to illuminate how with an unprecedented aura of urban scenarios of military, ideological, Session Chair cool. Bringing together anthropologists cultural, religious and economic Susan Manning, carrying out research in diferent conflict have shaped the discourse and Northwestern University European capitals (Amsterdam, Lisbon, practice of dance in the Caribbean. Paris, Berlin), the panel explores the The papers address this question Presenters shifting articulations of Blackness in Haitian, Cuban and Puerto Rican Richard Move and Africanness among Afro-Dutch contexts. Collectively, they elucidate Queens College, CUNY youth practicing Ghanaian azonto, the relationship between the body Dancing in the Devil’s Excrement – tensions around the commodification of and the nation-state, considering The Vibrant Elegy of Molissa Fenley’s Angolan kizomba between whites and the possibilities in choreography/ Floor Dances (Requiem for the Living) Africans on Lisbon’s dancefloors, and embodiment/ performance for disagreements between black dancers engaging with dominant ideologies and Ruth Hellier-Tinoco, from Paris and New-Yorker about the proposing alternatives. The case studies University of California, Santa Barbara ownership and “trafic” of hip-hop dance. contribute multiple perspectives of Unfolding of poetic presences how in Caribbean nations defined by through performing bodies of history: Session Chair situations of violence and struggle the postmemory and rememory as Stefanie Alisch, dancing body reflects, engenders or embodied inquires Universität Bayreuth amplifies conflict, while negotiating political mobilization, economic Gdalit Neuman, Presenters precarity, sovereignty claims, Afro- York University Marleen de Witte, diasporic identities, patriarchy, From Victimized to Victorious: University of Amsterdam homophobia and neocolonialism. Re-Imagining Identities through Dance “Now Watch Me Do Azonto”: Urban

Afrodance and the Shifting Articulations Session Chair of ‘Blackness’ and ‘Africanness’ Anamaria Tamayo-Duque,

in Postcolonial Amsterdam Universidad de Antioquia (Colombia)

Dancing Afro- Laura Steil, Presenters Europe: Circulations, School for International Training Dasha Chapman, Embodiments, and “The French call it New Style”: Hampshire College Postcolonial Tensions Transatlantic tensions around the Dancing against the State: Haitian Dance Politics Post-earthquake FRIDAY, 5:00–6:30 P.M. ownership and trafic of hip-hop dance VALLETTA CAMPUS, GROUND LEVEL, Lester Tome, MEETING ROOM 3 Livia Jiménez Sedano, New University of Lisbon Smith College Pre-formed Panel “White people dance like robots”: Ballet as a Theater of War from ways of postcolonial danceﬂoor Bay of Pigs to the Missile Crisis: resistance to the commodiﬁcation Military Corporealities of the Cuban of Afro-Portuguese dance styles Revolution (1960s)

52 th Friday 6 July 2018

Ramón Rivera-Servera, Ketu Katrak, Presenters Northwestern University University of California, Irvine Stephanie Schroedter, Rubbing Against: Perreo Politics, Putting Bodies on the Line: Resistant Freie Universität Berlin Stateless Bodies, and Queer Choreography by India’s Mandeep Bodies and Sounds in Digital Music Performance Raikhy and South Africa’s Jay Pather and Dance Cultures

Sarah Davies Cordova, Freya Vass-Rhee, University of Wisconsin-Milwaukee University of Kent South African Women’s Choreographies: Cluster, clutter, conﬂict: polyvocal Resistance and Activism Embodied Politics of Race and Gender counterpoint from a scenographic of Artists in Performance in Place perspective from India and South Katharina Rost, Africa University of Bayreuth FRIDAY, 5:00–6:30 P.M. The Uncanny. Afective Conﬂicts in the VALLETTA CAMPUS, LEVEL 1, Conflicts between Visual Presence/Absence of Sight and Sound LECTURE ROOM 2 and Aural Movements

Pre-formed Panel FRIDAY, 5:00–6:30 P.M. VALLETTA CAMPUS, LEVEL 1, This panel investigates staged LECTURE ROOM 3 Distinction in Dance resistance and activist performance in danced representation, in theater Pre-formed Panel Award Panel for and on film by choreographer-dancers Professor Jo Buterworth in India and in South Africa. Their Starting from the premise that we FRIDAY, 5:00–6:30 P.M. works focus on countering religious conceptualize music/sound/noise as PALAZZO PEREIRA (LEVEL 2) fundamentalism, institutionalized motion (as actual theories from cognitive repression, race and gender-based science argue), we can claim that in all Session Chair discrimination and violence against performing arts, and also in media art Kathrina Farrugia-Kriel, women’s and LGBTQIA communities. and film, aural and visual movements Faculty of Education, RAD (UK) Where the transgressive agency coexist both in dialogue as well as in of these practitioners narrates competition or even conflict. Looking Panelists and exposes their body politics’ at a broad spectrum of productions in Vicky Hunter, performativity, their choreographies of these fields, especially conflicts between Lorna Sanders, protest efectuate consciousness raising choreographed or improvised dance/ Brandon Shaw, as they dismantle hetero-normative physical movement and music/sound/ and Sarah Whatley body images and social practices. noise shall be discussed, based on analyses of their structural aspects and/ Session Chair or emotional/afective components. Avanthi Meduri, Above all, the dynamic interactions Department of Dance, between the arts and their media are of A Choreographic University of Roehampton interest: what new creative possibilities do emerge when the arts do not only Conversation on Contemporary Dance Presenters reinforce in their impact with another, Anita Ratnam, but cause irritations by interferences or in North Africa Independent (Performing diferences, frictions or fractions? Which FRIDAY, 5:00–6:30 P.M. Artist of Bharatanatyam and specific concepts or ‘poetics’ of listening VALLETTA CAMPUS THEATRE Contemporary Indian Dance) and watching movements can be Working Counter to Censorship of deduced from this? What does this mean Lecture demonstration Bollywood Film, Padmaavat, and for their reception or perception? to Stereotypes of Transgender Session Chair Bharatanatyam performer Narthaki Session Chair Thomas DeFrantz, Nona Monahin, Duke University Mount Holyoke College

53 th Friday Saturday 7 July 2018

Presenters conflict? For example, Renaissance Karima Borni, Registration & dance is frequently identified as a Middlebury College Information symbol for peace and social harmony, but it represented only a narrow 8:00 A.M.–5:00 P.M. Ahmed Khemis, definition of social order and one that VALLETTA CAMPUS, GROUND LEVEL, Independent was certainly contested. Elite, gendered HALLWAY dancers embodied grace, courtesy and virtue but they also used their dancing You may purchase tickets for our final to assert their status and power. The dance performance (8 July), WiFi passes papers in this panel examine both (for those who do not have access to harmonious and disruptive uses of All I Ask of My Enemies Eduroam), and drop of your books here dance and its embodied codes in FRIDAY, 5:00–6:30 P.M. for our rafle. VALLETTA CAMPUS THEATRE STUDIO Ancient Greece, and the Medieval and Early Modern eras. You may also purchase tickets here for Alternative Format DSA’s Annual Book Rafle in support Session Chair of the Graduate Student Travel Grant. Olivia Sabee, Session Chair The rafle will take place at Saturday’s Swarthmore College Gerrit Berenike Heiter, Awards Dinner. University of Vienna/ University of Leipzig Presenters Karen Silen, Presenter U.C. Berkeley Amy Chavasse, Book Exhibit Trouble in Paradise: Conflicting University of Michigan Visions of the Cosmic Dance 8:00 A.M.–5:00 P.M. VALLETTA CAMPUS, LEVEL 1 James Whitta, Independent (Scholar) “Quid illa creatura mereri potest, nisi Graduate Student Party gratiam?”: Performing the Medieval FRIDAY, 6:30–8:15 P.M. Masculine Subject through Grace PALAZZO PEREIRA SESSION 4 Saturday, 9:00 –10:30 a.m. Emily Winerock, Wine and music provided! Shakespeare and Dance Project Discourteous Courtesies and From Plato to the Early Irreverent Reverences: Rethinking Modern Era: Dance, the Renaissance Bow Peace and Conflict Dance Performance SATURDAY, 9:00–10:30 A.M. FRIDAY, 8:30 P.M. VALLETTA CAMPUS, LEVEL 1, VALLETTA CAMPUS THEATRE LECTURE ROOM 1 What’s going on back

A selection of works by dance artists Pre-formed Panel there anyway? Queer- based in Malta. Tickets available at colored Contemporary Registration & Information table or, The historical use of dance as a symbol Postmodernisms while still available, at the door. for social harmony and order invites SATURDAY, 9:00–10:30 A.M. questions about cultural deﬁnitions VALLETTA CAMPUS, GROUND LEVEL, of “order” and dance’s embodiment MEETING ROOM 6 of it. How is order deﬁned in diferent cultures or periods, and who performs Pre-formed Panel it? Whose concept of order is it and how is it represented in dance? And as “Postmodern” and “contemporary” a symbol for peace or social harmony is have become ubiquitous terms in US dance used to mask, address or manage concert dance, in post-1960 dance

54 th Saturday 7 July 2018

scholarship and presenting seasons. Ania Nikulina, These terms are often used today with Aesthetics and Practice University of California, Riverside a paradoxical sensibility: what each as Ideology: Dances Ukrainian State Ballet Schools as denotes and connotes are in conflict. that Define, Resist, a Site of Conflict between Russian Instead of aligning with theories of Neo-Imperialism and Post-Soviet postmodernism – collage, boundary and Refuse Identity in Nationalism blurring – “Postmodern dance” has Contemporary Cross- more often become a signifier of a Cultural Contexts Irvin Gonzalez, universally available democratic SATURDAY, 9:00–10:30 A.M. University of California, Riverside ideal of performance that too easily VALLETTA CAMPUS, LEVEL 1, Queering Quebradita, Queering eschews questions of identity. Rather LECTURE ROOM 3 Mexicanidad(es): An Analysis of than referencing a wide-range of dance Trans/Nationally Queer Formations being made in the present moment, Pre-formed Panel “Contemporary dance” has come to be a container overwhelmingly associated This panel seeks to shed light on the with whiteness and EuroAmerican complexities that arise as dance is aesthetic practices. This panel intertwined with the politics of identity Testimonies, Archives, contends that these vexed categories across diferent cultural and political and Dance in Conflict connote too-easily available politics, contexts. Specifically, participants seek SATURDAY, 9:00–10:30 A.M. obscure barriers, and obstruct studying to draw attention to the diferent ways VALLETTA CAMPUS, LEVEL 1, dance-making as political act. This in which dance aesthetics and practices LECTURE ROOM 2 panelists present three examples become associated with national, from performance to consider how cultural, ethnic, group, and individual Pre-formed Panel we might re-animate the postmodern identities. Panelists will present and the contemporary with a politics case studies dedicated to dance as a Session Chair that encounters questions of race, medium that allows artists to initially Gay Morris postcolonialism, gender, and sexuality. define, but also challenge, resist, and subvert aesthetic norms associated with Presenters Session Chair specific social identity markers, such Alexander Schwan, Sarah Davies Cordova, as “national character,” ethnocultural Freie Universität Berlin University of Wisconsin-Milwaukee identity, and dominant imaginaries. Antagonistic Theologies: Panelists will explore diverse contexts, Jewish and Christian Perspectives Presenters including modern cultural imperialism on Early Modernist Dance Clare Croft, on the classical ballet stage, hip hop’s University of Michigan freestyle cypher as a fugitive refusal Victoria Phillips, She had politics: look harder of violently individuated identity, Columbia University, and quebradita dancing as a site of European and Harriman Institutes Thomas DeFrantz, transnational embodiment that resists Hotspots in the Cold War: Archival Duke University dominant U.S. nationalist imaginaries. Silences and Martha Graham on the Black Beauty in Secret: Speaking “Jimmy Carter Goodwill Tour” to the to Black Feminism from within Session Chair Middle East, 1979 Contemporary Postmodernism Eric Mullis, Queens University of Charlotte Ana Keilson, Ananya Chatterjea, Harvard University University of Minnesota, Dance Presenters To ‘Dance the Body Emerging Again’: Decolonizing Contemporary Dance Lindsay Rapport, Modern Dance’s Moving Archive University of California, Riverside The Cypher as an Alternative to Individuated Identity: A Politics of Communality, Care, and Rhizomatic Connection

55 th Saturday 7 July 2018

Christina Tsardoulias, Presenters Modern and Post- Samos School of Dance, Greece Giulia Vittori, Modern American With Golden Sails: Combining Independent Female Choreographic Traditional Folk and Classical Finding Agency in Tarantism: A Conflict Dance Principles in Samos, Greece between Scriptive Choreography and Criticism Autopoietic Dance SATURDAY, 9:00–10:30 A.M. Jef Kaplan, VALLETTA CAMPUS, GROUND LEVEL, Manhattanville College Elizabeth Claire, MEETING ROOM 2 Involuntary Motion: Dance CNRS, CRH-EHESS and the Refugee Experience The Dancing Body as a Battleground Session Chair in the Gendering of Medical Authority, Cheryl Epstein, Europe 1790–1820 Canada’s National Ballet School Luisa Roubaud, Presenters (Contact) Improvisation Institute of Ethnomusicology Carmen Dexl, SATURDAY, 9:00–10:30 A.M. (INET-MD) and Faculty of Human FAU Erlangen-Nuernberg Movement (FMH-UL) Choreographing Protest: The Politics VALLETTA CAMPUS, GROUND LEVEL, MEETING ROOM 3 The mature age of contemporary of Primitivism in the Work of Martha dance: ageism and conflict on stage Graham, Katherine Dunham, and Josephine Baker Session Chair Lailye Weidman, Raf Geenens, Contact Quarterly KU Leuven Pedagogy 2: Conflicting visions of modernism: Presenters re-reading Trisha Brown Sarah Pini, Issues in Contemporary Macquarie University Dance Education Laura Smith, Moving beyond divergence: a cognitive SATURDAY, 9:00–10:30 A.M. New York University ecological approach to presence VALLETTA CAMPUS, GROUND LEVEL, Neoliberalism and Reviving in three diferent dance forms MEETING ROOM 4 Postmodern Work Mª Paz Polo, Session Chair León University Rose Martin, To lead and/or to follow: gender University of Auckland conflicts in Argentinian Tango Borders and Immigration: and in Contact Improvisation Presenters Amanda Benzin and Meredith Lyons, Choreographic Responses Robin Conrad, to Contemporary Colorado Mesa University Texas Woman’s University Dance Pedagogy and the Praxis Refugee Crises Speaking Dance: The Gap Between of Change SATURDAY, 9:00–10:30 A.M. Verbal Language and the Moving Body VALLETTA CAMPUS, GROUND LEVEL, Avanthi Meduri, MEETING ROOM 5 Department of Dance, University of Roehampton Session Chair Global Dance Studies in Britain Kristie Mortimer, Dance and Medical University of Auckland Approaches to the Body Marianna Panourgia, SATURDAY, 9:00–10:30 A.M. Independent (Researcher) Presenters VALLETTA CAMPUS, LEVEL 2, A field of conflict: The Higher Private Anny Mokotow, LECTURE ROOM 2 Professional Dance Schools in Greece Independent and the Hellenic Ministry of Culture Dancing behind the wire: Session Chair and Sports choreographed bodies in protest Sophie Bocksberger, University of Oxford

56 th Saturday 7 July 2018

Georgiana Gore, Dance & Activism Coffee Break University of Clermont Auvergne 3: Sociopolitical 10:30 A.M.–11:00 A.M. Choreographies Maria Koutsouba, Drinks and nibbles available on Ground National and Kapodistrian SATURDAY, 9:00–10:30 A.M. Level and Level 1. University of Athens VALLETTA CAMPUS, GROUND LEVEL, MEETING ROOM 1

Session Chair Arshiya Sethi, SESSION 5 Trouble in the Field Independent (Scholar) Saturday, 11:00 a.m. – 1:00 p.m. SATURDAY, 11:00 A.M.–1:00 P.M. Presenters VALLETTA CAMPUS, GROUND LEVEL, Elizabeth Cameron Dalman, MEETING ROOM 2 Mirramu Creative Arts Centre Andree Grau and the Roundtable Dance as Activism: Asking Questions Power of Dance SATURDAY, 11:00 A.M.–1:00 P.M. This roundtable addresses discursive Katherine Mazurok, VALLETTA CAMPUS, GROUND LEVEL, tensions in the field of dance studies. All Queen’s University, Canada MEETING ROOM 6 participants profess in dance studies, Assembly, Protest and Social but at diferent international institutions. Choreographies: Rethinking Roundtable Our diverse academic experiences and Embodiment and Movement research allow us to address some of in Public Space Participants reflect on the work the following questions: What are the of Andrée Grau, Professor of politics of applying nationally specific Henia Rottenberg, Dance Anthropology, University approaches to dance studies cross- Dance Voices of Roehampton. Andrée played a culturally and internationally? Are criteria Artistic activism in the work substantive role in reconciling East used to define value of scholarly output of Rami Be’er and Arkadi Zaides and West in Europe in terms of dance in an international and cross-disciplinary studies while also helping establish peer-evaluation process productive? the anthropology of dance as a distinct Is administrative labor constructively discipline. Aspects of Grau’s research reflected in dance studies research? Is and publications, leadership and dance studies able to address generational teaching intersect with concepts such Unraveling Embodied shifts in the field’s approaches to research, as social justice, reconciliation, gender Terrains: An Insight pedagogy, and administration? into Female Protest, construction, and interculturalism, seen in research with the Venda people in Session Chair Resistance and Survival South Africa, the Tiwi people from the Victoria Thoms, SATURDAY, 9:00–10:30 A.M. Australian coastal islands; South Asian Centre for Dance Research, VALLETTA CAMPUS THEATRE Dance in Britain; and the Sarabhai Coventry University family and their Darpana Arts Centre, Alternative Format Ahmedabad, India. Presenters Yutian Wong, Session Chair Session Chair San Francisco State University Sofia Kalogeropoulou, Stacey Prickett, University of Otago University of Roehampton Jens Richard Giersdorf, Marymount Manhattan College Presenters Presenters Nadra Assaf, Theresa Buckland, Yatin Lin, Lebanese American University University of Roehampton Heather Harrington, Kean University Taipei National University of the Arts Ann David, Imani Kai Johnson, University of Roehampton University of California, Riverside

57 th Saturday 7 July 2018

Karin Schlapbach, Embodying Violence University of Fribourg Hybridity: and Armed Conflict in “Dancing down”: dance and conﬂict Contra & Contra in the myth of Dionysus Greco-Roman Antiquity SATURDAY, 11:00 A.M.–1:00 P.M. VALLETTA CAMPUS, LEVEL 2, SATURDAY, 11:00 A.M.–1:00 P.M. Zoa Alonso Fernández, LECTURE ROOM 3 VALLETTA CAMPUS, GROUND LEVEL, Universidad Autónoma de Madrid MEETING ROOM 3 Kinesthetic Fear / kinesthetic anger: Session Chair ‘Barbaric’ Dances and the Roman Pre-formed Panel Lester Tome, Battleﬁeld Smith College

This panel explores choreographies of aggression and war in antiquity, Presenters from Greek tragedy to the Roman Sandra Chatterjee, battlefield. Our papers employ Independent diverse theoretical paradigms to Cold War 1: Conflicting Contemporaneities uncover the ways in which dance Cold War Politics in (European) Dance and bodily movement are used to & Dance Practices represent, generate, and resolve SATURDAY, 11:00 A.M.–1:00 P.M. Cynthia Ling Lee, conflict, especially martial conflict, VALLETTA CAMPUS, GROUND LEVEL, University of California, Santa Cruz in the ancient world. We pay MEETING ROOM 4 Dancing Misfits: Ethnicity, Alterity, particular attention to the impact and Cultural Representation in of dance upon its spectators as Session Chair “Contemporary” Dance conceived by Greek and Roman Filip Petkovski, authors; we thus take an expansive UCLA Sinibaldo De Rosa, and diachronic view of “embodiment” University of Exeter, and “empowerment,” considering Presenters Cardif University how performers, viewers, readers, Miriam Althammer, Vulnerability and Public Mourning and writers all participate in the University Bayreuth in Movement: ‘Biz’ cultural construction and experience Body of (hi)stories – of somatic struggle and hostility. Movement repertoires in post-socialist Moritz Zavan Stoeckle, By identifying crucial points of Europe’s contemporary dance and University of Malta origin (real and imagined) for the performance scenes Fusion, Hybridity, and ‘Contaminazione’ development of Western discourse in Bharatanatyam and Contemporary surrounding the relationship Gergana Panova-Tekath, Dance: the conflicts of creating multi- between dance and war, we seek to Institut for Art Studies, Bulgarian genre dance choreographies make ancient models more readily Academy of Sciences, Sofia, Bulgaria accessible and relevant to the & Institut for Contemporary Dance, modern scholar. Folkwang University of Arts, Essen, Germany Session Chair Four times “Contra”: The Soviet, Between Sound & Noise Gregory Scott, American, Democratic and Emigrant SATURDAY, 11:00 A.M.–1:00 P.M. New York University models of “dancing the Bulgarian way” VALLETTA CAMPUS, GROUND LEVEL, MEETING ROOM 5 Presenters Miriam Hasikova, Sophie Bocksberger, Palacky University Olomouc Session Chair University of Oxford Ballet Repertoire in Czechoslovakia Freya Vass-Rhee, Couretes: The Complexity of Dance and during the Communist Era – a Clash of University of Kent War in Ancient Greek Art and Literature the “Proletariat” and the “Bourgeoisie” Presenters Sarah Olsen, Julie Malnig, Danielle Ross, Williams College New York University Northwestern University Euripides’ Andromache A Culture of Conflict: Rock and Roll The Survival Dance: and the Dance of War Dance and the Cold War Choreographies of Resonance

58 th Saturday 7 July 2018

Tamara Tomić-Vajagić, Josephine Fenger, Session Chair University of Roehampton Independent Ania Nikulina, Signal, noise and being OUT: tracing When German Dance Migrated: University of California, Riverside the spaces of the dancer agency in A legacy in archives conversation with Christopher Roman Presenters Wei-Ying Hsu, Elan Marchinko, Institute of Sociology, York University-Beyond Academia Sinica, Taiwan Bearing Witness: Choreographing Dance & Competition 2: Two Faces of The Greater East Asia Settler Inheritance of Canadian Stages of Batle Co-Prosperity Sphere: Invading China Colonial Violence in Dance and Opera while Dancing China SATURDAY, 11:00 A.M.–1:00 P.M. VALLETTA CAMPUS, LEVEL 1, Claire Wootten, Munjulika Tarah, LECTURE ROOM 1 York University Williams College Turning Up the Volume: Dance as Battleﬁeld: Bangladeshi Folk Session Chair Thoughts on The Listening Body Performance and Cold War Ideologies Laura Katz Rizzo,

Temple University Tamara Hauser, The Ohio State University Presenters Reframed: Tracing the Political Jeanette Mollenhauer, Residue of Ausdruckstanz Borders and Sydney Conservatorium of Music, Immigration: Conflict The University of Sydney Emi Yagishita, Within & Without A shifting focus: the dynamics of Waseda University change in Irish step dance competitions SATURDAY, 11:00 A.M.–1:00 P.M. Yeichi Nimura’s Dance Career VALLETTA CAMPUS, GROUND LEVEL, in Twentieth-Century America Darrah Carr, MEETING ROOM 1 Purchase College

Session Chair On the Heels of Riverdance: Nicole Haitzinger, Choreographic Process in University of Salzburg Contemporary Irish Step Dance Philosophy, Dance, Presenters Pierre-Henri Daculsi, Alterity, and Community Petra Péter, Paris X University SATURDAY, 11:00 A.M.–1:00 P.M. Budapest Contemporary Modern Dom Juans? Bboys’ art VALLETTA CAMPUS, LEVEL 2, Dance Academy of seductive fighting LECTURE ROOM 2 On subversive space strategies used by Hungarian contemporary dance Kiyomi Moore, Session Chair creators in late socialism University of Hawaii Manoa Kathy Westwater, Breaking Barriers in Honolulu Sarah Lawrence College Cristiana Natali, Through Hip Hop University of Bologna Presenters Echoes of a remote conflict in the Julie Mulvihill, encounter between contemporary Independent dance and bharata natyam Collaboration in Dance Making: Dancing Between Conflict, Compassion, Creation Kristie Mortimer, Diplomacy & Aesthetic University of Auckland Assault Petronella Foultier, Blenheim as a ‘Dance Bantustan’: Department of Philosophy, SATURDAY, 11:00 A.M.–1:00 P.M. An exploration of how dance teachers Stockholm University VALLETTA CAMPUS, LEVEL 1, and governance are responding to an Embodying Opposition: LECTURE ROOM 2 increase in immigration and separation The Work of Ohad Naharin within the Blenheim community.

59 th Saturday 7 July 2018

Johanna Heil, Philipps-Universität Marburg, Germany Graduate Student Coalescence of Enculturating the Roaring inside Them: Professionalisation Disparate Dances: An (Eco-)Feminist Perspective on Workshop #2: Scholarly Conflict and Creativity American Modern Dance Techniques and Pedagogical Issues SATURDAY, 11:00 A.M.–1:00 P.M. Rachel Fensham, in Diversity VALLETTA CAMPUS THEATRE University of Melbourne SATURDAY, 11:00 A.M.–1:00 P.M. Alternate Format In the Trunk: ‘dead letters’, VALLETTA CAMPUS, LEVEL 1, and the red felt of terror. LECTURE ROOM 3 Presenters Rufino Rodriguez, This discussion panel addresses the York University concept and practice of diversity in relation to graduate student life, Alen Chaudhry, responding to the experiences and Dance in Malta 2: University of Calgary urges of MA, MFA, and PhD students. Dance Heritage, Coalescence of Disparate Dances: Proposed discussion topics for invited Training, and (Inter) Conflict and Creativity panelists and graduate students Nationalism range from how to craft a diversity SATURDAY, 11:00 A.M.–1:00 P.M. statement for a job application to how PALAZZO PEREIRA, LEVEL 2 to tactically overcome the limits of institutional diversity policies working we are inseparable Session Chair as a Teaching Assistant or making work there is no time Giuliana Fenech, in the studio within coursework. University of Malta SATURDAY, 11:00 A.M.–1:00 P.M. Graduate students are invited to join VALLETTA CAMPUS THEATRE Presenters the DSA Graduate Student Working Alternate Format Marisha Bonnici, Group to nurture and fuel this Seed Dance Studios, MA Performance conversation, draw attention to matters Presenter Studies (Dance), LISTD Cecchetti & that feel urgent to graduate students, Rebecca Bruno, Modern Theatre Dance IDB 2 Cat A and plan graduate work at future Artist / homeLA conferences. Paolo Mangiola, Session Chair Choreographer and Artistic Director Session Chair Dara Milovanovic, of ŻfinMalta Dance Ensemble Melissa Melpignano, University of Nicosia UCLA Theresa Lungaro-Mifsud, Fellow and Examiner Imperial Society Presenters of Teachers of Dancing, Holder of Anurima Banerji, Cecchetti Diploma, ABT Certified UCLA Teacher (Primary to level 5), Dance for Empathy Principal The Dance Workshop Bernard Brown, SATURDAY, 11:00 A.M.–1:00 P.M. California State University, Sacramento VALLETTA CAMPUS THEATRE STUDIO Pippa Roberts, Workshop F.N.A.T.D., F.I.D.T.A., President Malta Rebecca Chalef, Wheelchair DanceSport Association, University of California, Riverside Principal Pippa Gee Dance Studio Session Chair Corinna Campbell, Jasmine Johnson, Williams College Alison White, Brown University Founder/Principal Alison White Dance Studio Presenters Einav Katan-Schmid, Humboldt University of Berlin Monica Gillette, Independent

60 th Saturday 7 July 2018

Presenters Renate Braeuninger, Lunch Break Anne Daye, The University of Northampton/ 1:00 P.M.–3:00 P.M. Historical Dance Society Independent Scholar Treason and Plot: the dancing witches Balanchine’s Imperial Ballets of Macbeth and The Masque of Queens as Iconicity of Power

Lynsey McCulloch, Emily Hawk, Choreographic Coventry University Columbia University Workshop with Paolo Dance and Disharmony in Conflicting Notions of Artistic Shakespeare’s Drama Autonomy and Cultural Legitimacy Mangiola, Director of in the Works of José Limón ZfinMalta Linda McJannet, SATURDAY, 1:15–2:45 P.M. Bentley University VALLETTA CAMPUS THEATRE Fighting words, Fighting Movements: Choreographing Physical Conflict in Shakespeare Cabaret & Conflict SATURDAY, 3:00–5:00 P.M. Laura Levine, VALLETTA CAMPUS, GROUND LEVEL, SESSION 6 Department of Drama, MEETING ROOM 3 Saturday, 3:00 – 5:00 p.m. Tisch School of the Arts A Tale of Two Winter’s Tales: Session Chair Philosophical Conflict and New Sabine Sorgel, Shakespeare, Choreographies (panel guest) University of Surrey Dance, & Conflict Presenters SATURDAY, 3:00–5:00 P.M. Aishika Chakraborty, VALLETTA CAMPUS, GROUND LEVEL, Associate Professor and Director, MEETING ROOM 1 Cold War 2: Cold War School of Women’s Studies, Pre-formed Panel Choreographies Jadavpur University, India SATURDAY, 3:00–5:00 P.M. In Conflict with Politics and Morality: This panel considers the relationship VALLETTA CAMPUS, GROUND LEVEL, The Cabaret Queen of Calcutta of dance and conflict in the drama MEETING ROOM 2 of William Shakespeare, focussing Christine Sahin, specifically on the plays in performance. Session Chair University of California, Riverside All three speakers are contributors to Cynthia Ling Lee, A Slippery Stage: Negotiating Saudi the forthcoming Oxford Handbook University of California, Santa Cruz Petro-dollars, Tahayas, and Competing of Shakespeare and Dance and the Masculinities in the Cairo Cabaret panel reflects the recent growth Presenters of research in this area while also Stéphanie Goncalves, Dara Milovanovic, expressing the diversity of approaches Fonds National de la Recherche University of Nicosia to Shakespearean dance from Scientifique / Université libre de Bruxelles Cabaret: A Study of Fascism, dance history to literary criticism to “An historical peacefully explosive Sexuality, and Politics performance studies. The panel also confrontation”: the first Bolshoi/Paris challenges reductive perceptions of Opera tour in 1958, dancing diplomacy Jackie Davis, Shakespearean dance as representative and politics in the first Cold War UCLA of harmony and reconciliation; we Valeska Gert: German/Jewish instead present dance that is politically Camelia Lenart, Tensions in Her “Disappointing” subversive, choreographically conflictual State University of New York at Albany 1936 American Reception and often brutally combative. Modern Dance, Modern Women, and Cold War Conflict: Martha Graham Session Chair in 1957 Berlin James Hewison, Edge Hill University, UK

61 th Saturday 7 July 2018

Tara Rodman, Masculinity & Dance University of California, Irvine Vibrational Continuities: SATURDAY, 3:00–5:00 P.M. Natural Body / National Body: Dancing Beyond the VALLETTA CAMPUS, GROUND LEVEL, Anna Pavlova in Japan Fissures of Colonialism MEETING ROOM 5 Ruth Pethybridge, SATURDAY, 3:00–5:00 P.M. Falmouth University / DR@FT VALLETTA CAMPUS, LEVEL 2, Session Chair LECTURE ROOM 3 Mlondolozi Zondi, Relational choreography and the ethical frictions of dance dramaturgy Northwestern University Pre-formed Panel in participatory performance

Presenters This interdisciplinary panel combines Daniella Aguiar, Anthony Shay, Dance Studies, Indigenous Studies, Federal University of Uberlandia Pomona College Black Studies, and Film Studies to Dance techniques as cognitive artifacts: Raqqas: Iranian masculinity’s investigate the lingering residues and discussing the “neutral body” dreaded other structural reverberations of diferent

colonial encounters. Recognizing Guy Baum, colonialism not as an event but a

Independent structure, we consider how dancing A Queer and Gender Conflict: bodies variously produce and displace Gender readings of dance and Conflict Within vibrations of coloniality. performance works which deal Mediterranean Dances with the Israel-Palestine Conflict SATURDAY, 3:00–5:00 P.M. Session Chair VALLETTA CAMPUS, GROUND LEVEL, Alba Vieira, Julio Medina, MEETING ROOM 6 Federal University of Vicosa CSULB I Gotta Session Chair Presenters Einav Katan-Schmid, Jacqueline Shea Murphy, Chris Marlow, Humboldt University of Berlin University of California, Riverside Lancaster University Choreographies of Indigenous “Oi.Dancing boy”: Movement, Presenters Abun-dance Masculinity & the Myth of Billy Elliot Francesca Tranter, University of Malta Usha Iyer, From Politeness to Brutality, Stanford University Conflicts in Maltese Identity and Dancing Of the East-West Binary: Lineage: the future and legacy Choreographing Hybrid Pleasures Conflict with Race, in the Hindi Film Dance-Of Nationalism, & Training Ariadne Mikou, the Dancing Body University of Roehampton Cristina Fernandes Rosa, Bodies in Confined Sites University of Roehampton London SATURDAY, 3:00–5:00 P.M. The Naked Truth: Notes on the VALLETTA CAMPUS, GROUND LEVEL, Maria Venuso, Choreopolitics of Freedom in MEETING ROOM 4 Suor Orsola Benincasa Institute Naples Contemporary Dance in Brazil Unresolved conflict between public Session Chair teaching and private teaching: the Adanna Jones, Ana Keilson, Royal School of Ballet of San Carlo Bowdoin College Harvard University Theatre in Naples “Hey! Yuh Wa’an Cross Di Bah’da?”: Decolonizing Black Masculinities Presenters Annalisa Piccirillo, in Virago-Man Dem Colin Poole and Simon Ellis, University of Naples “L’Orientale” Centre for Dance Research, Choreographies of Resistance in the Coventry University Mediterranean Performance Zone: Colin, Simon and I: Racial Antagonism Politics of Border, Poetics of Touch

62 th Saturday 7 July 2018

Presenters Oluwatoyin Olokodana-James, Folk Dance: Rohini Acharya, University of Lagos (UNILAG) Nigeria Identity & Appropriation The Ohio State University Re-defining Dance Thrusts in 21st Issues of Representation, Abstraction, Century: A paradigmatic Assay of SATURDAY, 3:00–5:00 P.M. and Authenticity: Examining Uday Osofisan’s “Yungba Yungba” Towards VALLETTA CAMPUS, LEVEL 1, Shankar’s Work within the Context Leadership Institution and Conflict LECTURE ROOM 1 of US Orientalism Resolution.

Session Chair Colleen Barnes, Ya-Ping Chen, Eva Aymami Rene, University of Utah Taipei National University of the Arts Anglia Ruskin University Exoticism in La Bayadère and HerStory: Narrative, Dancing Body its Reinforcement of Western and Subjectivity in Helen Lai’s Presenters Colonialist Propaganda Choreography of Feminine Creativity Soﬁa Kalogeropoulou,

University of Otago Kin-Yan Szeto, Dance, cultural identity and the Appalachian State University ‘significant other’: re-defining Choreographing Politics: Chinese national identity in times of conflict Revolutionary Ballet and M. Butterfly Choreographic Corinna Campbell, Renderings of Violence Brianna Johnson, Williams College & Conflict The Ohio State University Strategic Impositions on Cultural Not All Diasporas Are Created Equal: SATURDAY, 3:00–5:00 P.M. Archetypes: Recognition and The Lebanese Diaspora’s Confinement VALLETTA CAMPUS, LEVEL 2, Intimacy in Surinamese Maroon to Oriental Dance LECTURE ROOM 2 Folkloric Performance Session Chair Melissa Teodoro, Anny Mokotow, Slippery Rock University Independent Who am I to embody your dances? Abstraction, Narrative, Re-staging Identity and representing Presenters the other. Afro-Colombian dance & Conflict Anamaria Tamayo-Duque, applied to college students in SATURDAY, 3:00–5:00 P.M. Universidad de Antioquia (Colombia) Western Pennsylvania. VALLETTA CAMPUS, LEVEL 1, Memory, displacement and disappearance. LECTURE ROOM 3 Dance and performance in Colombia in the context of an armed conflict Session Chair Raf Geenens, Jakub Karpoluk, Choreographing KU Leuven Polish-Japanese Academy of IT, Polish (Contra) Orientalism Academy of Sciences Institute of Art Presenters SATURDAY, 3:00–5:00 P.M. Choreographies of violence & conflicts Adelheid B. Strelick, VALLETTA CAMPUS, LEVEL 1, in the Japanese noh theatre. Adelphi University LECTURE ROOM 2 Purposefully Regendering Eleni Drogari, Choreography to Evoke the Session Chair University of Roehampton, UK Dancer’s Voice and Speak to Hanna Järvinen, Moving through Conflict: a Disappearing Audience Theatre Academy, Identity and Contemporary Dance University of the Arts Helsinki in a Divided Cyprus Lucia Piquero, University of Malta / Kendall Jones, Roehampton University The University of Auckland Destabilising to Engage: Crystal “Dance has always been in crisis, Pite’s Work from and about Conflict everyone else is joining us”

63 th Saturday Sunday 8 July 2018

Presenter Creating an inclusive Katja F. M. Wolf, Registration dance performance Freie Universität Berlin & Information can be considered SUNDAY, 8:00 A.M.–4:00 P.M. Session Chair VALLETTA CAMPUS, GROUND LEVEL, an artistic product? Dawn Lille, HALLWAY The role of conflict City College/CUNY, Juilliard (Retired) between working within You may purchase tickets for our ﬁnal Dance and Autism in dance performance (8 July) and WiFi generating new dance passes (for those who do not have languages access to Eduroam). POST-PANELth ACTIVITIES SATURDAY, 3:00–5:00 P.M. Saturday, 7 July VALLETTA CAMPUS THEATRE Walk to Great Siege Bell for shuttle Presenters service to Le Meridien Hotel Book Exhibit Sara Accettura, 5:00–5:30 P.M. University of Malta 8:30 A.M.–2:00 P.M. Shuttle pick up and transport VALLETTA CAMPUS, LEVEL 1 Guido D’Angelo, to Le Meridien Hotel in St Julian’s Associazione Dalla Luna-Bari 5:30 P.M.

DSA Membership Meeting, DSA Awards Banquet & Party SESSION 7 SATURDAY, 6:30 P.M. Sunday, 8:30 – 10:00 a.m. Surveillance and Ballroom of Le Meridien Hotel, privacy family under 39 Main Street, Balluta Bay, St Julian’s Pedagogy 3: suspicion of secret Professionalization agency reflected in First shuttles return to Excelsior Hotel 8:30 P.M. SUNDAY, 8:30–10:00 A.M. choreography VALLETTA CAMPUS, GROUND LEVEL, SATURDAY, 3:00–5:00 P.M. Second shuttles return to Excelsior Hotel MEETING ROOM 1 VALLETTA CAMPUS THEATRE 10:00 P.M. (approximately) Session Chair Daniela Perazzo Domm, Kingston University London

Presenters Bethany Whiteside, Royal Conservatoire of Scotland Dance Exchange, Knowledge Exchange: Innovating with Scottish Ballet, Scotland’s National Dance Company

Xi Xiong, Sichuan Normal University Disapproved but sustained: Authoritarian pedagogy in Chinese tertiary dance education

Jasmin Ofamo’oni, The University of Auckland Wayﬁnding Tertiary Dance as a young Pasiﬁka man

64 th Sunday 8 July 2018

Eve Robertson, This panel looks at the political War & Peace York University tensions at play in dance practice in 17th Century Dance #LITDANCE: A qualitative cultural and choreography as informed by the SUNDAY, 8:30–10:00 A.M. analysis of girls’ viral dance videos contending political values circulating VALLETTA CAMPUS, GROUND LEVEL, on the social networking site Musical.ly transnationally between the 1940s and MEETING ROOM 2 1960s. Each speaker ofers a specific Sarah Whatley & Sarah Houston, framework applied to dance analysis in Session Chair Coventry University a specific geographical context: somatic Iris Julia Buehrle, Social choreography and bodywork in Europe, the redefinition University of Oxford embodied responses to conflict of J. S. Bach’s music in choreography in the United States, and ideological Presenters negotiations through concert dance Lindsey Drury, in Israel. While the three papers Freie Universität Berlin circumscribe their territorial scope Ennobling the Body at War: 16th Labor and Neoliberalism to the Western bloc, each of them and 17th century Anti-Dance Treatises 1: Consumerism, Integrity, highlights how corporeal practices and on the Lineage of Pyrrhic Dance and Immersion choreographic statements can help us unpack the complex negotiations and SUNDAY, 8:30–10:00 A.M. dynamics of the Cold War process. Gerrit Berenike Heiter, VALLETTA CAMPUS, GROUND LEVEL, University of Vienna / MEETING ROOM 4 University of Leipzig Session Chair Dancing for Peace and Against War: Kelly Klein, Session Chair The Ohio State University Two Case Studies for Peace Ballets Victoria Fortuna, Performed in the Context of the Reed College Thirty Years’ War Presenters Melissa Melpignano, Presenters UCLA Michaela Mettel, Colleen Dunagan, Saarland University Ideologies Contended: California State University Long Beach Dancing Israel in the Cold War The Art of Dancing as Part “Last Tango in Compton”: Tensions of the Historical Martial Arts? at Play in Advertising’s Embrace Elisa Frasson, Roehampton University Julia Martinez Heimann, Body Contended: Practicing Independent Somatics in Cold War Europe Working Dancers/Screendance Archiving Dancing Stefano Tomassini, Bodies: Contemporary Jane Munro, Università IUAV di Venezia Techniques & Royal Central School Music Contended: Dancing Bach Technologies of Speech and Drama in Cold War United States Choreographing the Audience SUNDAY, 8:30–10:00 A.M. collective, immersive, political VALLETTA CAMPUS, GROUND LEVEL, MEETING ROOM 3

Session Chair Conflict in Susan Haines, Choreographing Contemporary African Western Washington University Contention, Dancing Dances Cold War (1940s-1960s) SUNDAY, 8:30–10:00 A.M. Presenters VALLETTA CAMPUS, LEVEL 1, Jessica Rajko, SUNDAY, 8:30–10:00 A.M. LECTURE ROOM 3 Arizona State University VALLETTA CAMPUS, GROUND LEVEL, Haunted Databases: searching MEETING ROOM 5 Session Chair for dancers in the HCI archives Adeline Maxwell, Pre-formed Panel Université Paul Valéry Montpellier III

65 th Sunday 8 July 2018

Presenters Presenters Tam Azorbo, Dance into Film, Li Wang, Department of Theatre Arts, Film into Dance The University of Auckland Niger Delta University Inclusion or Exclusion? SUNDAY, 8:30–10:00 A.M. Dance Commentary on Democratic VALLETTA CAMPUS, LEVEL 2, Nigeria: A Question of Conflicting Fangfei Miao, LECTURE ROOM 3 Paradigms in Select Performances University of California, Los Angeles The Creation of Chinese Modern Session Chair Ifure Uford-Azorbo, Dance—ADF in Guangdong (Canton) Victoria Phillips, University of Uyo, Nigeria during China’s Early Reformation Period Columbia University, Dance Commentary on Democratic European and Harriman Institutes Nigeria: A Question of Conflicting Samson Akapo, Paradigms in Select Performances University of Ibadan, Ibadan, Nigeria Presenters African Contemporary Dance and its Cheng-Chieh Yu, Bashir Rutasingwa, Deference to African Theatre UCLA University of Birmingham Martiality, Not Fighting How Dance has served as a vehicle for reconciliation Natalia Duong, University of California Berkeley Agent Orange Ecologies: Representing Conflict Choreographing Kinship through Dance: a rules- in the dancefilm Rhizophora based approach to From Ancient Greek studying and creating Literature into Dance Janani Karathozhuvu Suresh, choreography SUNDAY, 8:30–10:00 A.M. Universität Tübingen, Germany SUNDAY, 8:30–10:00 A.M. VALLETTA CAMPUS, LEVEL 1, Conflicting styles during revival VALLETTA CAMPUS THEATRE LECTURE ROOM 2 of Bharatanatyam in the Indian cinematic space Workshop Session Chair Zoa Alonso Fernández, Eva Shan Chou, Session Chair Universidad Autónoma de Madrid City University of New York, Camelia Lenart, Baruch College State University of New York at Albany Presenters Choreographic Representation Gregory Scott, of Conflicts and Violence: Presenters New York University The Ballet Raise the Red Lantern Susan Wiesner, Dances of Battle, and the Battle University of Maryland Libraries to Understand Dance in Plato Rommie Stalnaker, Tomasz Ciesielski, Independent Scholar University of Lodz Contemporary From Tacit to Explicit Conceptual & “Tragic Conflict” in Dance Pedagogical Conflicts Amidst Globalization Andrea Christmas, Communal Body: PhD Candidate in History, SUNDAY, 8:30–10:00 A.M. Northwestern University VALLETTA CAMPUS, LEVEL 2, Collective Tools Achilles en travesti on the LECTURE ROOM 2 and Obstacles Napoleonic stage SUNDAY, 8:30–10:00 A.M. Session Chair VALLETTA CAMPUS THEATRE STUDIO Celena Monteiro, Kingston University Session Chair Clare Croft, University of Michigan

66 th Sunday 8 July 2018

Presenter “Fagaala” (Genocide) by Germaine Lailye Weidman, Labor & Neoliberalism Acogny and Kota Yamazaki Contact Quarterly 2: Theatrical Protest & Assault Christian Nwaru, Imo State University, Owerri, Nigeria SUNDAY, 10:15–11:45 A.M. Representing Violence and War through VALLETTA CAMPUS, GROUND LEVEL, Choreographic Practices: The Iri-Agha Short Break MEETING ROOM 2 Instance 10:00–10:15AM Session Chair Drinks and nibbles available on Ground Clare Parﬁtt, Level and Level 1 University of Chichester Conflict Within & Presenters Eric Kaufman, Around Raqs Sharqi The Ohio State University (Belly Dance) SESSION 8 Movement Labor: Unionization SUNDAY, 10:15–11:45 A.M. Sunday, 10:15 – 11:45 a.m. of American Dancers in the Age VALLETTA CAMPUS, GROUND LEVEL, of Modernism. MEETING ROOM 3

Juan Manuel Aldape Munoz, Session Chair Social Dance UC Berkeley Meiver De la Cruz, Contra Hegemony Choreotopias: Assaulted Desires Oberlin College SUNDAY, 10:15–11:45 A.M. in Asaltodiario’s Street Choreographies VALLETTA CAMPUS, GROUND LEVEL, in Mexico City from 1985–1994 Presenters MEETING ROOM 5 Ainsley Hawthorn, Kelly Klein, Yale University (Alumna) Session Chair The Ohio State University From danse du ventre to raqs sharqi: Colleen Dunagan, Conflict in Activist Performance Middle Eastern Dance and What to Call It California State University Long Beach María Dolores Tena Medialdea, Presenters Independent Researcher Jose Reynoso, Feminine Nightclub Dances Revival and University of California Riverside West African the Global Market: Commodification, Constructing Queer Subjectivity Dance Confronting Western Erotic Imaginaries and Cultural through Social Dance on the War & Genocide Stereotypes Mexican Public Square SUNDAY, 10:15–11:45 A.M. Anne Vermeyden, Mila Thigpen, VALLETTA CAMPUS, GROUND LEVEL, Doha Institute for Graduate Studies Boston Conservatory at Berklee MEETING ROOM 6 Politicized Raqs Sharqi in Egypt and Salsa Comes From The Streets Canada: Challenging Societal Status- Session Chair Quo and Negotiating Patriarchal Carol-Lynne Moore, Carol Marie Webster, Backlash MoveScape Center LLC Columbia University No Collisions: Ballroom Dance as an Antidote for Conflict Presenters Toni Shapiro-Phim, Philadelphia Folklore Project Dance Contra Four Women and War Postcolonialism Gabriele Klein, SUNDAY, 10:15–11:45 A.M. Hamburg University VALLETTA CAMPUS, GROUND LEVEL, The Paradox of Failure and Productivity MEETING ROOM 4 of Dance Translations. The Example

67 th Sunday 8 July 2018

Session Chair Temitope Adedokun-Richards, Anusha Kedhar, Kwara State University, Malete, Nigeria Johannesburg, Berlin, UC Riverside “Dance Pedagogy in the Nigerian Chicago: Nelisiwe Xaba Education Curriculum, Any Hope?” SUNDAY, 10:15–11:45 A.M. Presenters VALLETTA CAMPUS, LEVEL 2, Celena Monteiro, LECTURE ROOM 3 Kingston University International Dancehall Queen Pre-formed Panel Competitions: Spectacles of Dance and Conflict in Nationalised ‘Diference’ or Early Modern Europe This panel investigates the work of Transnational Exchange? SUNDAY, 10:15–11:45 A.M Nelisiwe Xaba, an artist based in VALLETTA CAMPUS, LEVEL 1, Johannesburg who often presents her Luke Forbes, LECTURE ROOM 3 work in Europe and in the US. First Monash University Mlondi Zondi, a South African dancer Choreographed Reconciliation: An Pre-formed Panel and dance scholar, will discuss Xaba’s Inquiry into Nationalist and Conciliatory work within the context of South African Rhetoric in Australian Dance Discourse This panel brings together three contemporary dance and performance diferent examples of dance and over the last 25 years. Then Eike Wittrock, Jessica Friedman, conflict in Early Modern Europe: a German dance scholar and curator, University of California, San Diego political conflict and war, conflict will describe the commissioning of Josephine Baker’s Decolonial regarding national styles and Xaba’s solo performance, Fremde Tänze Corporeal Borderland choreographic priorities, and conflict (“Strange or Foreign Dances”) as part of about how to define dance in a rapidly Tanzfonds Erbe, a federal scheme that changing world. The authors will draw highlights the reperformance of German on related source materials, including modern dance. Finally Susan Manning, ballet livrets and seventeenth- and a US historian of modern dance, will Pedagogy 4: eighteenth-century dance theory texts reflect on seeing Fremde Tänze in the Multiculturalisms in to ask questions about the historical very diferent contexts of Tanzfonds Erbe Dance Education study of early modern dance texts and in Berlin and an international black arts SUNDAY, 10:15–11:45 A.M. their continued relevance today. festival in Chicago. At issue in all three VALLETTA CAMPUS, LEVEL 1, presentations are the conflicting and LECTURE ROOM 1 Session Chair conflicted views of the black female body Karen Silen, animated by Xaba’s choreography. Session Chair U.C. Berkeley Xi Xiong, Session Chair Sichuan Normal University Presenters Nadine George-Graves, Dóra Kiss, University of California San Diego Presenters Projet Cadanse Rose Martin, Le Ballet de la Paix: a reaction toward Presenters University of Auckland war, an encouragement for peace, Susan Manning, Sustaining dance education: and a subject of discussions Northwestern University Contemporary perspectives Cross-Viewing in Berlin and Chicago: of dance teaching and learning Arianna Fabbricatore, Nelisiwe Xaba’s Fremde Tänze inside and outside of Syria Paris-Sorbonne, Nantes Université French vs Italian: stylistic diferences, Eike Wittrock, Sara Pecina, cultural rivalry, and social boundaries Stiftung Universität Hildesheim University of Oklahoma Fremdes Erbe. Nelisiwe Xaba in the Acceptance of “Lowbrow” Art: Conflict Olivia Sabee, context of German Dance Heritage Surrounding the Development of Jazz Swarthmore College and Tap Dance and the Lasting Efects Defining dance in Eighteenth- Mlondolozi Zondi, Century France Northwestern University Flow and Arrest in Nelisiwe Xaba’s Choreographic Repertoire

68 th Sunday 8 July 2018

marginalizes non-Western dance Dance & Activism Intercultural practices, and champion the virtues 4: Dance as Social Choreographic Dialogue: of oppositional approaches in dance Criticism Reconceptualisation of pedagogy. SUNDAY, 10:15–11:45 A.M. cultural relations through Session Chair VALLETTA CAMPUS, LEVEL 1, ‘Māori-centred’ research Anurima Banerji, LECTURE ROOM 2 SUNDAY, 10:15– 11:45 A.M. UCLA VALLETTA CAMPUS THEATRE STUDIO Session Chair Presenters Guellouz Mariem, Alternative Format María Regina Firmino-Castillo, Université Université Paris Descartes Critical Dance Studies, Session Chair University of California, Riverside Presenters Eleni Drogari, Maxine Craig, University of Roehampton, UK Jasmine Johnson, University of California Davis, Brown University and Stephanie Sears, Presenter University of San Francisco Louise Fielder, Royona Mitra, “Arrest that Oficer”: Power and Play University of Surrey Brunel University London in a US Carnival Street Parade Janet O’Shea, Yukiyo Hoshino, UCLA Nagoya University Dai Ailian’s Anti-Japanese Lunch Break Anusha Kedhar, Choreographies: Her Programs 11:45 A.M.–1:15 P.M. UC Riverside and Performances during the Second World War.

Arshiya Sethi, Independent Scholar Agonistic Acts: Contact ‘Black & White’: ‘Artivism’ (from Art and Activism), against Triple talaq Anti-Racist and Improvisation Jam and other issues of Muslim Personal Decolonial Interventions SUNDAY, 3:30–5:30 P.M. Law through Dance. for Dance Studies VALLETTA CAMPUS THEATRE SUNDAY, 1:15–3:00 P.M. VALLETTA CAMPUS, LEVEL 1, Investigate dance and conﬂict AULA MAGNA together in motion: bring your dancing clothes and feel free to join or watch MESH public rituals Dance studies today is inescapably a this improvisation session with live of togetherness site of conﬂict. We engage with the music. Warmup facilitated by Contact Improvisation Malta. SUNDAY, 10:15– 11:45 A.M. question: how can we mobilize dance VALLETTA CAMPUS THEATRE studies and make it representative of indigenous and transnational Workshop concerns as a discipline? To respond to this question, we will contest the Session Chair universalized and Eurocentric lexicon of Dance Performance Jane Munro, dance discourse, consider how centering SUNDAY, 8:30 P.M. Royal Central School black subjectivity and knowledge VALLETTA CAMPUS THEATRE of Speech and Drama afords a transformative view of dance epistemology, theorize “making A selection of works by dance artists Presenter space” as a metaphorical and material based in Malta. Tickets available at Vanessa Grasse, intercession against existing power Registration & Information table or, Independent Artist structures, examine how institutional while still available, at the door. See appropriations of “diversity” rhetoric programme insert for details.

Biographies & ABSTRACTS A BCDEFGHIJKLM

Dance Pedagogy is a conflicting [email protected] ACCETTURA [email protected] ACHARYA phenomenon in the Nigerian Educational system and has Creating an Inclusive Dance Performance Issues of Representation, Abstraction, and caused several debates in the Can Be Considered an Artistic Product? Authenticity: Examining Uday Shankar’s education sector of the country. The Role of Conflict Between Working Work within the Context of US Orientalism The Nigerian Educational Research Within Dance and Autism in Generating and Development Council (NERDC) New Dance Languages. Saturday, 3:00 - 5:00 p.m., has not accepted that Dance as Valletta Campus, Level 1, a separate subject be included in Saturday, 3:00 - 5:00 p.m., Lecture room 2 early childhood education through Valletta Campus Theatre secondary level of education. The This paper examines Indian modern purpose of this research interest is to When working with intellectually dancer Uday Shankar’s tours in the help widen the horizon of curriculum disabled people the usual goal is US from the 1920s through the 1950s. developers in Nigeria who see dance increasing participants’ abilities. Examining issues of representation, as not having cognitive influence on Therefore, the process overtakes the abstraction, and authenticity within children. The study will make a review final product. This presentation will the context of US Orientalism, I argue of the existing curriculum and invite evaluate the possible line between the that Shankar’s positionality as an upper scholars to draw up another one that individual’s artistic and therapeutic class and caste Indian male who lived will accommodate dance. It is hoped growth, through Dance For All, a in Europe and traveled throughout the that this study will serve as a template project consisting on a series of US, shaped the reception of his work in drawing up the appropriate workshops towards a performance, among audiences as representative of curriculum for Dance Pedagogy. addressed to dancers of JDC Bari and both an “authentic” Indian context and autistic participants of Associazione an “internationalized-cosmopolitan” Temitope Adedokun-Richards is a Dalla Luna. We question if (a) the context. The latter of the two enabled Dance Lecturer in the School of Visual performance can be considered an critics to view his work within notions and Performing Arts, Kwara State art product; (b) how some features of modernism that made him an ideal University, Malete, Nigeria. She is a of Autism can create new forms of representative of Indian culture in the US. PhD student in the Department of aesthetics (c) if the psychological Theatre Arts, University of Ibadan, approach ABA (Applied Behavior Rohini is a performer, choreographer Nigeria. Her academic interests lie in Analysis) can be beneficial for dance. and teacher in the South Indian Dance Pedagogy and Contemporary classical dance form, Bharata Natyam. African Dance. Sara Accettura, MA in Performance She is currently a Ph.D. student in Dance at the London Contemporary Dance Studies at The Ohio State University, School, is a freelance dancer, artistic where her work focuses on Bharata director of Junior Dance Company Natyam pedagogy, performance, and choreography and its circulation in the Bari and Malta, Dance Master Class [email protected] AGUIAR and Diciembre Dance, Assistant South Asian diaspora. Lecturer for the Dance Studies Dance Techniques as Cognitive Artifacts: Department and guest lecturer for the Discussing the “Neutral Body” Disability Studies Department at the University of Malta. Saturday, 3:00 - 5:00 p.m., TEMITOPE Valletta Campus, Ground level, Meeting room 4 [email protected]

Dance Pedagogy in the Nigerian The choice of body techniques is Education Curriculum, Any Hope? a problem in the contemporary dance education, due especially to Sunday, 10:15 - 11:45 a.m., the diverse artistic context. In the Valletta Campus, Level 1, university environment, curricula and Lecture room 1 practices are revealing strategies to address this problem. A recurrent

72 NOPQRSTUVWXYZ

approach is the search for a “neutral Samson Akapo currently teaches body” and training methods capable Choreography and Dance in the JUAN MANUEL of building “unbranded” bodies, department of Theatre Arts, University [email protected] MUNOZ allowing easy fitting in different of Ibadan. His current research artistic projects. To address this focuses on African Dance and African Choreotopias: Assaulted Desires in issue, I describe dance techniques as Contemporary Dance. Asaltodiario’s Street Choreographies in cognitive artifacts or technologies Mexico City from 1985–1994 (sensu Andy Clark) and discuss how, through this notion, a “neutral Sunday, 10:15 - 11:45 a.m., body” is not achievable, since dance Valletta Campus, Ground level, techniques create domains of action ANN COOPER Meeting room 2 for performers and choreographers. [email protected] This paper examines the punk- aesthetic choreographies created by Daniella Aguiar is a professor at the What’s Going On? Provocation Panel by Asaltodiario, a Mexico City troupe Dance undergraduate course and the the Flaming Bitches Performing Arts Graduate Program, formed in 1987. The company at Federal University of Uberlândia, Thursday, 5 July, 6:15-7:30 p.m., organized street performances Brazil. Her main research interests Excelsior Ballroom inspired by Alan Kaprow’s happenings are: dance and other arts, technique and Agosto Boal’s theater of the and creativity in dance through a A dancer and scholar, Ann Cooper oppressed to choreograph impromptu Distributed Cognition approach. Albright is Professor and Chair of scenes called asaltos (assaults). In Dance at Oberlin College. Combining this analysis, I evaluate the politics her interests in movement and of the “assault,” the materiality of cultural theory, she teaches a variety the utopia, and the choreographies of courses and workshops that seek to of homelessness that develop in [email protected] AKAPO engage participants in both practices the nation’s capital during rapid and theories of the body. She is industrialization and in response to African Contemporary Dance the author of Engaging Bodies: the a major natural disaster. Herein, I and its Deference to African Theatre Politics and Poetics of Corporeality, develop the concept I provisionally which won the Selma Jeanne Cohen call choreotopias to describe the Sunday, 8:30 - 10:00 a.m., Prize from the American Society process that Asaltodiario used in their Valletta Campus, Level 2, Lecture room 2 for Aesthetics, and Choreographing public interventions. Difference: the Body and Identity African dance performance has entered in Contemporary Dance, among Juan Manuel is a working-class, a dynamic new phase as a result of others. Her new book, How to Land: formerly-undocumented immigrant the influence of globalization on finding ground in an unstable world, from Mexico who is concerned culture which is consequently referred focuses on contemporary American about choreographic processes, to as African Contemporary Dance. embodiment post-9/11. Ann has contemporary dance, latinidad, The nature of African contemporary served on the boards of SDHS (as undocumented bodies, and sweat dance is one that constantly solicits Editorial board chair and President) citizenships. He is a Ph.D. candidate clarification concerning its authenticity and DSA and was awarded the Dixie in performance studies at UC and techniques. As an artistic category, Durr Award for Outstanding Service to Berkeley and the co-director of contemporary dance has a rather Dance Research in 2017. the Festival of Latin American unformulated origin. What are the Contemporary Choreographers identifiable indigenous culture-specific (San Francisco, CA). characteristics of African contemporary dance within the styles akin to the prototype traditional dance? What are the key issues to be considered by an ‘’African dance’’ analyst in proposing a concrete argument for African contemporary dance?

73 A BCDEFGHIJKLM

Kuduro is electronic dance music contemporary dance practices in [email protected] ALEXANDER from Angola with expressive moves 90s – which were often taught and called “toques”. Toques are danced mediated in formats which were The Choreography of Resolution: far and wide, socially, by people of limited in their temporal duration. Conflict, Movement and Neuroscience all ages. Expert dancers show of Beyond institutions, ideological and their virtuosity in drastic stage solos cultural borders my paper examines Friday, 11:30 a.m. - 1:00 p.m., called “individual”. Staged group the material potential of movement Valletta Campus Theatre choreographies are called “esquema”. and its emancipation and pursues the To diferent degrees, all of these thesis of hyper-corporeality and the In this interactive workshop, Professors kuduro dance forms draw on the refusal of the body. LeBaron, MacLeod and Alexander quotidian by mimicking, undermining will share the findings of the Dancing or countering typical movements Miriam Althammer is research at the Crossroads research/practice or their related energetic states. In assistant at University Bayreuth initiative on somatic elements of this paper, I explore how kuduro’s with a teaching assignment at the perception, attribution and cognitive/ kinetic repertoire can be understood Faculty of Dance at Theater Academy emotional habits in conflict. Funded as an archive of popular memory, Krakow. She studied Dance and by the Canadian Social Sciences and considering especially the context of Theater Studies in Munich, Berne Humanities Research Council, this the 27-yearlong civil war in Angola. and Salzburg. Her PhD-project is work documented contributions of about Archives to Be – Knowledge dance and choreography to conflict Stefanie Alisch (Bayreuth University) Formations in Contemporary Dance of transformation pedagogy and studied musicology, Portuguese and Post-socialist Countries of Europe. intervention processes. In the project, English in Berlin and Salvador da Bahia Canadian dancer Margie Gillis worked while working as a DJ. In 2017, she with a curated group of international completed her PhD where she conducted mediators, facilitators and process research into the “carga” concept in designers to explore how dance Angolan kuduro music and dance. She SÉ[email protected] ANDRADE training enhanced their capacities embarked on postdoc research on and informed conflict transformation mazurka in the Atlantic realm. The Sovereignty Appeal approaches in diverse political, of the Choreographic and the cultural, social and legal settings. Choreographing of the Fear in Public Protests Nadja Alexander is Professor and Director of the International Dispute Resolution [email protected] ALTHAMMER Friday, 2:30 - 4:30 p.m., Academy at the Singapore Management Valletta Campus, Level 1, Lecture room 2 University. An award-winning author Body of (hi)stories – Movement Repertoires and educator, Nadja’s work embraces in Post-socialist Europe’s Contemporary The paper discusses how interdisciplinary approaches to deepen Dance and Performance Scenes capacities of mediators and negotiators choreographies of sovereignty in for conflict engagement. Recent Saturday, 11:00 a.m. - 1:00 p.m., protests are marked by the onto- scholarship includes The Alchemy of Valletta Campus, Ground level, political-teleological performativity Mediation and Aesthetics of Negotiation Meeting room 4 of the fear, focusing in the analysis with Michelle LeBaron. of contemporary political conflicts Repertoire as “non-hierarchical and civil disobey movements in system of transfer” & “enactment of Brazil. The argument will explore embodied memory” refers to non- the tight connection between fear discursive knowledge of the body. In and the notions of sovereignty and interviews with choreographers of choreographic from three tracks of STEFANIEstefanie.alisch@uni-oldenburg.de ALISCH post-socialist Europe’s dance scenes Hobbes, Derrida, and Arbeau/Lepecki’s Kuduro Dance as an Archive I have traced and re-actualized these contributions. Also, we will point of Popular Memory movement repertoires. Whereas how the fear is choreographed, and those bodies are predominantly updated by diferent choreographies of Friday, 11:30 a.m. - 1:00 p.m., shaped by their training in ballet, folk protest, in some street demonstrations Valletta Campus, Level 1, dance, and military service of Cold within current Brazilian political Lecture room 1 War period, there is a shift towards ground in dispute.

74 NOPQRSTUVWXYZ

Artist and Professor of dance, Using motion-capture technologies performance and philosophy at [email protected] ASSAF and statistical methods to analyze Universidade Federal do Rio de movements and written texts about Janeiro, where he also coordinates Unraveling Embodied Terrains: dance, we developed rules/models the LabCrítica (www.labcritica.com. An Insight into Female Protest, for machine learning, which were br). Andrade holds a PhD and a MA Resistance and Survival validated through subsequent project in Philosophy (PUC-Rio), a MA in phases and tests. In this 90-minute Performing Arts and BA in Dance Saturday, 9:00 - 10:30 a.m., workshop/presentation participants (UFBA). In 2014/2015, he was Visiting Valletta Campus Theatre will: learn the history of the rules Scholar at NYU. generation; use the rules to create Unraveling Embodied Terrains extends their own short work as solos or small from Assaf and Harrington’s previous groups; combine their movement works (NOFOD-NEXT) and highlights works using staging rules to create the conflict a female body faces in a “conflict-derived” piece of work. [email protected] ASLAM society and how that body protests Thus, we will begin the conversation the right to exist. Through their use of as to how we, as choreographers/ “Us Sinful Women”: Indu Mitha, Kishwar research, coupled with choreographed researchers, respond to conflict and Naheed & Dancing girl of Mohenjodaro, movement (dance) and rhythmic negative situations through our work. Pakistan accompaniment (their voices and In other words: how we represent music) Assaf and Harrington take Conflict through Dance. Friday, 2:30 - 4:30 p.m., an active stand against the violence Valletta Campus Theatre that hauntingly remains embodied Anika Austin is an Atlanta-based in females internationally. Their choreographer and performer Indu Mitha, Pakistan’s oldest classical presentation exhibits – through currently investigating issues around dance teacher in her 2015 modern connections, resolutions, and the mental wellness and the female body bharata natyam choreography engages ability to empathize with one another in contemporary American society. with Pakistan’s top feminist poem Hum beyond borders – an optimum She is a 2015–18 Lucky Penny Work Gunaghar Auratey (Us Sinful Women) reconciliation. It accentuates moving Room Artist, 2017 Hambidge Center written by female poet Kishwar Naheed. together in resistance against any for the Creative Arts Distinguished I narrate struggles of women abused in conflict that strives to undermine the Fellow and a 2017–18 WonderRoot name of Islam, and successes and failures female body. Walthall Fellow. of Women Action Forum (WAF). I also recall the historical figure of “Dancing Nadra Assaf received her M.F.A. in Girl of Mohenjodaro” – the oldest intact Dance from Sarah Lawrence College, dance figurine discovered in Pakistan. In and a Doctorate of Education from this lecture-demonstration, I shift through Leicester University. She is the [email protected] AZORBO debates of occluded histories and I put associate chair of Communication at the center of this analysis my body as Arts Department at the Lebanese Dance Commentary on Democratic a Pakistani dance history scholar and American University. She is an avid Nigeria: A Question of Conflicting feminist ethnographer who embodies researcher, choreographer and Paradigms in Select Performances this choreography through processes of educator. She is the artistic director of learning and performing. Al-Sarab Dance Company. Sunday, 8:30 - 10:00 a.m., Valletta Campus, Level 1, A social-cultural anthropologist, Lecture room 3 peace ambassador and bharta natyam classical dancer by training, recipient Dance, as a non-verbal art, is a potent tool for socio-political commentary of prestigious Fulbright and EWC [email protected] AUSTIN fellowships for PhD in Culture and addressing conflicting situations. Performance (UCLA). Her upcoming Representing Conflict through Dance: This study succinctly captures the book proposes soft-power diplomacy A Rules-based Approach to Studying Nigerian situation from military approach using aesthetic and dance and Creating Choreography rule to democracy. Although studies practices, and people to people abound in dance and politics, there diplomacy to heal relations between Sunday, 8:30 - 10:00 a.m., is a near-dearth in documentation of India, Pakistan and Bangladesh. Valletta Campus Theatre command in dance performances and

75 ABCDEFGHIJKLM

their conflicting paradigms either in Ilona Baldacchino is a dance support of, or opposed to governance practitioner and Advanced Senior CHRISTOPHER of the day. This was done through a teacher in Russian Ballet (Legat [email protected] review of literature, content analysis, System) with over 10 years teaching comparative studies and participant- experience. After graduating with From a War of Words to Pushing Hands: observation. The performances a Bachelor’s degree in Psychology Para and Hypotactic Language and chosen from 3 ethnic groups reveal (Hons.), Ilona pursued her studies Choreography the Nigerian experience and would be in dance by reading for a Master in beneficial to students, practitioners, Performance Studies (Dance). Her MA Friday, 2:30 - 4:30 p.m., researchers and government agencies. research focuses on dance, disability Valletta Campus, Level 1, and inclusion. Lecture room 1 Teaching and researching in Dance, Theatre and Cultural Administration. Interactions between language and A Senior Lecturer in the Department thought have long been debated of Theatre Arts, Niger Delta University; (Whorf, B. L. 1940; Gumperz, J. J.; trained at the Universities of Abuja and [email protected] BANERJI Levinson, S. C. 1996) and the increasing Ibadan-Nigeria. Widely published and presence of Chinese accentuates the belongs to several professional bodies. Agonistic Acts: Anti-Racist significance of hypo versus paratactic Married, with children. and Decolonial Interventions languages. However, Translation for Dance Studies Studies scholar Cheung (2012) warned against the “dichotomous mode of Sunday, 1:15 - 3:00 p.m., thinking that characterizes so much Valletta Campus, Level 1, of [humanities] research practice Aula Magna and theoretical discourse” proposing B the T’ai Chi notion of “pushing Dance studies today is inescapably hands” and a dynamic interplay a site of conflict. In this roundtable, [email protected] BALDACCHINO between languages. ArtsCross we will engage with the question: arguably produced a third paradigm: how can we mobilize dance The politics of diference: choreographers from a paratactic studies and make it representative An insight into the context of language background created of indigenous and transnational dance and disability in Malta hypotactic works, while those from concerns as a discipline? To respond a hypotactic language background Friday, 2:30 - 4:30 p.m., to this question, we will contest created paratactic works. Palazzo Pereira Boardroom the universalized and Eurocentric lexicon of dance discourse, consider Christopher Bannerman is Head of This panel explores snapshots of how centering black subjectivity and ResCen Research Centre at Middlesex dance in Malta. Paper 1 focuses on the knowledge affords a transformative University, London, investigating the identity of ballet as a colonial art form view of dance epistemology, theorize processes and practices of artists and and wartime fundraiser during the “making space” as a metaphorical arts organisations. He is a founding Co- period of self-government abolishment and material intercession against Director of the ArtsCross Choreographic (1933–1947). Paper 2 discusses the existing power structures, examine Research project and was editor-in- cultural constructs of disability and the how institutional appropriations chief of Navigating the Unknown: The influence of these attitudes towards of “diversity” rhetoric marginalizes Creative Process in Contemporary dancers with learning disabilities, non-Western dance practices, and Performing Arts. with specific reference to Opening champion the virtues of oppositional Doors, a Maltese arts organization for approaches in dance pedagogy. young adults with learning disabilities. Paper 3 examines contemporary Anurima Banerji is Associate theatre dance in Malta from 2008, Professor in the UCLA Department engaging with such issues as Maltese of World Arts and Cultures/Dance. attitudes to culture and the arts, recent Her research focuses on critical developments in dance education and historicizations of Indian dance, and training, and the interplay between is informed by her training in the national and international forces. Odissi tradition.

76 NOPQRSTUVWXYZ

Movement Atelier, formed by they tried to subvert. Hence arises [email protected] BARNES Zeynep Günsür in 1999, is a unique the question of the challenges and performance/dance ensemble made limitations in weaponizing “the queer”, Exoticism in La Bayadère and by women only. They use oral history, while showing the concept’s dynamics its Reinforcement of Western literary texts written by prominent through time, how it serves those in Colonialist Propaganda women writers of Turkey, and social power and what kind of performance science texts that theorize the methods may overcome it. Saturday, 3:00 - 5:00 p.m., public culture of Turkey. Through Valletta Campus, Level 1, these methods, they develop dance/ Ballet Studies merit graduate (MA) from Lecture room 2 performance works which engage with London’s Roehampton University. The a vast landscape of connotations for the former community relations manager This paper examines Pierre Gardel’s Turkish audiences about the collective of the Israel Ballet & dance reviewer. 1810 opera Les Bayadères, Filippo public memory of their country as seen Using methods of choreo-musical & Taglioni’s 1830 opera-ballet Le Dieu from an intergenerational feminist gender analysis Mr. Baum works with et La Bayadère, Marius Petipa’s 1877 perspective. In this presentation, I will both international academics and gives ballet La Bayadère, as well as current focus on two of their performances lay audiences an easy access to the interpretations of Petipa’s work within Human(ly) Condition (2007) and world of ballet and dance. the context of European imperialist cirCUMstances (2009) and analyze the agendas. Through an Orientalist lens, semiotics of these performances. this paper investigates the social, political, and economic ramifications Deniz Başar is a theater researcher, of Europe’s relentless reform of India award-winning playwright (in Turkish [email protected] BELL in the name of modernization. Each and English), translator, and a puppet iteration of the ballet is juxtaposed maker. She is currently continuing her Figuring Footwork: Nora Chipaumire’s with the colonial relationship PhD in the Centre for Drama, Theatre Boxing Ring and the Battles of Detroit’s Jit between Europe and India during and Performance Studies in University each era to examine its purposeful of Toronto. Friday, 2:30 - 4:30 p.m., misrepresentation of Indian culture in Valletta Campus, Ground level, order to sway public opinion in favor of Meeting room 2 colonial authority. In 2016 Brooklyn based, Zimbabwe Colleen Barnes Merwin is a graduate born choreographer Nora Chipaumire [email protected] BAUM student in ballet at the University of premiered Portrait of Myself as My Utah, and also teaches at Ballet West F–a–t–h–e–r, a visceral piece conjuring A Queer and Gender Conflict: Gender Academy. She has worked for the struggles between self and ancestral Readings of Dance and Performance Jofrey Ballet School of New York for specters, trans–geographic flight, and Works which Deal with the Israel- eight years. Colleen danced with the black masculinity. Part dance, part fight, Palestine Conflict. Dayton Ballet, Ballet Pensacola, and part ritual, Portrait culminated its tour Dance Now! Miami. Saturday, 3:00 - 5:00 p.m., in Detroit’s Downtown Boxing Gym. Valletta Campus, Ground level, Following Portrait’s griot protagonist Meeting room 5 to Zimbabwe we then find the jit, a frenetic dance also central in Detroit’s Three Israeli dance works are analyzed urban vernacular, whose elaborate [email protected] BASAR from a gender perspective using play of steps bafles its competitor. diferent means of expressions (pure This encounter between two choreo- A Feminist Archeology of Collective dance, dance theatre & drag). The geographic sites excavates the stakes Memory in Turkey: A Retrospective three choreographic works represent of contemporary dancing through its Look on Movement Atelier’s Two Dance political characters such as an “Israeli trans-historical footwork set to the Performances soldier”, “The Arab”, “The Pacifist” etc. making, taking, and mobilization of The text illuminates how, although the contested ground. Friday, 2:30 - 4:30 pm., choreographers intended to convey Valletta Campus, Ground level, liberal ideas that oppose the local Biba Bell is an artist and writer based Meeting room 6 political discourse and hierarchy, their in Detroit. Her work focuses on afect, attempt idealized the same values gender, and architectural space in

77 A B CDEFGHIJKLM

contemporary choreography. She has Eliot, Rebekah Kowal, and moderator performed with Maria Hassabi and Ninotchka Bennahum, consider [email protected] BENZIN Walter Dundervill. Bell is an Assistant how the tragic result of global Professor at Wayne State University and conﬂicts and refugee status – exile, Dance Pedagogy and the Praxis of Change earned her PhD in Performance Studies re-territorialization, repatriation in from NYU. some cases – were written into the Saturday, 9:00 - 10:30 a.m., history of contemporary ballet and Valletta Campus, Ground level, third-generation American modern Meeting room 4 dance. Focused on ideologies of the interwar and early Cold War eras, This paper references conflict in NINOTCHKA our panelists interrogate notions of higher education when professional contemporaneity within the contexts artists and educators bring new [email protected] of Stalinist Russia, World War II, and ideologies, discourse, dialogue, praxis the Cold War. and change to a low-income rural Bodies of War: Nationalisms, Émigrés, community of Western Colorado. Repatriation, and Shifting Alliances Ninotchka Bennahum, Professor, Research examples include rehearsal processes having immense conflict Friday, 5:00 - 6:30 p.m., University of California, Santa Valletta Campus, Ground level, Barbara, author of Antonia Mercé, ‘La amongst the performers due to socio- Meeting room 6 Argentina:’ Flamenco & the Spanish political climate of the community, Avant-Garde and Carmen, a Gypsy university, and the country at large, This panel examines the aesthetic Geography. She has co-curated 5 with issues around diversity including nomadism unleashed by some books, most recently Radical Bodies: gender, sexuality, race and personal of the twentieth-century’s great Anna Halprin, Simone Forti, Yvonne histories. This paper and presentation warring conﬂicts. Judith Chazin- Rainer. She is writing the history of places focus in expanding the ideas of Bennahum, Lynn Garafola, Karen Ballet Theatre’s wartime genesis. what dance is and can be outside of

MUSIC IN MOTION REHEARSAL 2017 University of Malta Department of Dance Studies in collaboration with Modern Music Days and Valletta 2018. Photo: Rafael Mielczarek

78 NOPQRSTUVWXYZ

the entertainment and commercially and performance in the Middle East focused industry, and the lack of [email protected] BOCKSBERGER and North Africa. Her ethnographic, access to arts education in low- pedagogical and choreographic income rural communities. Couretes: The Complexity of Dance explorations have taken her across and War in Ancient Greek Art dance sites in Morocco, Algeria, Amanda Benzin is a tenure-track and Literature Lebanon, Jordan and Palestine. Assistant Professor of Dance at Colorado Mesa University. She holds Saturday, 11:00a.m. - 1:00 p.m., an MFA in Dance from CU Boulder with Valletta Campus, Ground level, concentrations in somatic techniques, Meeting room 3 women and gender studies, and KONSTANTINA pedagogy. Benzin was an Emmy-Award- Paradoxically, dance in ancient Greece [email protected] winning member of Jump Rhythm Jazz could be both intimately linked with war (Iliad XVI, 617; Plato Leges, 815a) and Project for 6 years touring nationally Working Dancers: Conflicts and internationally. starkly opposed to it (Iliad XVIII, 490f and XXIV, 260f). This paper will explore the and Dynamics in Argentina´s National depth and complexity of the connections Company of Contemporary Dance’s between dancing and fighting in Greek Choreographies (2010–2014) art and literature by focusing on the Friday, 5:00 - 6:30 p.m., representation of the Couretes. [email protected] BLADES Valletta Campus, Ground level, Meeting room 2 FNS Early Postdoc. Mobility Fellow and Reparative dancing in postwar Sri Lanka Lecturer at Brasenose College, Oxford. The Argentine National Company of Friday, 11:30 a.m. - 1:00 p.m., Contemporary Dance emerged from Valletta Campus, Ground level, a series of social demands made by a Meeting room 6 group of dancers who aimed to defend their labor rights. This presentation This paper discusses the initial findings [email protected] BORNI examines two choreographic from Performing Empowerment, an milestones in the CNDC’s repertoire AHRC/ESRC funded project examining A Choreographic Conversation that marked two diferent moments how a novel combination of “mixed on Contemporary Dance in North Africa of conflict and group dynamics in abled” dance and human rights education the organizational structure of the might help empower people with Friday, 5:00 - 6:30 p.m., CNDC. Through audiovisual material, conflict-related disabilities in the context Valletta Campus Theatre I will show that the company’s of post-war Sri Lanka. In this paper, we choreographic praxis uncovers the look at key methodological issues we This performance lecture is an artistic aspirations as well as the faced in trying to “evidence” the impact exploration into the core conversations strategic and/or ideological horizons of dance on disabled participants’ self- around contemporary dance in North of the members of the company as esteem and legal empowerment. We then Africa, particularly in post-war Algeria, they search for consensus building, situate our preliminary findings within between dancer Ahmed Khemis and creative autonomy, and the exercise of the larger literatures on the capabilities scholar Karima Borni. The discussion participatory democracy in collective approach and post-war rehabilitation. will illuminate current social, economic decision-making. and political contextualization for Hetty Blades is a Research Fellow in the dance practice and performance in Konstantina Bousmpoura is Centre for Dance Research (C-DaRE) Algeria, as distinct from its neighbors of an independent researcher, at Coventry University. Her research Morocco and Tunisia, in light of broader anthropologist and filmmaker. She explores questions about the value, movements for social change and has worked in filmic ethnography, transmission and documentation of artistic production in the region of the direction and production of dance. She was previously Researcher Middle East and North Africa. documentaries and dance projects in Residence at the Digital Catapult in Buenos Aires, Seville and Athens. and is currently Co-I on the AHRC/ESRC Karima Borni is currently Scholar in Her last feature length documentary project, Performing Empowerment: Residence in the Dance Program at Working Dancers focuses on https://performingempowerment. Middlebury College. Her research contemporary dance, labor rights and wordpress.com/. is on contemporary dance practice politics and was released in 2016.

79 A B CDEFGHIJKLM

the iconic representation of power also compare to anti-AIDS actions, by MELISSA that characterized ballet since its Sœurs de la Perpétuelle Indulgence or beginnings in court dancing in a way by Act-Up Paris. [email protected] BORELLI that it became emblematic of power What’s Going On? Provocation Panel by balances in the politics between 1941 Professor of ancient Greek literature the Flaming Bitches and 1967 (the time he choreographed at the university of Poitiers (France). the imperial ballets)? How did Last publication on dance: Corps Thursday, 5 July, 6:15-7:30 p.m., Balanchine manage to transform incroyable(s). Pratiques Amateur Excelsior Ballroom movement vocabulary that it has an En Danse Contemporaine, Éditions appeal to his audiences and reflects du Centre national de la Danse, Melissa Blanco Borelli is Senior United States’ power politics? 2017. Currently studying dance in Lecturer, Dance in the Drama, antiquity and antiquity in modern Theatre & Dance Department at Royal My main research area is and contemporary dance, in a Holloway, University of London. She is choreomusical relationships transdisciplinary perspective. the editor of The Oxford Handbook of particularly with regards to the Dance and the Popular Screen (OUP, choreography of George Balanchine 2014) and author of She Is Cuba: A and Anne Teresa de Keersmaeker Genealogy of the Mulata Body (OUP, touching also at questions of the 2015) winner of the 2016 de la Torre archive notation and meaning gain [email protected] BROOKS Bueno Prize for best book in dance processes. I have taught at numerous studies. Other publications have German and British Universities, lately Blackface Minstrelsy: Race and Conflict appeared in Women & Performance at the University of Northampton. on the Antebellum U.S. Stage a journal of feminist theory, the International Journal of Screendance, Friday, 2:30 - 4:30 p.m., and edited collections on black Valletta Campus, Ground level, performance theory, screendance, Meeting room 5 and dance and competition. Current [email protected] BRIAND research focuses on identity politics Blackface minstrelsy was born of domination, fear, and parody. Initially, and aesthetics in black and Latinx Choreographic/Political Performances: solo performers danced and sang performance and dance artists Bodies, Spaces, Actions (Steven Cohen, anti-authoritarian commentary masked working in Europe, and embodied Femen, Nuit debout) performance practices in Afro- in blackface; in the 1840s, minstrelsy Colombian communities affected by Friday, 11:30 a.m. - 1:00 p.m., morphed into formulaic, large-scale the armed conflict. Valletta Campus, Level 2, shows featuring ludicrous perspectives Lecture room 2 on slavery, an issue tearing the nation apart, featuring dances arising from Choreographic activism could be contest (cakewalk, trial dances) and exemplified by three case studies: mocking both highbrow white culture performances by Steven Cohen, and black behavior. With the run-up to [email protected] BRAEUNINGER especially Coq/Cock (2013); “sextremist” Civil War, minstrelsy’s popularity and actions by the Femen, especially since repertory grew, as theaters advertised Balanchine’s Imperial Ballets 2012; Nuit debout (“Up all night!”), a “colored” seating that both invited and as Iconicity of Power democratic forum at the Place de la segregated African American attendees. Saturday 3:00 - 5:00 p.m., République, 2016. Some issues are Primary sources reveal key elements in Valletta Campus, Ground level, crucial here: “dancing” social and the evolution of blackface minstrelsy as Meeting room 2 political conflict and ethical/aesthetical a form of contest and conflict. interactions; deconstructing/ During the Cold War, Balanchine constructing heterotopic spaces Lynn Brooks, with degrees from choreographed a series of ballets and utopian bodies; carnivalesque University of Wisconsin and Temple one could call “imperial”. Here he interplays of irony, critical thinking, University, founded the Dance amalgamates his Russian ballet spectacular celebration and Program at Franklin & Marshall training with the various experiences denunciation; dialectics of discursive College. She teaches dance technique, he had in the United States. How has and synesthetic pragmatic and history, and writing. Brooks has Balanchine managed to transform negotiation. These performances may held Fulbright/Hayes and National

80 NOPQRSTUVWXYZ

Endowment for the Humanities grants, My contribution will focus on Andrée German, 2011) and Literature and has published books and articles, and Grau’s development of the thinking of Dance: The Choreographic Adaptation edited major dance journals. anthropologist and ethnomusicologist of Works of Literature In Germany And John Blacking on the political France From The 18th Century To The signiﬁcance of dance as innate to the Present Day (German, 2014). human condition.

[email protected] BRUNO Theresa Buckland is Professor of Dance History and Ethnography at the We Are Inseparable There Is No Time University of Roehampton, London. [email protected] BUTTERWORTH Her chief publications are: Dance in Saturday, 11:00 a.m. - 1:00 p.m., the Field: Theory, Methods and Issues Contemporary theatre dance in Valletta Campus Theatre in Dance Ethnography (ed.1999), Malta: Questions of influence, cultural Dancing from Past to Present: Nation, nationalism and artistic identity 45 minutes of an 8-hour Culture, Identities (ed. 2006), and choreographic score, We Are Society Dancing: Fashionable Bodies Friday, 2:30 - 4:30, Inseparable There Is No Time is a In England 1870–1920 (2011). Palazzo Pereira Boardroom dance performance and multimedia installation presented in 2016 at This panel explores snapshots of Honor Fraser Gallery, Los Angeles, CA. dance in Malta. Paper 1 focuses on The work takes its point of departure the identity of ballet as a colonial from the contentious ideological, art form and wartime fundraiser [email protected] JULIA BUEHRLE territorial, and gender divisions during the period of self-government present in the areas surrounding the abolishment (1933–1947). Paper 2 Choreographing Conflict Western Wall in Jerusalem. We Are discusses the cultural constructs in Shakespeare Ballets Inseparable There Is No Time raises of disability and the influence of questions about the embodiment these attitudes towards dancers with Friday, 2:30 - 4:30 a.m., of religion and worship, the social Valletta Campus, Level 2, learning disabilities, with specific implications of gender division in Lecture room 2 reference to Opening Doors, a prayer, and the unique reflection Maltese arts organisation for young enabled by corporeal meditation This paper deals with depictions of adults with learning disabilities. Paper on the balancing capacity for conflictual relationships in a number 3 examines contemporary theatre nourishment and destruction in the of Shakespeare’s ballets from the dance in Malta from 2008, engaging natural world. twentieth and twenty-first centuries. with such issues as Maltese attitudes It will focus on several pas de deux, to culture and the arts, recent Rebecca Bruno is a dance artist working taken from diferent versions of A developments in dance education and across performance and visual art. Midsummer Night’s Dream, Othello, training, and the interplay between In 2013 Bruno founded homeLA, a and The Taming of the Shrew. The national and international forces. performance project dedicated to comparison of these pas de deux dance process in private space in Los with the corresponding scenes in Professor Jo Butterworth MA (NYU), Angeles, California. Shakespeare’s plays will allow us to PhD (Kent) was Head of Dance at understand the diferent strategies Bretton Hall (University of Leeds) choreographers have developed to from 1986–2005. She established depict the “battle of the sexes” on Dance Studies at the University of the ballet stage, and the ways in Malta in 2010, and became the first which their adaptations interpret and Director of the School of Performing [email protected] BUCKLAND comment on the source texts. Arts in 2012. Publications include Dance Studies the Basics (2012) and Andrée Grau and the Power Contemporary Choreography: A of Dance (Roundtable) Iris Julia Bührle is a Leverhulme Early Career Fellow at the University Critical Reader (2009, 2017). Saturday, 11:00 a.m. - 1:00 p.m., of Oxford’s English Faculty. Her Valletta Campus, Ground level, publications include Robert Tewsley: Meeting room 6 Dancing Beyond Borders (English/

81 ABC DEFGHIJKLM

The Tang Dynasty scholar-monk, Xuan embrace such drives, but redirect them Zang (c.602–664 CE), made significant to known and unlikely references. When C contributions to Chinese translation applied to more broadly recognizable practice and theory. This paper considers scenarios and subject matter, the MARÍ[email protected] EUGENIA CADÚS Chinese Classical Dance (CCD) in touristic gaze becomes stranger than relation to Xuan’s five “untranslatables”, the practices on which it is focused. Aesthetic and Political Conflicts five instances where understanding is in Angelita Vélez’s Vidala (1946) inhibited across linguistic and cultural Corinna Campbell is Assistant Professor contexts. The introduction of CCD to of Music at Williams College. An Friday, 5:00 - 6:30 p.m., the west has been marked by confusion ethnomusicologist by training, her Valletta Campus, Ground level, and misunderstanding. This is in part primary research focuses on folkloric Meeting room 2 due to the paucity of English-language interpretations of Surinamese Maroon resources, but also exemplifies Xuan’s music and dance. Her interests include This presentation examines Argentine 3rd ‘untranslatable’: a cultural barrier cross-cultural performance strategies, folklore choreographer Angelita caused by western dance practitioners’ music/dance interconnections, and Vélez’s Vidala – premiered in 1946 limited knowledge of Chinese concepts the uses of the performing arts in at the Colón – in relationship to and philosophy. navigating broader systems of power. Peronist cultural politics. Critics saw this performance as representing the Sally Cai is a MA student at Beijing Peronist political-social-cultural “new Dance Academy, majoring in theories consciousness,” and it was subsequently of Chinese classical dance. With a harshly critiqued by the theater’s bilingual background, she received [email protected] CARR elite audience. I propose that this secondary education in Canada and reaction may be due not only to Vélez’s obtained her B COM from UBC. She’s On the Heels of Riverdance: perceived relationship to Peronism, actively involved with cross-cultural Choreographic Process in but due to her choreographic strategy: projects and her research interest lie in Contemporary Irish Step Dance that is, the attempt to create a new transmission of Chinese classical dance. autochthonous genre in which high and Saturday, 11:00 a.m. - 1:00 p.m., popular cultures merged. Thus, Vélez Valletta Campus, Level 1, choreographed a cultural resistance Lecture room 1 that staged the conflicts of the time among elite and popular culture. Irish step dance has a long history of [email protected] CAMPBELL creative conflict. During the Gaelic Eugenia Cadús has a PhD in History Revival, competitions fueled nationalist Strategic Impositions on Cultural and Theory of Arts from the University fervor and led to a virtuosic style Archetypes: Recognition and Intimacy in of Buenos Aires where she teaches made famous through Riverdance Surinamese Maroon Folkloric Performance courses in Dance Studies. Her current – a production that is both nemesis Postdoctoral research is supported by a Saturday, 3:00 - 5:00 p.m., and boon. My practice-led research fellowship from the Argentine National Valletta Campus, Level 1, investigates a recent groundswell Council of Scientific and Technical Lecture room 1 of choreography that embraces Research (CONICET). improvisation, collaboration, and This paper illustrates how the inspiration from other forms. Our Surinamese Maroon folkloric group interventions include: expression, Saisa employs a politics of recognition hybridity, and fusion. Choreographic in order to complicate simplistic process in contemporary Irish step [email protected] CAI interpretations of Maroon culture dance is a practice of re-writing history and performance practice. I examine through the body. This is not only a Crossing Cultural Barriers – Translating multiple choreographies that impose highly political act, but also a deeply Chinese Classical Dance on archetypal images, unsettling personal one that moves beyond dominant cultural narratives without aesthetics and into identity politics. Friday, 2:30 - 4:30, Valletta Campus, Level 1, overturning them outright. Instead of Lecture room 1 disavowing touristic preoccupations Darrah Carr is a Visiting Professor with daily life and authentic in the Conservatory of Dance at experiences, these choreographies Purchase College. She holds a PhD

82 NOPQRSTUVWXYZ

in Dance from Texas Woman’s This paper focuses on the University, an MFA from New York [email protected] CHALEFF choreographic aesthetics of Yang Yun- University’s Tisch School of the Arts, Tao’s Everlasting Love. By examining and a BA from Wesleyan University. Living Exhaustion, Performing Exclusion: Yang’s and Lin Hwai-min’s work, I She is the Artistic Director of Darrah Confronting Race in American describe how choreographers interpret Carr Dance. Postmodernism Chinese legendary stories to negotiate their personal experience and cultural Friday, 11:30 a.m. - 1:00 p.m., identity through dance. I discuss how Valletta Campus, Level 1, the dancing body functions as an Lecture room 3 archive of a collective memory of social AISHIKA experiences and cultural changes. For Filipino-American choreographer I propose that this development of [email protected] Gerald Casel, confrontation with the Chinese dance in Hong Kong can be whiteness of American postmodernism seen as a phenomenon of Chinese In Conflict with Politics and Morality: is an exhausting task. Citing Neil The Cabaret Queen of Calcutta modernity on the global stage. I Greenberg’s 1994 Not About AIDS contend that this dance development Dance, Casel has begun making Not Saturday, 3:00 - 5:00 p.m., Valletta Campus, is not a search or claim for authenticity, Ground level, Meeting room 3 About Race Dance, which draws but rather an innovative approach with attention to whiteness’s position as “not traditional elements. In the aftermath of partition of India, race” through a critique of canonical a young refugee girl rose to fame formations that are presumed to be Ting-Ting Chang’s research focuses on as a celebrated cabaret dancer in “not about race.” This essay traces the the contemporary dance development Calcutta’s nightclubs by the name choreopolitics of exhaustion to call in Asia and cross-cultural performance of Miss Shefali. This paper walks attention to the invisible yet palpable studies. Her works have been through the moments of conflicts and conflicts of artistic practice. Moving sponsored by the Ministry of Culture reconciliations where the cabaret from the perspective of a dancer and performed internationally. As queen of the postcolonial nation and dramaturg, I employ critical and a Mellon Post-doctoral Fellow at forges new concepts of agency and embodied methodologies to analyze Washington University in St. Louis, she subjectivity within and against the the accumulative experiences of holds an MFA from UC Irvine and a hegemony of law and moral policing creative life in the margins. PhD from UC Riverside. of the state. Her subversive testimony re-turns her gaze to the censorious Rebecca Chalef is a Chancellor’s power-elite, questioning the power of Postdoctoral Fellow at UC Riverside. the democratic state that banned her Her research analyzes the transmissions of choreographic legacies and afective as a sexual outlaw, stripping her of [email protected] CHAO her claims to culture and livelihood. histories in performance. Her writing has been published in Dance Research Heteroglossia: Dance as Resistance Journal, TDR/The Drama Review, Aishika is Associate Professor/ in The Indigenous Theatre of Post- and Performance Research, and is Director of the School of Women’s Colonialism in Taiwan Studies, Jadavpur University, India. forthcoming in the Futures of Dance Studies anthology. With her specialization in gender and (Joining pre-formed panel dance, her publications include The ‘Contra Rhythms and Contra Flows: Moving Space: Women in Dance (with Dance, Site and Urban Resistance’) Urmimala Sarkar Munsi) and Ranjabati, A Dancer and Her World. Friday, 2:30 - 4:30 p.m., [email protected] CHANG Valletta Campus, Ground Level, Meeting room 4 Negotiating Transnational Culture Identity through the Contemporary Dance performances are often Chinese Dance in Hong Kong power-charged: they reveal choice – or decision –making in terms Friday, 5:00 - 6:30 p.m., of symbolization, identification, Valletta Campus, Ground level, representation, and appropriation of Meeting room 1 what is considered in “the culture”

83 ABC DEFGHIJKLM

in the post-colonial theatre. The artists work within and against these processes, as will be shown in the assaults – thus proposing a “political” [email protected] CHATTERJEA case studies of two productions — from an embodied black diasporic Pu’ing and Maataw by the Formosan Caribbean perspective. Decolonizing Contemporary Dance Aboriginal Song and Dance Troupe from Taiwan, could be complicated Dasha A. Chapman (PhD, Performance Saturday, 9:00 - 10:30 p.m., and dynamic. In this presentation, Studies NYU) is Visiting Assistant Valletta Campus, Ground level, I will adopt Bakhtin’s notion of Professor of Critical Dance Studies at Meeting Room 6 “heteroglossia” to discuss the cross- Hampshire College and Five College cultural and cross-disciplinary Dance. Previously, she was Postdoctoral Diferent from modern/postmodern negotiation. The works accomplished Associate in African and African American dance, contemporary dance is hence credit dance performances Studies at Duke. Dasha is a dancer who understood to be a genre available new forms of resistance, through collaborates with choreographers in New to artists from diferent aesthetic, which more dialectic, disturbing but York, Haiti, and Durham, NC. cultural, and geo-political locations. provocative discourses and practices Yet, its constitution belies its cultural can be expected for future. specificity in western cultural norms and what I describe as “white dance:” Chi-Fang Chao is the Associate it passes as a global category without ever marking its culturally specific Professor at the School of Dance, [email protected] CHARNE Taipei National University of the Arts. genealogy. How might we reimagine Contemporary Dance outside of the She has conducted long-term fieldwork Dancing in the Streets: Political Dancers, stagist narrativization of concert in Okinawa, and specializes in the Public Performance, and the Eficacy of dance in the global North? This paper research of dance anthropology, dance Protest Dance ethnography, and indigenous dance identifies some “hidden” aesthetic theatre in Taiwan. Friday, 11:30 a.m. - 1:00 p.m., legitimators in “white dance” to argue Valletta Campus, Ground level, for alternative conceptualizations of Meeting room 5 contemporary dance as a mode of decolonizing concert dance broadly. What makes a dance a protest? In modern and contemporary dance, there Ananya Chatterjea makes “People [email protected] CHAPMAN are countless choreographers who dance Powered Dances of Transformation” against the status quo. But although this intersecting women artists of color Dancing Against the State: legacy – from 1930s leftist dance to Kyle and social justice choreography. Haitian Dance Politics Post-Earthquake Abraham’s 2016 Untitled America – is one She is Professor of Dance at the Friday, 5:00 - 6:30 p.m., whose styles and content change with the University of Minnesota, where she Valletta Campus, Ground level, times, the modes of these dances remain teaches courses in Dance Studies, Meeting room 5 relatively static. But as political protest Technique, and Performance. She is itself changes and new forms arise, currently writing her second book For contemporary Haitian dancers dance is starting to respond to this shift. about re-framing understandings of who work in and through folkloric Dance companies, like Tel Aviv’s Public Contemporary Dance. repertoire, “politics” is a term that Movement, and political organizers, like connotes something rotten. Their work Werk for Peace, are finding new ways has nothing to do with politics, they to play in the intersection of these two insist. Yet, what they are doing is clearly embodied political forms. political, and threatened on all sides [email protected] CHATTERJEE because of it. Public rhetoric intensifies Madeline Charne is a Dramaturgy MFA toward anti-black, anti-Vodou, and candidate at Yale School of Drama. Conflicting Contemporaneities homophobic zealotry, and Haitian She has spent most of her professional in (European) Dance artists struggle to dance in a climate life in Philadelphia, where she worked of precarity and despair. In this talk I frequently at the intersection of Saturday, 11:00 a.m. - 1:00 p.m., elucidate state, para-state (NGO), and performance and public practice, Valletta Campus, Level 2, religious factors that constitute the teaching trauma-afected children and Lecture Room 3 current socio-political landscape of adults and leading workshops on using urban Haiti, and detail how three dance theater and movement tools in protest.

84 NOPQRSTUVWXYZ

The question of what constitutes of data from experimentally fusing Dance & Performance is currently an “contemporary dance” in Europe Ballroom dance with Contemporary Associate Professor at the University of has been central to my work as a dance from a North American Michigan. Her work has been presented (German) choreographer (of color) perspective. This demonstration will throughout the U.S. and internationally trained primarily in classical Indian embody conflict within what the authors including the Beijing Dance Festival, dance. Contemporary dance is often term a “theory of coalescence” in order Vancouver, Italy. BFA, University of NC described as heterogeneous, hybrid to highlight diferent strategies of School of the Arts; MFA, University of and international. However, upon transforming conflict into creativity in Washington. closer inspection, the (Foucauldian) myriad contexts. dispositif of contemporary (European) dance is firmly situated in Eurocentric Alen Chaudhry is a Calgary-based aesthetic and cultural trajectories. contemporary dancer, choreographer, This presentation asks: What is the lecturer, ethnochoreologist, and JUDITH relationship between ethnicized tenderfoot gymnast. He focuses on [email protected] diference, ethnicized bodies and theoretical systems in the analysis ethnicized dance forms? How are of dance in global contexts, ethics in Ida Rubinstein: Her Wartime Bravery they situated within and/or in conflict cross- and intra-cultural contexts, and as Nurse and Philanthropist with the dispositif of contemporary ethnohistorical approaches to the study (European) dance? What might a post of dance history. Friday, 5:00-6:30 p.m., migrant approach to contemporary Valletta Campus, Ground level, European dance look like? Meeting Room 6

Sandra Chatterjee, founding-member Who would have imagined a ballet dancer/actress working behind the of the Post Natyam Collective, teaches, [email protected] CHAVASSE researches, performs and organizes lines to save wounded victims, washing projects at the intersection of theory All I Ask of My Enemies bloodstains, bandaging injuries and and artistic practice, focusing on queer, healing the sickly? This is precisely how postcolonial and migration studies. Friday, 5:00 - 6:30 p.m., the starlet Ida Rubinstein participated Her current work critically interrogates Valletta Campus, Theatre Studio during both World Wars I and II. Ida “contemporary” dance (in Europe) in never bragged about her good deeds, the context of articulating culturally This will be a workshop/audience rather she was self-efacing and modest marked aesthetic multeity [www. participation improvisational about this work, something unexpected sandrachatterjee.net]. performance that examines the concept as she was boldly articulate about her of enemies through text, movement stage successes. and physical entanglement with flawed definitions. Some of the things that will Principal Soloist with the Metropolitan be pondered are: how do we behave Opera Ballet, Author of six books on when in the presence of those identified dance including Dance in the Shadow [email protected] CHAUDHRY as the enemy (through role playing)? how of the Guillotine, The Ballets of Antony Coalescence of Disparate Dances: do we identify and navigate barriers and Tudor, The Lure of Perfection and Rene Conflict and Creativity boundaries? what are choreographies of Blum and the Ballets Russes. survival that emerge when confronted Saturday, 11:00 a.m. - 1:00 p.m., with or moving against penetrable and Valletta Campus Theatre impenetrable lines? what are watershed moments when traversing from one Pizza-burgers. Dodgeball rollerblading. area to another? The session will start [email protected] CHEN The Mexican Korean eatery around with a thorough warm up that attends to the corner. The world is no stranger breath, attention, intention and choice- HerStory: Narrative, Dancing Body to fusion. Yet, fusion is not simply the making and moving into composing and and Subjectivity in Helen Lai’s coming together of two wholes to create responding. Choreography of Feminine Creativity one greater whole. In dance, it is a process fraught with artistic and cultural Amy Chavasse, choreographer, Saturday, 3:00 - 5:00 p.m., conflict. In this lecture-demonstration performer, educator, improviser, Valletta Campus, Level 1, fusion, the authors share five years and Artistic Director of Chavasse Lecture Room 3

85 ABC DEFGHIJKLM

This paper examines the choreography performance solutions for the libretto’s of feminine creativity in Hong Kong many extreme situations? Close analysis [email protected] CIESIELSKI choreographer Helen Lai’s HerStory of some key scenes is used to ask and Tales of Two Cities – Hong Kong broader questions concerning the role From Tacit to Explicit “Tragic Conflict” ∙ Shanghai ∙ Eileen Chang, which of aesthetics, of a famed director, and in Dance deal with the subject of women as trends in ballet staging. creative agents and employ diferent Sunday, 8:30 - 10:00 a.m., methods of narrative to elaborate Eva Shan Chou, Professor, Department Valletta Campus, Level 1, about women’s discourses on art and of English, Baruch College, is a long- Lecture Room 2 art making. Lai’s work exemplifies time scholar of classical and modern how narrative structure and bodily Chinese literature. Her interest in works “Tragic conflict” is one of the most language are interwoven to construct of art and the cultural contexts of their important aesthetic categories of complex dance texts. Her intertextual creation and reception brought her to the European theatre recognized choreographic method also reflects the her current project, a history of ballet in ancient Greece. It seems that heritage of “mixed blood” and “cultural in China. She also reviews regularly for despite many gestures undermining hybridity” defining the island city’s “Ballet Review” (New York). the strength of this Mediterranean identity as a place located historically tradition in the Euro-Atlantic context at the interstice between the Chinese (i.e. Post dramatic Theater, Hans-Thies and British Empires. Lehmann), Aristotle’s Poetics remains an essential matrix of contemporary theatre, although its influence Chen Ya-Ping, Associate Professor and [email protected] CHRISTMAS Chairperson of the Graduate Institute shifts into spheres other than narratives. An important example of Dance, Taipei National University of Achilles en travesti might be potentially recognized in the Arts, is the author of Enquiry into on the Napoleonic stage Subjectivity: Modernity, History, Taiwan broadly understood performative Contemporary Dance (2011). Her Sunday, 8:30 - 10:00 a.m., dance, in which the conflict of two research areas include: dance history, Valletta Campus, Level 1, equal reasons rarely occurs on the cultural studies of dance, theories Lecture Room 2 narrative level, but on the bodily and of modernity, and cross-cultural experiential one. discourses on the body. Achille à Scyros was originally performed by the Académie Impériale Performer, researcher. Member of the de Musique (or the Opéra de Paris) in Theatre CHOREA (Poland), performed December 1804 as part of Napoleon’s for Granhøj Dans (Denmark) in coronation festivities. Choreographed international productions Men&Mahler by Pierre Gardel, it told the story of and Rite of Spring-Extended. Author of [email protected] SHAN CHOU Achilles hiding on the island of Scyros interdisciplinary performances: Sense- disguised as a woman to avoid his fate in Action, Idyllusion, Dance/My Love. PhD Choreographic Representation the Trojan War. This paper will examine Candidate at the University of Lodz of Conflicts and Violence: several sources of gendered conflict in conducting research on the application The Ballet Raise the Red Lantern this ballet’s production and reception. of neurophenomenology and cognitive Sunday, 8:30 - 10:00 a.m., sciences into dance studies. Valletta Campus, Level 2, Andrea Christmas is a doctoral Lecture Room 3 candidate in the Department of History at Northwestern University. Her This ballet, like the 1991 film, is staged dissertation, entitled “Choreographing by the famed film director Zhang Yimou. Desire: Sexuality and Citizenship at [email protected] CLAIRE In a well-do-household in 1920s China, the Paris Opéra Ballet, 1789–1848,” conflict is pervasive. The master has just explores how masculinity and The Dancing Body as a Battleground taken a fourth concubine. Jealousies heterosexuality were performed both in the Gendering of Medical Authority, and intrigues ensue. By the end, the onstage and of at the Paris Opéra in Europe 1790-1820 family physician and a concubine have post-Revolutionary France. been killed by order of the master, Saturday, 9:00 - 10:30 a.m., the protagonist is crazed, and a new Valletta Campus, Level 2, Lecture Room 2 concubine has arrived. What are some

86 NOPQRSTUVWXYZ

The “modern” closed-couple dances the two forms of communication. by women dancer-choreographers that emerged in Europe in the 1790s My aim is to explore the question: if and such companies as the Cape initiated an international polemic: words are ultimately insuficient to Town based Magnet Theatre. More highlighting the problem of dance talk about dance, might we gain better specifically, she focuses on their mania in youth culture, writers in insight and language if we danced our relation to and staged articulation various languages crystalized fears of thinking, extending the potential for our of post-apartheid politics, historical a moral and political nature. Medical expressive responses to a query? representation, genre and Afrique- topographies of the phenomena monde dance. focused specifically on the female Robin Conrad is a teaching body and imagination. Moral reformers artist, concert and commercial concerned by the scientific assertion choreographer, and dance scholar that imagination and maternity were based in Los Angeles. Robin is inextricably linked, framed the dance currently ABD in Dance at Texas [email protected] CRAIG mania of the “revolutionary generation” Woman’s University. Robin’s research as a female illness, polarizing the interests focus on embodied “Arrest that Oficer”: Power and Play reception of these modern dances knowledge, intercorporeality, and in a US Carnival Street Parade along gendered lines. Similar tropes afective communication between resurfaced when 20th-century warfare dancing bodies. Sunday, 10:15 - 11:45 a.m., revived transnational dance mania (the Valletta Campus, Level 1, tango in Paris, Teheran…). Lecture Room 2

Elizabeth Claire, historian at the Informed by critical dance studies and Centre de Recherches Historiques SARAH DAVIES sociological theories of embodiment, (CNRS) and Associate Professor of we draw upon participant observation [email protected] Research, teaches at the EHESS in Paris. and interviews to explore how members of a Trinidadian inspired Co-founder of the Atelier d’Histoire South African Women’s Choreographies: Culturelle de la Danse (ahcdanse. dance troupe contend with Embodied Politics of Race and Gender heterogeneous discourses regarding hypotheses.org), she publishes on in Place gender, medical and dance history. In Black women’s bodies. In a larger context of the spatial containment 2017, she edited Clio. Women, gender, Friday, 5:00 - 6:30 p.m., history: Dancing (clio.revues.org). Valletta Campus, Level 1, of Black communities, the group Lecture Room 2 encourages black women to claim space, find pleasure and support This panel investigates staged through collective performance. resistance and activist performance Building upon previous studies in danced representation, in theater of carnival, which have noted the [email protected] CONRAD and on film by choreographer-dancers contradictions inherent in viewing sensual dance as resistance, we Speaking Dance: The Gap Between in India and in South Africa. Their suggest the importance of attending to Verbal Language and the Moving Body works focus on countering religious fundamentalism, institutionalized the production of meaning in specific Saturday, 9:00 - 10:30 a.m., repression, race and gender-based demographic and situational contexts. Valletta Campus, Ground level, discrimination and violence against Meeting Room 3 women’s and LGBTQIA communities. Maxine Craig is Professor in the Where the transgressive agency Gender, Sexuality and Women’s In this presentation, I outline potential of these practitioners narrates Studies Department at the University conflicts between verbal language, and exposes their body politics’ of California, Davis. Her book, Sorry theory, and embodied practice, performativity, their choreographies of I Don’t Dance: Why Men Refuse to namely Western contemporary protest efectuate consciousness raising Move (Oxford University Press), was dance improvisation. I discuss the as they dismantle hetero-normative awarded the 2014 Best Publication choreographic analysis of three filmed body images and social practices. Award given by the American interviews with professional dancers for Sociological Association’s section on which the responses were both spoken Sarah Davies Cordova’s current dance Body and Embodiment. and danced noting occlusions and research examines contemporary potential complementarity between ballet and performance in South Africa

87 ABCDEFGHIJKLM

“The theatre can never answer the be considered an art product; (b) how [email protected] CROFT political question […] but it helps to ask some features of Autism can create new the right questions” (Hannie Rayson). Not forms of aesthetics (c) if the psychological She had politics: look harder preaching to, or persuading audiences approach ABA (Applied Behavior by political means, but by asking “the Analysis) can be beneficial for dance. Saturday, 9:00 - 10:30 a.m., right questions” through performances Valletta Campus, Ground level, that touch people’s hearts, I will discuss Guido D’Angelo is a psychotherapist, Meeting Room 6 how dance can be an expression of a PhD in psychology and a Board activism, what approach to movement Certified Behavior Analyst. He Andy Warhol filmed Judson Dance is required and why this form of dance is presented his research in several characters Jill Johnston and Fred relevant today. I will trace the function congresses, including AIP (Associazione Herko dancing on a roof. Johnston, and meaning of theatre from ancient Italiana di Psicologia), ESCOP the foundational voice covering times, and will reference several social/ (European Society for Cognitive Judson Church and later the political choreographic works that I Psychology), the University of Naples, foundational voice of white lesbian have created in Australia and in Taiwan Stony Brook University and the National feminism, wears an Isadora-Duncan- during my career. Congress of Aspergers people. esque tunic. Herko wears only tights and, like Johnston, boots. His tights Australian dance elder, Dr. Elizabeth —along with a gender pairing that Cameron Dalman OAM founded and both signifies and resists viewing directed Australian Dance Theatre from as a male/female pairing—invites 1965–1975. She now directs Mirramu [email protected] DACULSI associations with balletic chivalry. Creative Arts Centre and Mirramu This paper uses this four-minute film, Dance Company continuing to teach, Modern Dom Juans? as well as Johnston’s writing about choreograph and perform internationally. Bboys’ art of seductive fighting Judson to consider the intersection of She was Head of Dance at the University what we would today call queerness of Western Sydney from 2004–2007. Saturday, 11:00 a.m. - 1:00 p.m., and feminism, considering how Valletta Campus, Level 1, whiteness made that intersection both Lecture Room 1 possible and invisible. According to the dancers, learning to Clare Croft is a dance historian, [email protected] D’ANGELO breakdance is a matter of learning how theorist, and sometimes dramaturg to fight. To compete with an opponent, and curator. She is the editor and Creating an Inclusive Dance Performance a Bboy uses complex combinations curator of Queer Dance: Meanings Can Be Considered an Artistic Product? of dance techniques and “fighting” and Makings (Oxford 2017), and of The Role of Conflict Between Working strategies. My ethnographic project Dancers as Diplomats: American Within Dance and Autism in Generating is based on breakdancers (Bboys) Choreography in Cultural Exchange New Dance Languages in Mayotte and their use of specific (Oxford 2015). choreographic patterns for defiance Saturday, 3:00 - 5:00 p.m., as for instance the efect of attended Valletta Campus Theatre seduction. To examine this seemingly contradictory endeavor, I will rely on When working with intellectually the literary character of Dom Juan, disabled people the usual goal is the iconic seducer from Molière’s play, D increasing participants’ abilities. who considers seduction as a fight with Therefore, the process overtakes the stratagems. This paper will explore the ELIZABETH final product. This presentation will ambiguity that lies at the core of Bboys’ [email protected] DALMAN evaluate the possible line between the danced encounters, where the line individual’s artistic and therapeutic is always thin between uncontrolled Dance as Activism: Asking Questions growth, through Dance For All, a project “acting out” and controlled “play-fight”. consisting on a series of workshops Saturday 9:00 - 10:30 a.m., towards a performance, addressed Graduating with a Master of Valletta Campus, Ground level, to dancers of JDC Bari and autistic Ethnomusicology and Dance Meeting room 1 participants of Associazione Dalla Luna. Anthropology at Paris X University. We question if (a) the performance can My ethnographic project is focused

88 NOPQRSTUVWXYZ

on the manifestation of hostility indicates that the dancing master in breakdance through analysis of [email protected] DAVIS Jerome Herne choreographed the movement. The breakdancers (Bboys) witches of both Macbeth and The live in Mayotte, a small island in the Valeska Gert: German/Jewish Masque of Queens. The witches of Indian Ocean. Tensions in Her “Disappointing” the antimasque were dangerously 1936 American Reception powerful figures of treason, invading the court to disrupt the status quo in Saturday, 3:00 - 5:00 p.m., a novel performance by professional Valletta Campus, Ground level, dancers. Using the published text Meeting Room 3 [email protected] DAVID and extant musical score for the two dances, this paper will explore In 1936, American audiences saw Andrée Grau and the Power the subversive and confrontational the debut of German-exile Valeska of Dance (Roundtable) choreography. Gert’s Grotesketanz solos on their Saturday, 11:00 a.m. - 1:00 p.m., own soil. While Gert was not a Dr. Anne Daye, Director of Education Valletta Campus, Ground level, stranger to unfavorable reviews in her and Research for the Historical Dance Meeting Room 6 native Germany, a particular type of Society, has extensive knowledge of “disappointment” and “failure to live Renaissance dance, particularly court This paper forms part of a roundtable up to expectations” was expressed and theatre dance of England and tribute discussion on the work carried in the American press of the time. France. Anne has published widely on out by the late Professor Andrée This paper reveals the expectations the English masque, Shakespeare’s use Grau on dance, political activism, and American audiences had of Valeska of dance and dance at the Elizabethan social justice over several decades. Gert as both a Jew and a German, and and Stuart courts. I will present, in particular, Grau’s how these seemingly contradictory ideas in her more recent writing on positions interacted within the body of political engagement through artistic one person. expression of a renowned Indian dance family. As Grau writes, “Like other Jackie Davis is a PhD student at [email protected] DE LA CRUZ socially committed artists around the UCLA. Her research interests lie in the world, Mallika [Sarabhai] uses her underground/avant-garde interwar Dead Serious: Dancing the Present artistic practice as part of her political German dance scene and its (forced) as A Conﬂict Zone awareness, creating powerful works migration, translation and propagation that encourage people’s awareness in America. She is intrigued by the Friday, 11:30 a.m. - 1:00 p.m., and understanding of contemporary social instability of the Weimar time Valletta Campus, Ground level, issues…” (2013: 3). period and its parallels to today. Meeting Room 1

Ann R. David, Head of Department, Here I explore my dance with drones, Reader in Dance Studies, University part of a larger performance project co- of Roehampton, specializes in dance developed with Iraqi artist Wafaa Bilal, anthropology, focusing on Indian [email protected] DAYE and the Nadar Ensemble. Through it I classical and popular dance, and theorize the present as a conﬂict zone, ritual practice. Ann contributed to Treason and Plot: the dancing witches a position of temporal ambivalence an edited book on Bollywood star of Macbeth and The Masque of Queens between the past and the future Shahrukh Khan (2015) and is currently occupied by the (often political) work writing a monograph of Indian dancer Saturday, 3:00 - 5:00 p.m., of artists coming out of the MENA, and Ram Gopal. Valletta Campus, Ground level, its diaspora. How can power dynamics Meeting Room 1 be subverted through the interaction of two damned objects: the surveillance Although Macbeth was first drone and the belly dancers body? I performed in 1606, Dancing by point towards temporal and geographic Witches was a later interpolation relocations as strategic modes of by Middleton, following the success alternative audiencing towards of the witches’ dances of The enhanced apprehension, appreciation, Masque of Queens of 1609. Research and understanding.

89 ABCD EFGHIJKLM

Meiver De la Cruz’s research investigates This paper explores the circulation Arab American movement practices [email protected] DE ROSA of contemporary West African urban (social, staged, and ritual dance) as well dance in Europe, focusing on Ghanaian as formal Arab dance pedagogy in the Vulnerability and Public Mourning Azonto dance and its relationships to US, to locate dance as a primary site for in Movement: “Biz” the politics and efects of “blackness” the creation, and neoliberal circulation and “Africanness” in postcolonial of Arab-American identity. As an artist, Saturday, 11:00 a.m. - 1:00 p.m., Netherlands. Engaging with the ability she creates work that address the Valletta Campus, Level 2, of dance to move – in both senses of intersections of globalization, racism, Lecture Room 3 spatial circulation and afective touch and sexual violence. – I ask how Azonto (and Afrodance This paper discusses the hybrid more broadly) speaks to the variety movement vocabulary of Biz (‘We’ in and mutability of experiences Turkish), a contemporary piece for of being black and/or African in three male dancers conceived by the Europe. Afrodance, I argue, emerges choreographer Bedirhan Dehmen [email protected] DE LAET as a vehicle for Afroeuropean self- in resonance with Cem Yıldız’s live fashioning and empowerment at the electro-bağlama extemporizations. Conflicting Histories: De-canonizing intersection of diferent postcolonial First performed in Istanbul in 2014, Biz the Past of Transatlantic Post-War tensions: between “African” and challenged life restrictions in a time Choreography, 1958–1991 “European” and between “African” and of frantic speculative investment, also “Black Caribbean.” Friday, 11:30 a.m. - 1:00 p.m., defying the state-enforced impediments Valletta Campus, Ground level, on Alevi public bereavement. Biz’s Marleen de Witte (PhD, 2008) is Meeting Room 2 invitation to publicly articulate assistant professor of Cultural the task of mourning exemplifies a Anthropology at the University of The recent history of Western post-war peculiar attempt of dance to address Amsterdam. Her research interests dance is often construed as a one-way and fabricate a novel trans-national include African Pentecostalism, African narrative in which, from the 1980s community based on inter-dependency Traditional Religion, religion and onward, the center of artistic innovation and ethical responsibility. media, globalization, the senses and the gradually moved from the USA to body, cultural heritage, popular culture, Europe. This view, however, omits the Sinibaldo De Rosa is a PhD candidate urban Africa (Ghana) and Afro-Europe manifold transatlantic exchanges that working between the University (the Netherlands). occurred between choreographers, of Exeter (Drama) and Cardif dancers, and institutions on both sides University (Music). He studied Cultural of the Atlantic. In this presentation, I Anthropology at Bologna University, intend to de-canonize the stereotypical Turkish Studies at Leiden University historicization of Western post- and the Kinetography Laban at [email protected] DEFRANTZ war dance by unraveling how it the CNSMDP. In 2017, he obtained reproduces the myth of the so-called a Research Grant from the Orient Black Beauty in Secret: Speaking “American Century.” A few examples Institute Istanbul. to Black Feminism from within of transatlantic encounters will further Contemporary Postmoderinism demonstrate how generalizing histories conflict with the genealogical dynamics Saturday, 9:00 - 10:30 a.m., at work in practice. Valletta Campus, Ground level, [email protected] DE WITTE Meeting Room 6 Dr. Timmy De Laet is working as a Visiting Postdoctoral Scholar at “Now Watch Me Do Azonto”: Urban This paper argues for an exploration of Temple University’s Dance Department Afrodance and the Shifting Articulations black feminist thought in Bebe Miller’s (Philadelphia, USA). His current of “Blackness” and “Africanness” work, made evident in the deliberate research, sponsored by Fulbright, in Postcolonial Amsterdam race-less-ness of her postmodern B.A.E.F, and the Research Foundation projects. As Miller continues to Flanders, deals with the exchange and Friday, 5:00 - 6:00 p.m., claim an essential humanism in her circulation of choreographic knowledge Valletta Campus, Ground level, work and her aesthetic ambition, and dance across the Atlantic Ocean Meeting Room 3 one concerned with “the human during the post-war period. condition,” [queer] Black feminists

90 NOPQRSTUVWXYZ

might be encouraged to read an Carmen Dexl is a postdoctoral (forthcoming, Palgrave) examines urgent disturbance of hegemonies of researcher at FAU Erlangen- the work of Jonathan Burrows. She is “universal contemporary postmodern Nuernberg in the fields of American Senior Lecturer in Dance at Kingston afect” in these works and their Studies and Dance Studies. She University London. distribution. Black Beauty might be completed her dissertation on “The crafted in these works, emerging to Anti-Lynching Narrative” only last conﬁrm an aesthetic concern with year. She has conducted research normalizing Black feminist possibilities at Yale University, New Haven, of an everyday eroticism, created by and presented at international [email protected] DROGARI a choreographer’s crafting worlds conferences in Germany and abroad. where Black women are central to Moving through Conﬂict: Identity and considerations of value and meaning. Contemporary Dance in a Divided Cyprus

Thomas F. DeFrantz received the 2017 Saturday, 3:00 - 5:00 p.m., Outstanding Research in Dance award Valletta Campus, Level 2, DANIELA Lecture Room 2 from the Dance Studies Association. He [email protected] DOMM created the concept contributed a voice- This paper problematizes over for a permanent installation on Conflict’s Choreographics: sociocultural identity representation Black Social Dance at the Smithsonian Suspension, Contamination, Debility and embodiment in Cyprus through African American Museum. Cypriot Contemporary dance. I Friday, 11:30 a.m. - 1:00 p.m., analyze recent Cypriot contemporary Valletta Campus, Level 1, dances, including my own work Lecture Room 2 created as part of my doctoral thesis. Cyprus has a history of conquest; This panel troubles [email protected] DEXL the violent Turkish invasion and conceptualizations of conflict subsequent occupation of the island in relation to modalities of the Choreographing Protest: in 1974 left the nation divided and choreographic. In a roundtable The Politics of Primitivism in the Work the political conflict unresolved. conversation travelling through of Martha Graham, Katherine Dunham, Homes, property, communities, and reflections on dance practices and and Josephine Baker identities were lost. Identity is a main choreographies understood more theme for Cypriot contemporary Saturday, 9:00 - 10:30 a.m., expansively, we conceptualize choreographers; I explore how works Valletta Campus, Ground level, conflict variously as a motion of that engage with identity issues Meeting Room 2 reciprocity, fleeing, inaction, sustained reflect a humanistic or unifying decline. Reflecting on the bodily, – rather than nationalistic and My paper explores the use of biological and material dimensions of separatist – sociopolitical stance, primitivism and its efects in the work theorizations of conflict articulated by leading to alternative identity of Martha Graham, Katherine Dunham, Catherine Malabou, Jasbir Puar, and embodiments. and Josephine Baker – three diferent Roberto Esposito, among others, we modern dancers. I will argue that what move between ideas of suspension, Eleni Drogari holds a BA in Dance Graham, Dunham, and Baker share debilitation, contamination and from Oberlin College, Ohio and an is that they draw upon the popular immunity to re-imagine the centrality MA in Dance and Dance Education notions of primitivism – albeit to of the body to discourses on war, from Teachers College, Columbia diferent efects: Graham appropriated working towards an understanding of University, NY. Eleni will complete her concepts of “the primitive” to coin conflict as a relationship of sufusion PhD in Dance Studies at the University a distinctive movement vocabulary rather than assertion. and create choreographies that have of Roehampton (UK) in March 2018; the topic is Cypriot Identity and frequently been associated with a Daniela Perazzo Domm interrogates Contemporary Dance. feminist politics. By contrast, the work the intersections of the aesthetic of both Dunham and Baker can be and the political in contemporary situated within an activist context and, choreography. She writes on additionally, reflects the two women’s the po(i)etic, ethical and critical political agenda. potentialities of experimental dance practices. Her monograph project

91 ABCDEFGHIJKLM

(UK, 2010). Examining tensions at play in This paper asks how a choreographic [email protected] DRURY the commercial’s merging of disciplinary sense of chemical kinship crips the conventions, I highlight how the ad transnational export of neoliberal legal Ennobling the Body at War: 16th hails consumers. Furthering that idea, I and social discourses of disability in and 17th century Anti-Dance Treatises interrogate how the commodity-sign’s contemporary Vietnam. on the Lineage of Pyrrhic Dance strategic conflation and construction of ethnicities and nationalities reveals Natalia Duong is a PhD candidate Sunday, 8:30 - 10:00 a.m., neoliberalism’s unmooring of social in Performance Studies at the Valletta Campus, Ground level, relations to construct brand identity. University of California, Berkeley. Meeting Room 2 Finally, I tackle how the intersections Her research interweaves disability of gender, partnering, and conflict studies, environmental humanities, and In 1609, the Bordeaux judge Pierre de within tango promote VW’s Polo as transnational Asian American studies Lancre burned 70 people at the stake both tough and beautiful. Ultimately, to investigate the aesthetic, legal, and and then wrote a justification for his these interdisciplinary analyses blend performative efects of the herbicide actions in his book On the Inconstancy theories and methodologies to reveal Agent Orange across human and non- of Witches. Therein, Lancre provided how dance-in-advertising engages with human bodies. a brief history of dance wherein he neoliberal discourses. argued that, “the truth is that the passion and excitement of war first Colleen Dunagan, Ph.D. is Professor of created dancing.” His argument Dance at California State University, aligned with Reformist thinkers he Long Beach. Her research on dance in probably nonetheless considered advertising appears in Dance Research E heretical. This paper investigates the Journal, The Oxford Handbook of Dance conception of dance’s origin in ancient and Theater, Movies Moves and Music, [email protected] ELLIS Pyrrhic war dance, and articulates and in her forthcoming book, Consuming how religious writers of the period Dance: Choreography & Advertising Colin, Simon and I: Racial Antagonism conceived of dance and war through (Oxford University Press, 2018). the Pyrrhic lineage of antiquity. Saturday, 3:00 - 5:00 p.m., Valletta Campus, Ground level, As an Erasmus Mundus Fellow, Drury Meeting room 4 investigates how the act of dancing was summoned to larger investigations of We are Colin Poole (UK) and Simon Ellis [email protected] DUONG embodiment in 15th and 16th century (NZ) – two dance artists who collaborate alchemical, medical, and religious as Colin, Simon & I. Through our work Agent Orange Ecologies: Choreographing writings. Drury’s work considers writing we explore how friendship, power Kinship in The Dance Film Rhizophora as not only representative of—but also and privilege are tested, exposed and laden with—the problems of body, Sunday, 8:30 - 10:00 a.m., exploited. For DSA2018 we propose sensory experience, and practice. Valletta Campus, Level 2, to address and discuss the ways in Lecture Room 3 which conflict has challenged – and made possible – our collaboration. This paper analyzes a dance film Our presentation will be built on un/ titled Rhizophora about a community shared belief systems that invite dificult [email protected] DUNAGAN of disabled people living at the conversations about “conflicting “Friendship Village” outside of perceptions, interpretations, and values”. “Last Tango in Compton”: Hanoi, Vietnam. I consider how a We will reflect on and renegotiate key Tensions at Play in Advertising’s Embrace choreographic approach to this film moments in our choreographic practice articulates a relational experience where racial antagonism is recognized Sunday, 8:30 - 10:00 a.m., of disability to highlight an ethics of as productively divisive for our aesthetic Valletta Campus, Ground level, care and kinship. I turn to dance to aims and working relationship. Meeting Room 4 provide a framework for theorizing an alternate economy of action and Colin Poole (UK) and Simon Ellis (NZ/ My presentation juxtaposes three reaction, response-ability, and uses of UK) are two independent contemporary concise analyses of Volkswagen’s force in representations of geopolitical dance artists whom together form the commercial, “Last Tango in Compton” reparation following chemical warfare. performance duo Colin, Simon and I.

92 NOPQRSTUVWXYZ

They collaborate artistically in the duet political implications of implementing form, and choreograph and perform [email protected] ERDUR CI in Turkey – where body, touch & dance that explores male friendship, sexuality are taboo; gender equality power and responsibility. “Teaching” Contact Improvisation on & power relations in daily life are the Transitive Line Between Life and Art: problematic, and personal boundaries Confrontations with the Self, the Other are frequently violated. and the State Defne Erdur is trained in Contemporary [email protected] BELKIN EPSTEIN Friday, 5:00 - 6:30 p.m., Dance (PhD), Sociology (MA), Valletta Campus, Ground level, Intermodel Expressive Art Therapy, Meeting Room 4 Modern and Post-Modern American Body Therapies (Deep Tissue Release, Female Choreographic Criticism Trigger Point & Movement, Integrative This presentation is a self-reﬂective (Session Chair) Craniosacral), Meditation (WPI) & analysis of the PhD research of Trauma Healing (Somatic Experiencing Saturday, 9:00 - 10:30 a.m., Erdur; studying the technique, & Integral Somatic Psychology Valletta Campus, Ground level, methodology & pedagogy of CI with & Practitioner). She is the co-founder and Meeting room 2 for amateur dancers. Considering the editor of IDOCDE.net & co-editor of current disheartening socio-political MINDTHEDANCE.com. Cheryl Belkin Epstein was trained in transformation in Turkey – from a ballet and danced professionally in democracy to an authoritarian regime Canada. Following her dance career, based on heavy doses of religion & she studied law and worked for several ethnic nationalism – the objective years as an attorney before returning to here is to revisit the position of the school and obtaining an MA in dance. researcher-as “teacher”, “therapist”, Today, she is the Developer of Creative & “activist”. The core intention is to Resources and Ballet Historian at provide an insight into the psycho- Canada’s National Ballet School. physical, psycho-social & socio-

MUSIC IN MOTION REHEARSAL 2017 University of Malta Department of Dance Studies in collaboration with Modern Music Days and Valletta 2018. Photo: Rafael Mielczarek

93 ABCDEFGHIJKLM

In the 18th century, the “Quarrel of the contemporary theatre dance in Malta [email protected] ERTEM Pantomimes,” which broke out from from 2008, engaging with such issues as the controversy between Angiolini and Maltese attitudes to culture and the arts, The Body and Contentious Performances: Noverre between (1774–1776), represents recent developments in dance education A Study on the Recent Political Landscape for the historian a privileged point of and training, and the interplay between of Turkey in Three Moments view to observe the place of dance in the national and international forces. cultural rivalry between Italy and France. Friday, 2:30 - 4:30 p.m., The recent Paris symposium (“Dance and Kathrina Farrugia-Kriel is Head of Valletta Campus, Level 1, Nations, Identities, Otherness, Frontiers,” Research at the Royal Academy of Dance Lecture Room 2 2017) showed how dance plays a vital in London. Kathrina is editor of Focus on role in cultural dialogue between nations. Education, and her book projects include This paper examines three moments From recently published texts of the a monograph on Princess Nathalie from the recent social upheavals in Quarrel and relying on recent research Poutiatine (1904–1984) (FPM) and the Turkey as compelling examples to rethink on Gennaro Magri (CND 2015–2017), my Oxford Handbook of Contemporary the relation between the aesthetic, intervention aims to shed new light on Ballet (with Jill Nunes Jensen). afective, and corporeal dimensions of the the role of dance in the cultural rivalry “political.” It focuses on the “standing man” between Italy and France as well as non-violent protest of the Gezi Uprising of between diferent social classes. June 2013; the “Justice March” of June-July 2017; and the hunger strike launched in A. Fabbricatore’s research focuses on [email protected] FENECH March 2017 by two public employees who dance, literature, and cultural studies were arbitrarily and unlawfully dismissed in the 18th century. She co-directs the Session Chair: Dance in Malta 2: Dance by decree-law from their positions. It “Discourse on dance” project in the OBVIL Heritage, Training, and (Inter)Nationalism addresses the historical continuities and (Observatory for Literary life) Sorbonne the context-specific changes of these Université, and she teaches History of Saturday, 7 July, 11:00 a.m. - 1:00 p.m. Palazzo Pereira (Level 2) protest repertoires under investigation Dance in the Performing Arts Department and discusses them through the lens of at the Bordeaux Montaigne University. “contentious performances”. Giuliana Fenech is a researcher in literature, storytelling and digital literacy Independent Scholar (Ph.D. in Sociology and lectures in the Department of at the New School for Social Research, English at the University of Malta. She is 2016) and Founding Co-Director of iDANS KATHRINA interested in exploring matters and sites International Dance and Theatre Festival, of human connection as well as notions Istanbul. Akademie Schloss Solitude [email protected] of risk, play and make-believe. She has Fellow in the Humanities (Stuttgart, 2018). been involved in the setting up and Co–editor: Bodies of Evidence: Ethics, Contretemps: Ballet histories of Princess curation of a number of projects related Aesthetics, and Politics of Movement Nathalie Poutiatine (1904-1984) during to literature and the multisensory and (Passagen, 2018) [www.gururertem.info]. the self-government abolition years in has collaborated with various artists on Malta (1933-1947) practice-based work. In Malta, she was involved in ZfinMalta’s early years work Friday, 2:30 - 4:30 p.m., as dramaturg and now enjoys working Palazzo Pereira Boardroom alongside dancers to develop stronger stories expressed through dance. This panel explores dance in Malta. F Paper 1 interrogates the identity of ballet as a colonial art form and wartime ARIANNA fundraiser, during the period of self- [email protected] government abolishment (1933–1947). [email protected] FENGER Paper 2 discusses the cultural constructs French Vs Italian: Stylistic Diferences, of disability and the influence of these When German Dance Migrated. Cultural Rivalry, And Social Boundaries attitudes towards dancers with learning A Legacy in Archives disabilities, with specific reference Sunday, 10:15 - 11:45 a.m., to Opening Doors, a Maltese arts Saturday, 11:00 a.m. - 1:00 p.m., Valletta Campus, Level 1, organization for young adults with Valletta Campus, Ground level, Lecture Room 3 learning disabilities. Paper 3 examines Meeting Room 1

94 NOPQRSTUVWXYZ

Letters by Mary Wigman to her Silesian and those costumes that survived and Zoa Alonso Fernández is Profesora born disciple Karin Waehner bear a were remade for the choreographies Ayudante Doctora at the Universidad connection from postwar refugees “Cain and Abel” and “The Masks Autónoma of Madrid. Her current and international migrant cultures of Lucifer”(1936, 1944) as well as research project scrutinizes the role disseminating German expressionist her jewellery and evening coat. By of dance and movement in ancient Dance, to the letters’ role as a medium investigating the everyday fabrication Rome, paying especial attention to the of access to GDR modern dance of dance, I will consider how this implications of the dancing body in the culture for French citizen Waehner. materiality ofers a “limited freedom” to Roman constructions of gender, sex, Her biographic motives of escape, resist repression. and ethnicity. migration, and the German division are reflected in her choreographies as Rachel Fensham is Professor of well as in the documents of her French Dance and Theatre, and Assistant and German successions. Regarding Dean of the Digital Studio, Faculty current tendencies of artistic migration of Arts, University of Melbourne. Her LOUISElufi[email protected] FIELDER caused by present refugee movements, current research includes preparing a Waehner’s work as a migrant artist is monograph on theories of “Movement”; Intercultural Choreographic Dialogue: recently a subject of both historical funded research looking at Creative Reconceptualization of Cultural Relations research and re-creation choreography Convergence between social media Through “Māori-Centered” Research projects. and live theatre; as well as establishing a Theatre and Dance Platform for Sunday, 10:15 - 11:45 a.m., Josephine Fenger trained and worked innovative use of digital collections. Valletta Campus, Theatre Studio as a ballet dancer. She studied theatre, journalism, research management, Current tensions, and ongoing socio- edition philology, and achieved her political inequalities experienced by PhD in cultural studies with a thesis on Maori and other minority cultures in methodology of dance analysis. Since ZOA ALONSO New Zealand/Aotearoa stem from 1993, she publishes and lectures regularly the postcolonial relationship between FERNÁ[email protected] within the field of dance research. Maori and Pākehā. ‘Intercultural Choreographic Dialogue’ (ICD) explores Josephine works in academic publishing. Kinesthetic Fear / Kinesthetic Anger: the potential of dance-based research “Barbaric” Dances and the Roman to provide a space of transformative Battlefield action in this geo-political context. The Saturday, 11:00 a.m. - 1:00 p.m., movement workshop will introduce aspects of ‘ICD’ and how it applies to [email protected] FENSHAM Valletta Campus, Ground level, Meeting room 3 educational and community contexts In the Trunk: “Dead Letters,” of conflict resolution by facilitating And the Red Felt of Terror. In his descriptions of the Punic Wars, intercultural competency and healing the Roman historian Livy depicts for participants. Saturday, 11:00 a.m. - 1:00 p.m., the warlike dances of the enemies Valletta Campus, Level 2, and the efects that these dances Louise is a postgraduate student Lecture Room 2 produce on Roman viewers before in practice-based research with a and during battle. According to Livy, concentration in dance at the University For Arendt, the “permanence” of these “barbarians” execute violent of Surrey. She is interested in ethically the work of art lies in “materializing choreographies in order to secure responsive, movement-based contexts. reification”; producing the tangible victories, boost the soldiers’ spirits, More specifically, her work explores thing of thought, and in which a and fill the enemy with fear and the potentiality of Kaupapa Maori limited kind of freedom might exist anxiety. Thus, by means of a rhetorical principles, movement, choreography (1958: 170). In this paper, I want to opposition between the Romans and and somatic experiencing. explore the materializing of thought their opponents, and in a process through examining what remains that goes from real to imagined and “in the trunk” that artists carry with read kinesthesia, these performances them when named refugee aliens. I acquire a particular significance within will focus on mid-century Viennese Livy’s narrative technique and his choreographer Gertrud Bodenwieser presentation of “the other”.

95 ABCDEF GHIJKLM

In How to Do Things with Dance (2010), creation of media spaces, that channel MARÍA REGINA Rebekah Kowal shows how Donald the visibility of certain protest topics. McKayle’s work echoed Civil Rights Here, the term choreography serves FIRMINO-CASTILLOmaria.fi[email protected] protest with masterworks like Rainbow as an expanded model in order to Agonistic Acts: Anti-Racist Round My Shoulder. Although McKayle understand motions and shifts between and Decolonial Interventions has said he is a militant person, his horizontal and vertical power relations for Dance Studies dances are “in line with the conventions within social movements. of universalism in modern dance” Sunday, 1:15 - 3:00 p.m., (216). McKayle still makes dances PhD, Reader in Dance, Coventry Valletta Campus, Level 1, for his ensemble at the University of University/Centre for Dance Research. Aula Magna California, Irvine, recently inspired Research areas: Aesthetic theory, by the plight of migrant workers and concepts of the body, mediality, Terms such as dance and theater are Syrian refugees. In an era when football historicity and politicality of dance/ persistently used to refer to embodied player Colin Kaepernick’s kneeling performance art. Publications a.o.: practices stemming from aesthetic during the U.S. national anthem is Media Practices, Social Movements, genealogies other than Western called treasonous, and few people see and Performativity. Transdisciplinary modernity’s. What ways might this concert dance, can modern dance still Approaches (ed. with M. Lünenborg/Ch. imposition of terms perpetuate the “do things” when it comes to changing Raetzsch), London/NY, 2018. erasure of a pluriverse of praxes and hearts and minds? possibilities? What if other performance ontologies took center stage? Jennifer Fisher wrote Nutcracker Nation Stepping that way, I rif on embodied (Yale, 2003), winner of the 2004 de la Mesoamerican performance theories. Torre Bueno special citation, and co- [email protected] FORBES Taking seriously others’ ontologies, edited with Anthony Shay When Men we might shift our relation to empire Dance: Choreographing Masculinities Choreographed Reconciliation: and colonialism, generating pluriversal Across Borders (Oxford, 2009). A An Inquiry into Nationalist and theoretical approaches for performance Professor at the University of California, Conciliatory Rhetoric in Australian and for world making. We might even up- Irvine, her upcoming book is called An Dance Discourse end seemingly solid colonial relations of Autobiography of Ballet (McFarland). power that are imposed, naturalized, and Sunday, 10:15 - 11:45 a.m., reproduced through bodies in motion. Valletta Campus, Ground level, Meeting Room 4 Born in Guatemala, Firmino’s research This paper problematizes dance explores performance as survivance in [email protected] FOELLMER the face of ontological and genocidal historical texts’ narrativisation of Indigenous Australian contemporary violence in Guatemala. An Assistant Choreo-medial Protest: Between concert dance’s “emergence” in Professor at the University of California- Emancipation and Governance Riverside, Firmino deepens ontological the mid-twentieth century. I pursue critique by centering Indigenous Saturday, 2:30 - 4:30 p.m., this historiographical project from theories while developing non-modern Valletta Campus, Level 1, the standpoint of postcolonial approaches to research and performance. Lecture Room 2 and critical race theory. I argue dominant narratives reflect the Taking examples from recent Australian national movement and movements such as the social upheaval political project known formally as in Tel Aviv or the online presence reconciliation. This is demonstrated of protests against capitalistic through discourse analysis of examples JENNIFERjjfi[email protected] FISHER governance, I propose the model of of dance literature that conceal a Donald McKayle: Still Making choreo-mediality in order to grasp history of colonization and repression Statements as A Mild-Mannered the discrepancies between antagonist in dance and national arenas. I Modern Dance Militant political modes of protest – based argue that such historical narratives on disturbances of public space by perpetuate politicized and racialized Friday, 2:30 - 4:30 p.m., corporeally reformulating public places ideologies and dance appreciation. Valletta Campus, Ground Level, – and the, sometimes hidden, governing Meeting Room 5 principles of online protest and its

96 NOPQRSTUVWXYZ

Luke Forbes is a Ph.D. Candidate 1960s to the present. Victoria holds My paper ofers an insight into the at Monash University’s Centre for a PhD in Performance Studies from impact of somatic practices on Theatre and Performance and his Northwestern University. European choreography during the research interests include Australian Cold War era. What kind of commentary and Indigenous Australian concert does somatics ofer into the body dance practices and historiography. politics fostered in the West between His research is supported by an the 1950s and 1970s? How do somatics Australian Government Research [email protected] FOULTIER practitioners and choreographers Training Program (RTP) Scholarship applying somatic investigation to their and National Library of Australia 2018 Embodying Opposition: work interrogate the political climate Norman McCann Scholarship. The Work of Ohad Naharin that heavily afected conditions of productions as well as the public Saturday, 11:00 a.m. - 1:00 p.m., opinion? Through my inquiry, informed Valletta Campus, Level 2, both by my scholarly research, and my Lecture Room 2 experience as a Somatic Movement [email protected] FORTUNA educator, I hypothesize that somatic Does the art of dance have the potential educational pedagogies have afected to make us understand human existence Dancing Exclusion: Performance choreographic mechanisms directly or in its complexity, and create bonds and the Politics of Exile in Fernando indirectly, increasing both individual between groups that would otherwise Solanas’s Tangos: El Exilio de Gardel and collective awareness. be opposed? One famous philosophical Friday, 5:00 - 6:30 p.m., analysis of the mechanism of exclusion Elisa Frasson (Italy) is a dance scholar, Valletta Campus, Ground level, was made by Beauvoir, who saw it as dance curator, Somatic Movement Meeting Room 2 tied to our ambiguity. Art, however, has Educator (BMC®), and Pilates instructor. the power to represent human existence She owns an MA in Performing Arts This presentation analyzes Argentine in that ambiguity we try to escape from. (Ca’ Foscari University, Venice), and filmmaker Fernando Solanas’s 1985 In this paper, I will explore this idea is a Ph.D. candidate at Roehampton Tangos: El exilio de Gardel. It argues through Ohad Naharin’s work, to explore University, London. She also teaches that the film represents dance—both whether dance can help us deal with the Dance History at IUAV University in tango and contemporary genres— multitude of significations we all host, as Venice, Italy. as modalities for assimilating the a means for struggling against conflict. experiences of political violence and exile. The film follows a group of PhD, theoretical philosophy, Stockholm Argentine exiles living in Paris during University. Publications in journals such the last military dictatorship (1976– as Hypatia, JBSP, Chiasmi International, [email protected] FRIEDMAN 1983) as they stage a performance anthologies and Swedish journals. Co- combining theater, music, and dance. editor, with Cecilia Roos, of Material Josephine Baker’s Decolonial Through close analysis of dance’s of Movement and Thought (2013), Corporeal Borderland relationship to the film’s broader presenting the results of a research narrative and cinematic devices, project on the dancer’s creative Sunday, 10:15 - 11:45 a.m., this presentation demonstrates process. Also works as a translator Valletta Campus, Ground level, choreography’s centrality to the of philosophy and fiction. Meeting Room 4 film’s expression of violence, the political failures of military This presentation analyzes Josephine dictatorship, and the ruptures Baker’s dance performance in the created by exile. 1935 French film Princess Tam Tam to [email protected] FRASSON argue that her act of mimesis in this Victoria Fortuna is Assistant Professor scene enabled her body to function of Dance at Reed College. Her book Body Contended: Practicing Somatics as a corporeal borderland between manuscript examines the relationship in Cold War Europe colony and colonial metropolis. between Buenos Aires based Further, it considers how this corporeal contemporary dance practices and Sunday, 8:30 - 10:00 a.m., borderland provided a space for her histories of political and economic Valletta Campus, Ground level, spectators to critically assess the violence in Argentina from the Meeting Room 5 conflict of colonization. While imitating

97 ABCDEFGHIJKLM

an abject stereotype is a dangerous Lynn Garafola is Professor Emerita of about modernism in dance. Diferent feat, this presentation articulates Dance at Barnard College, Columbia choreographers had diferent views how Baker’s act of doing so worked in University. A dance historian and critic, on the proper way of translating the service of decoloniality. she is the author of Diaghilev’s Ballets achievements of modern visual arts Russes and Legacies of Twentieth into the medium of dance. Brown goes Jessica Friedman is a doctoral student Century Dance, and the editor of against the answers provided by earlier in Theatre and San Diego Fellow at the several books, including The Diaries choreographers (Humphrey, Limon, University of California, San Diego. She of Marius Petipa, André Levinson …) as is evidenced, for instance, by the received a Bachelor’s degree in Ethnic on Dance (with Joan Acocella), José “casualness” of her vocabulary. Yet here Studies from Columbia University, Phi Limón: An Unfinished Memoir, and The I focus on her usage of gravity. I claim Beta Kappa. A former professional Ballets Russes and Its World. She has that, for Brown, gravity is the primary ballerina, Jessica is interested in the curated several exhibitions, including vector to criticize previous forms of intersection of decolonial dance, Dance for a City: Fifty Years of the dance modernism. activism, and scholarship. New York City Ballet, New York Story: Jerome Robbins and His World, Raf Geenens is associate professor of Diaghilev’s Theater of Marvels: The philosophy at KU Leuven (Belgium). Ballets Russes and Its Aftermath, His primary research interests are and, most recently, Arthur Mitchell: in continental political and legal Harlem’s Ballet Trailblazer. A former philosophy. Yet he also has a vivid G Getty Scholar, she is a recipient of interest in the history and the fellowships from the John Simon philosophy of dance, on which he has [email protected] GARAFOLA Guggenheim Memorial Foundation published several essays. and the Cullman Center for Scholars An Era of Good Feeling: “Soviet” Ballets and Writers as well as an SDHS in World War II New York 2017 Distinction in Dance Award. Editor for several years of the book Friday, 5:00 - 6:30 p.m., series Studies in Dance History, she has NADINE Valletta Campus, Ground level, written for Dance Magazine, Dance [email protected] Meeting Room 6 Research, The Nation, and many other publications. A member of Columbia During World War II, after years of The Revolution Will Start University’s Harriman Institute and the on the Dance Floor hostility, the United States and the Soviet organizer of conferences, symposia, Union, along with Great Britain, became and public programs on the history of Friday, 11:30 a.m. - 1:00 p.m., allies in the battle against Fascism. This ballet and twentieth-century dance Valletta Campus, Ground level, political realignment gave rise to positive generally, she is currently working Meeting Room 5 depictions of Soviet life, evident in films on a book about the choreographer such as Mission to Moscow (1943) and Bronislava Nijinska. The year 2017 brought with it a new The North Star (1943). Less well known culture of fear and activism not is the impact on ballet. This paper will known for generations as well as a examine three ballets by Russian émigré new license for hate, violence and choreographers that premiered during the oppression. This presentation will war years and made explicit reference to analyze the choreography of the 2017 [email protected] GEENENS Soviet themes, works, and styles – Michel New York Women’s March particularly Fokine’s Russian Soldier (1942) for Ballet Conflicting Visions of Modernism: the intervention made by Pat Hall’s Theatre, Igor Schwezof’s Red Poppy Re-Reading Trisha Brown Afro-Caribbean community dance class. (1943) for the Ballet Russe de Monte Carlo, The dancing from this community is and Bronislava Nijinska’s Pictures at an Saturday, 9:00 - 10:30 a.m., aimed at restorative justice, equity and Exhibition (1944) for Ballet International. It Valletta Campus, Ground level, peace and this presentation situates will also analyze the critical response and, Meeting Room 2 this new movement in dance history especially, the reviews of Edwin Denby, and will ofer theoretical and practical then writing in the New York Herald This paper discusses the aesthetic models for the new revolution. This Tribune, whose attacks on “modernism” strategies of Trisha Brown. I argue presentation will detail this embodied and politics in dance anticipate the that many of her works can be read foundation of struggle and resistance rhetoric of the Cold War. as contributions to an ongoing debate through dance.

98 NOPQRSTUVWXYZ

Professor in the Department of and research allow us to address some Theater and Dance at UCSD. Author [email protected] GIDDENS of the following questions: What are of The Royalty of Negro Vaudeville: the politics of applying nationally The Whitman Sisters…, Urban Bush Stillness as A Choreography of Protest specific approaches to dance studies Women: Twenty Years of Dance cross-culturally and internationally? Theater, Community Engagement… and Friday, 11:30 a.m. - 1:00 p.m., Are criteria used to define value of numerous articles on African American Valletta Campus, Theatre Studio scholarly output in an international performance. Editor of The Oxford and cross-disciplinary peer-evaluation Handbook of Dance and Theater. Past- Drawn to stillness as a deliberate not process productive? Is administrative president of CORD. moving, an active non-doing, a state labor constructively reflected in dance that we can prepare for or invite, and studies research?Is dance studies able to simultaneously as a moment that address generational shifts in the field’s can catch us unaware, we will lead approaches to research, pedagogy, and an explorative workshop that will administration? [email protected] GIBBONS employ that which Heidegger names as “attentive dwelling” (1978:150), in order Jens Richard Giersdorf is Professor The Choreographer-Curator: to reflect upon how creating spaces for of Dance Studies at Marymount Curation & Collaboration in American, slow-ing and still-ing, might inform and Manhattan College and the DSA Post-Judson Dance empower. We wish to explore some of Vice President for Publications and the possibilities that the employment Research. He published The Body Friday, 5:00 - 6:30 p.m., of stillness, and still-ing can open up of the People: East German Dance Valletta Campus, Ground level, and the potential it continues to hold, since 1945, Choreographies of 21st Meeting Room 1 as we dwell together, producing still Century Wars with Gay Morris, acts where-when our concerns move and the Routledge Dance Studies This paper applies literature on art towards immobility, slowness and Reader with Yutian Wong. curation to choreographic choice making, arrest, into as Lepecki (2001: 1) writes arguing for the efectiveness of a mode “action, filled with force.” of dance making grounded in finding cohesion amongst inevitable multiplicity. Dr. Sara Giddens is a choreographer Using Jo Butterworth’s five-stage and creative facilitator and teaches on [email protected] GILLETTE Didactic-Democratic choreographic the Dance Performance and Teaching continuum, this essay proposes a sixth course at UCLan. She continues to Dance for Empathy; Participatory Lecture model of creation in which collaborative develop, make and tour performance- choreography becomes a curatorial based work with Prof Simon Jones Friday, 11:00 a.m. - 1:00 p.m., facilitation process that deepens, (Bristol University) through their Valletta Campus, Theatre Studio enhances, and transforms choreographic company Bodies in Flight (1990). thought. Illuminated by several case We use practical experience, as well as studies, this paper argues that the philosophies of embodiment, in order curatorial method leverages shared ideas to exemplify and analyze physical and and power by creating a container in mental acts of understanding the other which diferences in histories, ideologies, JENS RICHARD through dance. Our work emphasizes and methodologies are necessary, dance as a contemplative practice, within [email protected] thereby strengthening artist physical & which new bodies of knowledge can be theoretical engagement. Trouble in the Field discovered, developed and embodied. We focus on the social significance within Sara Gibbons is a New York based artist. Saturday, 11:00 a.m. - 1:00 p.m., dance-knowledge and on how it can She has performed for Heidi Henderson, Valletta Campus, Ground level, be utilized for facilitating a first-hand Annie Kloppenberg, and Kendra Portier, Meeting Room 2 understanding of physical diversities and apprenticed and performed with disabilities. Our experiential case study is David Dorfman Dance, and Assistant This roundtable addresses discursive a physical practice, which was developed Choreographed on the broadway show tensions in the field of dance studies. All in Störung-Hafra’a; a German-Israeli “Indecent.” She also makes dances with participants profess in dance studies, but project on movement and movement her collaborator Doug LeCours as the at diferent international institutions. disorder with dancers, scientists, and performance duo TALL GIRLS DANCING. Our diverse academic experiences people with Parkinson’s.

99 ABCDEFG HIJKLM

Choreographer, researcher, co-artistic This paper explores same sex director of projects by Theater Freiburg STÉ[email protected] GONCALVES quebradita dancing by U.S. practitioners and Freiburg University, BrainDance in Mexico City-based competitions. I (2014) and Störung/Hafra’ah (2015–16), An Historical Peacefully Explosive argue that trans/national community bringing together dancers, scientists Confrontation: The First Bolshoi/Paris building exists within the queering of and people with Parkinson’s to research Opera Tour In 1958, Dancing Diplomacy back and forth steps enacted by same movement (disorder). Editor of EU and Politics in The First Cold War sex couples. I examine the possibilities project Migrant Bodies. Research focus: located within the homosocial dance as a vehicle for trans-disciplinary Saturday, 3:00 - 5:00 p.m., production of mexicanidad(es), or what and societal discourse. Valletta Campus, Ground level, is typically defined as the essence of Meeting Room 2 being Mexican. It is in analyzing queer as verb within the cultural production This paper will explore the dance and of quebradita dancing that new conflict topic through the politics of understandings of trans/nationalism the Cold War in Europe. Beyond the [email protected] GOLDBACH can emerge, and site of self-actualized general idea that the Cold War was a mobility is used to resist the confines of time where two blocs were facing in Losing the Center: Flamenco the U.S. nation-state. other without connections, the Cold in Madrid and the Fight for the War permitted the development of Amor de Dios Dance Academy Irvin Manuel Gonzalez is a PhD ballet tours. Simultaneously cultural candidate at UC Riverside in the Critical Friday, 2:30 - 4:30 p.m., ambassadors, tourists and cultural Dance Studies Department and currently Valletta Campus, Ground level, mediators, the dancers were at the holds degrees in English and Dance. Meeting Room 3 heart of the process of cultural His research examines the cultivation exchange. Based on diplomatic of Mexican American identity through This paper investigates the political, papers, Opera papers and press, the body, specifically focusing on the economic, and social tension the presentation explores the first trans/national politics embedded and surrounding the closing of the Amor Bolshoi-Opera de Paris tour in 1958 produced in quebradita dancing. de Dios Dance Academy in Madrid in Paris and Moscow, its negotiations in 1993, the struggle to save it, and and reception on the both sides of the subsequent relocation and change in Iron Curtain. ownership. The case of Amor de Dios demonstrates a community based efort Stéphanie Gonçalves is a post-doctoral [email protected] GORE at preservation of a dance space which researcher of the Belgian National brought together diverse teachers and Scientific Fund in the Université Andrée Grau and the politics students from around the world, and libre de Bruxelles. She obtained her of reconciliation provided afordable rehearsal spaces. PhD in History in March 2015 about This represents one of many flamenco French, British and Soviet ballet tours Saturday, 11:00 a.m. - 1:00 p.m., sites that have either disappeared as a diplomatic tool in the Cold War. Valletta Campus, Ground level, or relocated over the last twenty She is now working on the French Meeting Room 6 years in the face of gentrification and choreographer Maurice Béjart. encroaching tourism. While Andrée Grau spent her adult life in London, she was born and brought Theresa Goldbach is a PhD candidate up in Switzeland, a country committed in Dance at the University of California to neutrality, non-engagement in Riverside. Goldbach has a background [email protected] GONZALEZ armed conflict and frequently involved in Spanish dance idioms. She studied in peace-building around the world. film at the University of Texas, flamenco Queering Quebradita, Queering Could this context have imbued Andrée at Amor de Dios in Madrid, and has an Mexicanidad(es): An Analysis of with a deep sense of justice, a desire MA in Dance history from the University Trans/Nationally Queer Formations to promote reconciliation, and the of New Mexico. motivation to engage in collaborative Saturday, 9:00 - 10:30 a.m., projects, while maintaining a critical Valletta Campus, Level 1, stance in relation to contemporary Lecture Room 3 hypercapitalist politics? This contribution will explore how her gift

100 NOPQRSTUVWXYZ

for connecting people and ideas in Towards a Poetics Of (Routledge, 2018), the anthropology of dance was in the and co-editor of Theatre, Performance, [email protected] GUARATO service of a politics and an ethics. Foucault! (MUP, forthcoming). She writes on cultural and critical history A Bulwark in The History of Dance Georgiana Gore, Professor of and theory, language, disciplines and in Brazil: The Character of Political Anthropology of dance, University of institutions. Resistance in The Choreographies Clermont Auvergne, is Coordinating of Ballet Stagium (1971–1979) Convener for Choreomundus – International Master in Dance Friday, 2:30 - 4:30 p.m., Knowledge, Practice and Heritage. Valletta Campus, Level 2, Lecture Room 3 She publishes on dance transmission, [email protected] GRASSE politics, and epistemology including This research analyzes the modern Anthropologie de la danse (2006) and MESH Public Rituals of Togetherness The Anthropology of Dance (2018 in choreographic aesthetics of the Stagium press) with Andrée Grau. Sunday, 10:15 - 11:45 a.m., Ballet Company of the city of São Paulo/ Valletta Campus Theatre Brazil, as well as its interactions and tensions with the Brazilian cultural and MESH is a participatory choreography political context in the decade of 1970, that creates rituals of togetherness when the nation was governed by a in public spaces. In response to our civil-military dictatorship (1964–1985). KÉ[email protected] GOTMAN divisive global political climate, MESH The study has a historical character and seeks to confront the sources found with Conflict’s Choreographics: investigates interdependence and the existing historiographical narratives, Suspension, Contamination, Debility the choreographic-social potential of a self-organizing and collaborative in order to understand to which political Friday, 11:30 a.m. - 1:00 p.m., open group. Questioning: What perspectives the creations of the Valletta Campus, Level 1, strategies allow interdependence, Company tended and which perspectives Lecture Room 2 self-organization and emergence were, on the other hand, historically within a group? How does an embodied attributed to the Stagium Ballet. This panel troubles conceptualizations experience and perception of borders of conflict in relation to modalities of develop? What facilitates an experience PhD in History; Dance historian and the choreographic. In a roundtable of non-permeable edges and borders professor at the college of dance conversation travelling through and what facilitates a permeable of the Federal University of Goiás reflections on dance practices and one? Who do we alienate by coming (UFG). Board member of the National choreographies understood more together? How permeable could our Association of Researchers in Dance expansively, we conceptualize ways of practicing togetherness be? (ANDA–2016/2018). Member of the conflict variously as a motion of How can we re-imagine forms of public Sectorial of Dance of the National reciprocity, fleeing, inaction, sustained collective presence, marches and Council of Cultural Policies (CNPC / decline. Reflecting on the bodily, demonstrations? MINC 2012–1017). biological and material dimensions of theorizations of conflict articulated by Vanessa explores the crossover Catherine Malabou, Jasbir Puar and between choreography, walking- Roberto Esposito, among others, we art and installation through site- move between ideas of suspension, responsive, participatory and [email protected] GUELLOUZ debilitation, contamination and cross-disciplinary practice. Her immunity to re-imagine the centrality work is grounded in somatic and Arab Nationalism, Feminism and the of the body to discourses on war, improvisational movement studies. She Construction of the Belly Dancer’s Body working towards an understanding of is currently a partner artist at Yorkshire conflict as a relationship of sufusion Dance and a part-time lecturer at Friday, 11:30 a.m. - 1:00 p.m., rather than assertion. Leeds Beckett University on the MA Valletta Campus, Ground level, Meeting Room 1 Choreography and MA Performance. Kélina Gotman (KCL) is author of Choreomania: Dance and Disorder In the framework of this presentation, (Oxford Studies in Dance Theory, OUP, I would like to analyze the role of 2018), Essays on Theatre and Change: Arab nationalism speeches in the

101 ABCDEFGHIJKLM

construction of the belly dancer’s body. functioning as a surrogate central Hardt is Professor for Dance Studies The generic naming “belly dance” nervous system that can extend into and Choreography at the University of hides in reality a multitude of practices a collective knowing? How might this Music and Dance Cologne. Research shared between the Maghreb, the collective choreography deepen our areas are dance history and its Mashreq and the West. I aim to understanding of personal and cultural methodology, gender and media, deconstruct this generic expression trauma? How can this online body practice theories. Currently she leads a of “oriental dance” or “belly dance” reframe our understanding of embodied research project funded by the German by focusing on the plurality of the experience to inform our art making? government to investigate cultural dances of the Arab world. I’ll analyze education in dance. the nationalist postcolonial speeches Susan Haines teaches Dance at Western in Egypt and Tunisia to highlight the Washington University. Her research role of public cultural policies in the interests are somatics, kinesiology and construction of the belly dancer’s radical pedagogy. She has published body. We will try to understand how articles in Journal of Dance Education [email protected] HARRINGTON the body of the belly dancer is a and Research in Dance Education battlefield between a nationalist on rehearsal pedagogy. She has Unraveling Embodied Terrains: project and a feminist activism in these an MFA from UNC Greensboro and An Insight into Female Protest, two countries. holds certifications in Pilates and Resistance and Survival. NeuroKinetic Therapy. Mariem Guellouz is a linguist, Saturday, 11:00 a.m. - 1:00 p.m., semiologist, artist and Assistant Valletta Campus Theatre Professor at L’Université Paris Descartes. Her work has covered Unraveling Embodied Terrains extends from Assaf and Harrington’s the analysis of political and media [email protected] HARDT discourses following revolutionary previous works (NOFOD-NEXT) and events in Tunisia. She is also specialized Working Through Conflict and Resistance highlights the conflict a female body in issues of body policies and artistic in Dance Education: A Critical Perspective faces in society and how that body practices, including traditional and on The Institutionalization of Competence protests the right to exist. Through contemporary dance in the Maghreb. Based Learning their use of research, coupled with choreographed movement (dance) Friday, 11:30 a.m. - 1:00 p.m., and rhythmic accompaniment (their Valletta Campus, Ground level, voices and music) Assaf and Harrington Meeting Room 4 take an active stand against the violence that hauntingly remains H Theories of transformative education embodied in females internationally. have highlighted the importance of Their presentation exhibits –through conflict and irritation for educational connections, resolutions, and the ability [email protected] HAINES processes. A similar importance of to empathize with one another beyond conflict, and forms of resistance The Expansive Body: Spreading borders – an optimum reconciliation. is visible in contemporary dance into Virtual Spaces It accentuates moving together in productions and dance studies. resistance against any conflict that Friday, 5:00 - 6:30 p.m., However, if one looks at the wider strives to undermine the female body. Valletta Campus, Level 1, discussion of educational development Lecture Room 1 in higher dance education, conflict is Heather Harrington received her MFA not equally paramount. Therefore, this from the University of Wisconsin- The performer’s body has expanded paper seeks to critically re-visioning the Milwaukee and currently teaches onto virtual spaces. We are embodying current discourse on dance education modern dance at Kean University. the roles of choreographer, performer and proposes a methodology and Harrington danced with the Doris and audience member simultaneously empirical examples of studying dance Humphrey Repertory Company, as our collective online body makes education that re-direct the focus Martha Graham Ensemble, Pearl Lang work. My research explores how this from concepts of teaching to complex Dance Theatre, and Bella Lewitzky collective choreography can afect our constellations of appropriating Dance Company. She ran her own bodies as a repository of memories and dance as a practice co-produced and modern dance company in New York sites of public grief. Are virtual spaces negotiated by all participants. City for 9 years.

102 NOPQRSTUVWXYZ

legibility. Through choreographic between “American” artistic autonomy [email protected] HASIKOVA analysis and discourse analysis, I closely and European balletic legitimacy, examine the work of Mary Wigman and illuminating a broader tension within Ballet Repertoire in Czechoslovakia Hanya Holm, German expressionist Cold War eforts to distill American during the Communist Era – a Clash of artists in the Ausdruckstanz genre. I cultural identity. the “Proletariat” and the “Bourgeoisie” argue that as these artists recoded their work throughout their careers Emily Hawk is a Ph.D. student in history SATURDAY, 11:00 A.M.–1:00 P.M. to align with specific ideologies, at Columbia University researching Valletta Campus, Ground Level, political residues of other framings 20th century American dance history. Meeting Room 4 could resonate in their work through Emily completed her M.A. with shared kinesthetic properties. Thus, Distinction in Dance History at the Focusing on the selected performances the political significance of a work is University of Roehampton and a B.A., in Czechoslovakia at the beginning shaped by its intended framing as well summa cum laude, in Dance and of the 1960’s and during the as associations from earlier and future History at Franklin & Marshall College. “normalization” the paper will framings embedded in the movement. demonstrate features of the socialist realism targeting on the theme of Tamara Hauser is a Ph.D. student conflict. The conflict between the in Dance Studies at The Ohio State social classes and the hatred towards University and holds a BFA in Dance [email protected] HAWTHORN the west (especially the United States) from CSU Long Beach. Prior to pursuing was omnipresent and repeatedly her doctorate, Tamara served as From Danse Du Ventre To Raqs Sharqi: manifested in a number of oeuvres and Development Assistant for the School Middle Eastern Dance and What to Call It adaptations. The most representative of American Ballet and performed as a ones, Pigment (1962) set in the freelance dance artist. Sunday, 10:15 - 11:45 a.m., south of the United States and The Valletta Campus, Ground level, King Barley (1975) set in the east of Meeting Room 3 Czechoslovakia, will be analyzed with the focus on the choreographic Techniques, pedagogies, aesthetics, expression and devices of the conflicts. lineages – conflict can manifest itself in [email protected] HAWK communities of dance practitioners in Miriam Hasikova (1988) studies Ph.D. in many ways. Perhaps no other dance form, Conflicting Notions of Artistic Autonomy musicology and MA in English philology. however, has been the site of as much and Cultural Legitimacy in the Works Her main interest is Czech and foreign disagreement around the simple issue of José Limón theatre with the special focus on of what to call it as belly dance, which ballet and opera against the political Saturday, 3:00 - 5:00 p.m., has also been known in English as danse situation she published articles and two Valletta Campus, Ground level, du ventre, raqs sharqi, Oriental dance, monographs on this topic. Currently she Meeting Room 2 Middle Eastern dance, and Arab dance, works on the analysis of Britten’s operas. among others. This presentation will give Mexican-American choreographer a historical overview of when various José Limón identified with an artistic names for the dance were introduced lineage that defined American modern into the English language and will dance as liberation from European conclude with an examination of dancers’ [email protected] HAUSER balletic standards. However, elements attitudes to names for the dance today. of Limón’s work cling to the same Reframed: Tracing the Political classical standard from which he Ainsley Hawthorn holds a Ph.D. Residue of Ausdruckstanz sought to break. The positive reception in Near Eastern Languages and of Limón’s works during his state- Civilizations from Yale University. Saturday, 11:00 a.m. - 1:00 p.m., sponsored international tours speaks to Her research interests include Valletta Campus, Level 1, this paradox: similarity to, rather than ancient Mesopotamian literature and Lecture Room 2 divergence from, European classicism religion, Middle Eastern dance styles, won praise from international and sensory studies. Dr. Hawthorn This paper investigates how a dance audiences. Through analysis of also teaches and performs Middle work’s framing and relationship to works performed abroad, this paper Eastern and international folk dance, other work complicates its political explores a tension in Limón’s technique specializing in the dances of Egypt.

103 ABCDEFGH IJKLM

Fighting for their labor rights, four the disastrous consequences of one [email protected] HEIL renowned dancers in Buenos Aires of the bloodiest conflicts on European collectively create Argentina’s first History, and is thus a historical as well Enculturating the Roaring inside Them: National Contemporary Dance as choreographic evidence of the An (Eco-)Feminist Perspective on Company. Driven by artistic excellence contemporary witnesses of the Thirty American Modern Dance Techniques and political commitment, Ernesto, Years’ War. Bettina, Victoria and Pablo lead the Saturday, 11:00 a.m. - 1:00 p.m., Company as it grows and becomes Gerrit Berenike Heiter is a PhD Valletta Campus, Level 2, sponsored by the state. However, student and performer, specialized in Lecture Room 2 new challenges arise, threatening the commedia dell’arte, baroque theatre group’s cohesion and creating the need and historical dances. Her thesis in Susan Grifin’s /Woman and Nature/ for an artistic director. We follow their theater studies at the University of identifies Isadora Duncan’s “dance as battle for labor rights, their struggle to Vienna focuses on French ballet prints chorus” as a significant practice in her maintain autonomy and artistic integrity, from 1573 to 1651 and a comparative own narrative of woman’s liberation, and the poetry of dance. What rights study of ballet at the courts of the claiming the position of the corporeal and obligations should state-sponsored Austrian Habsburgs. and embodied O/other as an act of artists have? How can the individual resistance within the conflict of sexual and the collective be reconciled in diference. But multiple (eco)feminist heterogeneous artistic groups? approaches towards the body speak to the diferent body-conceptions in Julia Martinez Heimann is an [email protected] HELLIER-TINOCO modernist dance, most prominently to independent researcher, filmmaker and the tension between and interaction educator. She has worked in direction Unfolding of Poetic Presences Through of natural/organic movement and and production of documentaries and Performing Bodies of History: Postmemory modernist dance techniques. This cultural series for cinema and television And Rememory As Embodied Inquires paper investigates this relationship in Buenos Aires since 2009. Her last and explores how a “choratic reading” feature length documentary Working Friday, 5:00 - 6:30 p.m., (Sheldon) with/of dance techniques can Dancers (2016) focuses on contemporary Valletta Campus, Level 2, be made productive for new materialist dance, labor rights and politics. Lecture Room 3 and (eco)feminist theory. In Diana Taylor’s discussions of Johanna Heil is assistant professor embodied repertoires and performing of American Studies and managing cultural memory she asks, “How director of the Center of Gender GERRIT BERENIKE does one come to inhabit and Studies and Feminist Research at envision one’s body as coextensive Marburg University. Her current book [email protected] with one’s environment and one’s project explores the implications past…?” I discuss creative strategies of corporeal materiality for the Dancing for Peace and Against War: Two in transdisciplinary projects of construction of subjectivity and Case Studies for Peace Ballets Performed La Máquina de Teatro (Mexico) freedom in American modern dance in the Context of the Thirty Years’ War facilitated by Juliana Faesler and from a feminist new materialist Clarissa Malheiros, engaging trans- Sunday, 8:30 - 10:00 a.m., perspective. Valletta Campus, Ground level, temporal remains of bodies of history Meeting Room 2 to generate productive tensions. Using Gabriel Yépez’ concept of My paper discusses the similarities and corporeal works that “articulate diferences regarding the representation a relation between the body as a JULIA MARTINEZ of the evils of war and the benefits of holder of collective memory and as an unfolding of poetic presences” I [email protected] peace in two peace ballets: Le Ballet de la Paix, Münster 1645 and Le Ballet de introduce my concept of performing Working Dancers – Screendance la naissance de la Paix, Stockholm 1649. palimpsest bodies. Particular attention will be given to the Sunday, 8:30 - 10:00 a.m., strong positioning against war in the Ruth Hellier-Tinoco, PhD, is a Valletta Campus, Ground level, verses of the libretti. The representation Professor and scholar-creative Meeting Room 4 of war portrayed in the ballets shows artist at the University of California.

104 NOPQRSTUVWXYZ

Publications include Embodying form itself conceals a martial art. Cham Mexico: Tourism, Nationalism & [email protected] HOSHINO was an element in martial training. It Performance; Women Singers in was further deployed as part of military Global Contexts; and Postmemory Dai Ailian’s Anti-Japanese Choreographies: stratagems. These aspects are routinely Theatre & Performing Palimpsest Her Programs and Performances during overlooked. In a broader contemporary Bodies: Mexican Creative Experiments the Second World War. context, Cham exists in post-Cultural with time, remains & history. Revolution form within China, and as Sunday, 10:15 - 11:45 a.m., a tourist commodity in areas outside Valletta Campus, Level 1, China impacted by mass tourism. These Lecture Room 2 contexts conflict with the primary function of Cham as a Vajrayana yogic In general, Dai Ailian, who was born [email protected] HEWISON practice. This talk addresses these in the Republic of Trinidad and issues and focus on elements of Cham Tobago and had become the first Panel: Conflict in Dance Adaptations dance rarely discussed. headmistress of the National Ballet of of Shakespeare’s Works Paper: Lust in China, is praised for her contribution Action: dancing, desire and conflict in the Houseal is director of Core of Culture, to educating people about Chinese Sonnets a non-profit service organization folk dances. Whereas her charity ballet dedicated to the continuity of Sunday, 10:15 - 11:45 a.m., concerts during the Sino-Japanese ancient dance. He has worked in the Valletta Campus, Ground level, War seem to be undervalued under Himalaya for 17 years. CoC is a partner Meeting Room 1 the People’s Republic of China. This organization with the Dance Division of paper will analyze Dai’s anti-Japanese the NYPL where a 500-hr Bhutan Dance This paper explores the dueling demonstrations through dance in the Collection is housed and shared. contradictions and conflict found in the late 1930s and explore the extensive voice of the speaker in Shakespeare’s lineup and her choreography of anti- Sonnets, and the impactful Japanese programs at her charity choreographic and narrative treatment concerts in Chongqing, which had been of that in Volcano Theatre Company’s influenced by German modern dance. [email protected] HSU award-winning physical-theatre production, L.O.V.E (1992), directed by Yukiyo Hoshino is a Professor of Two Faces of The Greater East Asia Nigel Charnock (1960–2012). Chinese Literature and Gender Co-Prosperity Sphere: Invading China Studies at Nagoya University, Japan. while Dancing China The paper draws on the presenter’s Her research interests lie mainly in first-hand, decade-long experience of comparative modern dance history Saturday, 11:00 a.m. - 1:00 p.m., performing in L.O.V.E internationally, of Eastern Asia. She has recently Valletta Campus, Level 1, and of re-staging the work in 2012. In published Nicchu Senso ka no Modern Lecture Room 2 doing so it considers experiences of Dance [Modern Dance under the Sino- Taiwan ceded by The Qing Empire for conflict in terms of the reception of Japanese War Conditions]. the failure of First Sino-Japanese War the performance, discussing how its and became a colony of Japan during challenging and abrasive performance 1895–1945.Under this circumstances, aesthetics generated degrees of the focus of this paper is to understand antipathy and instances of censorship. two contradictions below. Firstly, during [email protected] HOUSEAL the Pacific War, how could Japanese James is a Senior Lecturer in Dance government fight with China while at Edge Hill University, UK. He has Buddhist Monastic Dance, It’s Martial welcome dances based on Chinese performed in professional dance and Aspects and Cultural Conflict with China opera performed by Taiwanese dancer physical theatre work since 1991. His and the West. Ming-Te Lin. Secondly, how could Ming- latest choreographic research responds Te Lin as Taiwanese dance the cultural to the work of surrealist artist and Friday, 2:30 - 4:30 p.m., of his motherland while Kominka author, Leonora Carrington (1917–2011). Valletta Campus, Ground level, Meeting Room 2 (Japanization) policy was imposed upon Taiwanese and practiced by the locals. Vajrayana Buddhist monastic dance, The Greater East Asia Co-Prosperity Cham, began in the eighth century. The Sphere proposed by the Empire of origins of its use lay in subjugation. The Japan is the answer.

105 ABCDEFGHIJKLM

Hsu, Wei-Ying holds PhD in sociology and competitions. This fact led to a at Tunghai University, Taiwan, and dissatisfaction among the professionals M.A. degree in Dance Study and I because of the “spoiled image” of BA(Hons)in Dance Theater of The City Bulgaria, since in the near past the University, London, Laban Centre for country was represented abroad only Movement and Dance. She is currently [email protected] ISENBERG by professional and semi-professional a postdoctoral researcher at Institute of ensembles. This anthropological Sociology, Academia Sinica, Taiwan. Casting matters. Case in point: Othello and ethnochoreological research suggests that the “roots” of this friction Friday, 2:30 - 4:30 p.m., Valletta Campus, Level 2, today lay way back in the 1960s and Lecture Room 2 70s. It discusses the importance of the political model in shaping the [email protected] HUNTER My paper focuses on Lar Lubovitch’s folkdance scene in Bulgaria. Othello ballet (1997), an American Performing Parks and Squares: Ballet Theater-San Francisco Ballet Daniela Ivanova-Nyberg. PhD. Director Site-Dance and Urban Resistance coproduction. In 2009, I published two of Bulgarian Folklore Arts Program at articles based on a 2001 SFB recorded the Bulgarian Cultural and Heritage Friday, 2:30 - 4:30 p.m., performance where I looked at casting Center of Seattle, ethnochoreologist, Valletta Campus, Ground level, choices involving a Black Othello, an author of book The Folk Dance Meeting Room 4 Asian Desdemona and a Latino Bianca Ensemble as a Cultural Phenomenon in in dialogue with the social conflicts in Bulgaria (2011, in Bulgarian). Research This paper questions how parks and the USA at the time rooted in matters focuses on Bulgarian folk dance in squares function in urban life, what of race, ethnicity and gender. My Bulgaria and in the US. level of engagement exists between contribution to the panel revisits this site and the dance work performed ballet from the perspective of current in these spaces, what is revealed social conflicts. regarding the site’s contextual make up and what (whose?) purpose might Nancy Isenberg taught English literature [email protected] IYER this work serve. This final question at Rome Three University. She has addresses site-dance’s potential to published widely on Shakespeare and Dancing Of the East-West Binary: be co-opted to broader agendas such ballet, including the article on Ballet in Choreographing Hybrid Pleasures as, civic animation, cultural tourism, the Cambridge Guide to the Worlds of in the Hindi Film Dance-Of well-being, and festival-isation. It Shakespeare (2016). She was resident explores embodied relationships with fellow at the New York University Saturday, 3:00 - 5:00 p.m., urban spaces in site-dance practice and Center for Ballet and the Arts in 2017. Valletta Campus, Level 2, considers how localized articulations Lecture Room 3 might resist dominant agendas and, alternatively resonate with broader, The Hindi film dance-of has been global, geopolitical, and socio- theorized as corpo-realizing the economic conditions afecting other post-colonial conflict of modernity bodies in other urban spaces. DANIELA and tradition through its binary of [email protected] western and “Indian” dances, staged Victoria Hunter is a Reader in Site- between dancing women, typically as Dance at the University of Chichester. Who Has the Right to Perform Abroad? a competition between the raunchy Her research is practice based, Field Studies in Bulgaria vamp and the demure heroine. I argue exploring site-specific dance and that dance-ofs foreground rather performance. Her work has appeared Friday, 11:30 a.m. - 1:00 p.m., the agency of female bodies in the Valletta Campus, Ground level, in Performance Research, New Theatre Meeting Room 3 production of cinematic spectacle. Quarterly and Contemporary Theatre The two women dancing of against Review, her edited volume: Moving This paper investigates the Bulgarian each other are in fact collaborators Sites: Investigating Site-Specific Dance folk dance scene in the past ten years in another regime, one of female Performance (2015) is available when, along with the ensembles, the empowerment through dance, through Routledge. newly-born dance clubs began touring prompting a rethinking of dance-ofs abroad to participate in festivals as vehicles for reconciliation and

106 NOPQRSTUVWXYZ

celebration of hybridity rather than (Palgrave Macmillan, 2014) as well as as singularly located in conflict and articles in e.g. Avant, Dance Research, [email protected] JOHNSON diference. and Dance Research Journal. Agonistic Acts: Anti-Racist and Decolonial Usha Iyer is Assistant Professor of Interventions for Dance Studies Film and Media Studies at Stanford University. Iyer’s book project Sunday 1:15 - 3:00 p.m., examines the role of dance in the [email protected] JOHNSON Valletta Campus, Level 1, Aula Magna construction of female stardom in Hindi cinema from the 1930s to the Not All Diasporas Are Created Equal: Dance studies today is inescapably a 1990s. Her essays have appeared The Lebanese Diaspora’s Confinement site of conflict. In this roundtable, we in Camera Obscura, and edited to Oriental Dance will engage with the question: how collections such as Movies, Moves and can we mobilize dance studies and Music: The Sonic World of Dance Films, Saturday, 3:00 - 5:00 p.m., make it representative of indigenous and Figurations in Indian Film. Valletta Campus, Level 1, and transnational concerns as a Lecture Room 2 discipline? To respond to this question, we will contest the universalized and Examination of the diasporic Eurocentric lexicon of dance discourse, experiences of José Limón, Anna consider how centering black subjectivity Sokolow, and Lebanese Americans and knowledge afords a transformative J during the modern era illuminates view of dance epistemology, theorize a critical dissimilarity. Both Limón “making space” as a metaphorical and Sokolow could simultaneously HANNAgekko@iki.fi JÄRVINEN and material intercession against perform their ethnic identities and existing power structures, examine how whiteness, but archived newspaper Ballets Russes and Blackface institutional appropriation of “diversity” articles and scholarly texts paint a rhetoric marginalizes non-Western Friday, 2:30 - 4:30 p.m., different picture of the Lebanese dance practices, and champion the Valletta Campus, Ground Level, American body. Although Lebanese virtues of oppositional approaches in Meeting Room 5 Americans legally became white dance pedagogy. and assimilated relatively smoothly Reconstructions and reperformances into American culture, “Oriental” Jasmine Johnson is a scholar/practitioner of two early twentieth-century Ballets descriptions plague the few records of African diasporic dance. An Russes “masterpieces”, Schéhérazade of Lebanese dancers on the concert Assistant Professor of Theater Arts and (1910) and Petrouchka (1911), carry stage. I argue that the Lebanese Performance Studies at Brown University, unexamined political legacies of diaspora’s disassociation with her work examines dance through racism into the twenty-first century. the political left restricted their diasporic, transnational, ethnographic, Using analytical tools from Edward opportunity to represent their dancing and black feminist frameworks. Saïd to Achille Mbembe, I examine the bodies as American. interlinked and ethically questionable justifications of ethnographic Brianna Rae Johnson is an M.F.A. accuracy of representation on one candidate at The Ohio State University. hand, and notions of preserving the She received a B.A. from St. Olaf [email protected] KAI JONES qualities of the authentic, original College in Dance and Biology with work on the other to outline how a concentration in American Racial “Hey! Yuh Wa’an Cross Di Bah’da?”: racist stereotypes are condoned and Multicultural Studies. Brianna Decolonizing Black Masculinities erased in the name of ‘masterpieces’ performed professionally for seven in Virago-Man Dem and ‘modernism’. years before returning to academia to research power diferentials and Saturday, 3:00 - 5:00 p.m., Dr. Hanna Järvinen is a Lecturer at representation of moving bodies. Valletta Campus, Level 2, Lecture Room 3 the Performing Arts Research Centre of UNIARTS Helsinki, Finland. She My paper uses the process-oriented is interested in the epistemology of choreography of Virago-Man Dem as a dance, authorship, and canonization lens for grappling with the contentious and is the author of Dancing Genius

107 ABCDEFGHIJKLM

space of black masculinity. Because the Kendall Jones is a doctoral candidate black male body remains implicated within the Dance Studies department by and through multiple discourses at The University of Auckland, New K (e.g., black men as threats to civility, Zealand. Her research interests as sexual predators, or as fatherless) include dance professionalism, dance the dancing in Virago-Man Dem works in diferent cultural contexts, creative SOFIA to expose the chafing black men facilitation, and inclusive community KALOGEROPOULOUsofi[email protected] experience along the bah’das (borders) arts. Kendall has both international of blackness, masculinity, sexuality, and local dance credits in teaching, Dance, Cultural Identity and the love, fatality, and life (which remains performance, and community initiatives. ‘Significant Other’: Re-Defining constructed through and along the axes National Identity in Times of Conflict of coloniality). Saturday, 3:00 - 5:00 p.m., Valletta Campus, Level 1, Adanna Kai Jones is an Assistant Lecture Room 1 Professor of Dance in the Department of [email protected] KAI JOHNSON Theater and Dance at Bowdoin College. Greek dance as an everyday lived Her latest research project uses multi- Trouble in the Field (Roundtable) experience constitutes a fundamental sited, transnational ethnography to track element of the Greek cultural identity. the ways Caribbean choreographers Saturday, 11:00 a.m. - 1:00 p.m., However, in times of crisis or when the play an integral role in the support and Valletta Campus, Ground level, Meeting Room 2 nation is perceived to be under threat by preservation of contemporary Caribbean another nation, this unconscious dancing identity politics within the US. This roundtable addresses discursive identity can become consciously tensions in the field of dance studies. All reflexive and be employed to mark a participants profess in dance studies, but distinct cultural identity in relation to at diferent international institutions. the other nation. Hence, the other nation becomes the “significant other” in (re) [email protected] JONES Our diverse academic experiences and research allow us to address some of defining the identity of the nation. In this presentation, I examine the role of Dance Has Always Been in Crisis, the following questions: What are the Greek dance in the new “Macedonian Everyone Else Is Joining Us politics of applying nationally specific approaches to dance studies cross- Question” conflict between Greece and the Republic of Macedonia after the Saturday, 3:00 - 5:00 p.m., culturally and internationally? Are criteria Valletta Campus, Level 2, used to define value of scholarly output break-up of Yugoslavia. Lecture Room 2 in an international and cross-disciplinary peer-evaluation process productive? Sofia is a Teaching Fellow in the This presentation explores the Department of Performing Arts at the subjective experiences of four Imani Kai Johnson is an interdisciplinary University of Otago, New Zealand. dance practitioners following the scholar working on African diaspora, She holds a Masters of Dance Studies question: How, and why, have dance global popular culture, and Hip Hop. and a Bachelor in Performing Arts. She professionals maintained their She is working on a book, titled Dark has taught dance in Greece, the UK career within a context of crisis? The Matter in B-boying Cyphers: Hip Hop and New Zealand and was a principal discussion presented will focus on in a Global Context and has published dancer with Company Z. four dance practitioners’ subjective in Alif, Women & Performance, and the experiences of navigating and Cambridge Companion to Hip Hop. maintaining a dance career within the multi-faceted crisis of contemporary Greece. This paper will discuss how [email protected] KAPLAN the dance industry, and the research participants in particular, are Involuntary Motion: navigating this tumultuous time, and Dance and the Refugee Experience in doing so, raising questions around the meanings and perceptions of Saturday, 9:00 - 10:30 a.m., dance professionalism. Valletta Campus, Ground Level, Meeting Room 5

108 NOPQRSTUVWXYZ

Misguided foreign policies have and analyze how the noh theatre’s Ohad Naharin’s Movement Research unleashed movements of peoples, choreographies represent violence and (Palgrave Macmillan, 2016). Einav as nation-states falter. Although the conflicts. The author has been training deals with philosophies of embodied politics of refugees appear visible in the himself noh acting, as a student of cognition, focusing dance practice. aggregate, what are the implications artists representing, Kita, Kanze and of losing agency on an individual, Shimogakari Hōshō actor’s guilds. somatic level? What happens when a body is moved against its will? In Associate professor at the Institute this performance paper, Kaplan uses of Arts of Polish Academy of Sciences [email protected] KATRAK dance as a critical lens to deepen and Polish-Japanese Academy of readings of refugee stories. Movement IT, Japan Foundation fellow at Putting Bodies on the Line: Resistant underscores Gloria Anzaldúa’s notion the Waseda University in Tokyo. Choreography by India’s Mandeep of the “Borderlands” – the experience Produced and performed in noh Raikhy and South Africa’s Jay Pather of inhabiting two worlds yet belonging spectacles both in Poland and Japan, fully to neither, and highlights Peggy member of International Federation Friday, 5:00 - 6:30 p.m., Valletta Campus, Level 1, Phelan’s definition of performance as for Theatre Research. Lecture Room 2 disappearance. Refugees thus become dancers on vanishing stages, not of Katrak’s paper discusses resistances via their choosing. choreography in gay dancer Mandep Raikhy’s Queen Size. This work openly Jef Kaplan holds an MFA in Dance from [email protected] KATAN-SCHMID and defiantly challenges the draconian Texas Woman’s University, and a PhD in and outdated colonial era legislation, Theatre and Performance Studies from Dance for Empathy namely Section 377 that bans the University of Maryland, College homosexuality in India. South African Park. He is currently Assistant Professor Saturday, 11:00 a.m. - 1:00 p.m., Jay Pather’s multimedia choreography in Dance and Theatre at Manhattanville Valletta Campus, Theatre Studio in Body of Evidence probes memories of College. He writes about American violence held in the human body’s cells theater history, critical theory, and We use practical experience, as well as and bones in order to give “evidence” embodiment. philosophies of embodiment, in order that psychological and emotional to exemplify and analyze physical and wounds held in the physical body mental acts of understanding the other continue to fester in post-apartheid. through dance. Our work emphasizes dance as a contemplative practice, Katrak, author of Contemporary Indian within which new bodies of knowledge [email protected] KARPOLUK Dance: New Creative Choreography can be discovered, developed and in India and the Diaspora (Palgrave embodied. We focus on the social Choreographies of Violence & Conflicts Macmillan, 2011, paperback, 2014), significance within dance-knowledge in The Japanese Noh Theatre and published essays in drama, dance, and on how it can be utilized for postcolonial and performance theory. Saturday, 3:00 - 5:00 p.m., facilitating a firsthand understanding of Katrak has a forthcoming book (in Valletta Campus, Level 2, physical diversities and disabilities. Lecture Room 2 progress) entitled Jay Pather: Performance and Spatial Politics in South Africa. Our experiential case study is a physical Many of the Japanese, classical noh practice, which was developed in dance theatre dramas are centered on Störung-Hafra’a; a German-Israeli the topics of unrests and conflicts. The project on movement and movement most prominent of noh founders, Zeami disorder with dancers, scientists, and [email protected] KAUFMAN (1363–1443), took interest in the great people with Parkinson’s. heroic poem The Tale of Heike, from Movement Labor: Unionization the 13th century, and scenes of fighting Einav Katan-Schmid, PhD, is a research of American Dancers in the Age warriors started to appear onstage. War associate at Humboldt University of Modernism and, on the other hand, consolation are of Berlin, a core convener of the to this day some of the most essential international network Performance Sunday, 10:15 - 11:45 a.m., topoi within noh dramaturgy. The Philosophy, and the author of Embodied Valletta Campus, Ground Level, author of the paper tries to identify Philosophy in Dance; Gaga and Meeting Room 2

109 ABCDEFGHIJK LM

In 1919, theatrical chorus dancers in becoming instrumentalized? How do numerous grants. Her current research New York City formed a union, claiming we diversify what and who we teach examines the concept of “second nature” and securing their rights to organize in our classrooms without playing into in dance, environmental history, and and collectively bargain. This represents neoliberal ideas of diversity? What social thought. a unique event in the histories of both strategies can we deploy to resolve American dance and American labor. the contradictions that the neoliberal university places us in? Developments of dance modernism and robust labor organization in the Anusha Kedhar is an Assistant Professor [email protected] KHEMIS United States are linked temporally. of Critical Dance Studies at University Labor movement history of the 1900s of California, Riverside. Her current A Choreographic Conversation on and 1910s provides clues to workers’ book project examines South Asian Contemporary Dance in North Africa views of industrial-model employer dance/rs in Britain at the nexus of race, authority. In addition, the economics gender, labor, and neoliberalism. Her Friday, 5:00 - 6:30 p.m., of the performing arts and women’s work has been published in Dance Valletta Campus Theatre changing social status during this time Research Journal, The Feminist Wire, contributed to an environment in which and The New York Times. This performance lecture is an union organization was viable for the exploration into the core conversations majority-female dance trade. around contemporary dance in North Africa, particularly in post-war Algeria, Eric Kaufman was a dance worker and between dancer Ahmed Khemis and scholar Karima Borni. The discussion union activist on Broadway and beyond. [email protected] KEILSON Having completed degrees in Labor will illuminate current social, economic Studies at the National Labor College To ‘Dance the Body Emerging Again’: and political contextualization for and the City University of New York, Modern Dance’s Moving Archive dance practice and performance in Eric is currently a student in the PhD Algeria, as distinct from its neighbors of program in Dance Studies at The Ohio Saturday, 9:00 - 10:30 a.m., Morocco and Tunisia, in light of broader State University. Valletta Campus, Level 1, movements for social change and Lecture Room 2 artistic production in the region of the Middle East and North Africa. European and American modern dance hinges on the notion that the Ahmed Khemis is artistic director of physical body remembers: that a Jawal Compagnie and contemporary [email protected] KEDHAR dancer’s limbs, mind, and inner self choreographer for the Ballet National forms an authoritative or palimpsestic Navigating the Contradictions Algerién. He danced for over a decade preserve of its actions in the past. of The Neoliberal University with Sybel Ballet Théâtre in Tunis, This paper surveys the historical Tunisia, studied at the Centre National Sunday, 1:15 - 3:00 p.m., development of the idea of the body- de Danse Contemporaine in Angers, Valletta Campus, Level 1, as-archive, central to trans-Atlantic France and danced with the Akram Aula Magna modern dance schools and theories Khan Company in 2011–2012. since the late nineteenth century. As dance departments look to recruit Combining methods in intellectual more students in the face of budget historical with autoethnography, this cuts and dwindling resources, diversity paper interrogates “the archive” as an has become a particularly eficacious historically enduring site for dancers [email protected] KINTNER recruitment tool. At the same time, to contest and delineate forms of diversifying dance, “making space” for knowledge generated through dance. The Choreography of Taking a Knee: hitherto marginalized voices (Mitra), Understanding the Intersections of Sports, is a necessary decolonial intervention Ana Isabel Keilson is a lecturer on Race, Gender, And Protest Through within academia. Given that diversity Social Studies at Harvard University. Historical Context and Queer Dance and creativity have become tools of Previously she has served as a Visiting the neoliberal university, how do we as Fellow at the Department of the History Friday, 2:30 - 4:30 p.m., scholars, practitioners, and professors of Science, Humboldt University (Berlin), Valletta Campus, Ground Level, of non-Eurocentric dance resist and her research has been supported by Meeting Room 5

110 NOPQRSTUVWXYZ

Looking at examples of protest from by Descartes and some, not. Third, Dance Studies, Dance in pop/ular Colin Kaepernick taking a knee, some think Le Ballet de la Paix has culture and urban environments, and Tommie Smith and John Carlos on the no special interest, others do. Which transnationalisation of dance cultures. medal stand, to ACT UP’s Die-ins and criteria could be available to answer ADAPT’s senate protests, we see that such questions? Is the question the choreography of a protest is critical of interest of the Ballet de la Paix for its intent to be communicated. It emblematic of certain prejudices can lead spectators to see beyond against ancient dance literature? [email protected] KLEIN the symptoms to see larger systemic issues at play, and call attention to the Dóra Kiss, dancer, received a master in Conflict in Activist Performance multiple identities that overlap within literature (2010), a PhD in Musicology ourselves, and with those around us. As & Dance Studies (2013), the Handshin Sunday, 10:15 - 11:45 a.m., Valletta Campus, Ground Level, fans, spectators, and citizens, we must Prize (2013), and the Swiss Dance Award Meeting Room 2 recognize that we inherently support “Dance as Cultural Heritage” (2015). the institutions we occupy, and that we She published Saisir le movement by Darpana creates a dance-theater piece have the power to create and destroy Classiques Garnier Paris (2016). about forced displacement caused value and meaning within them. But by development projects. Cassie we must have efective choreography, Meador walks five hundred miles from and fight against our message being Washington, DC, to a site of mountaintop reframed and diluted by detractors. removal mining, making a dance along [email protected] KLEIN the way. In this presentation, I consider Jef Kintner earned his English degree the role of conflict in these examples of from Otterbein University and is The Paradox of Failure and Productivity staged activist performance to inquire currently working through the Women, of Dance Translations. The Example into the place of staged performance Gender, and Sexuality Studies program “Fagaala” (Genocide) by Germaine in contemporary activism. How do they at The Ohio State University, because he Acogny and Kota Yamazaki difuse and amplify the resistant energies believes that sex ed will save the world. of the activist movements they recall Sunday, 10:15 - 11:45 a.m., as they are channeled onto the stage? Valletta Campus, Ground level, Meeting Room 6 How do the performances themselves facilitate encounters of conflict with the When the genocide took place in audience, and can they efect change? DÓ[email protected] KISS Rwanda in 1994, the United Nations (UN) and various states stayed inactive. Kelly Klein is a performer, yoga Le Ballet De La Paix: A Reaction Even in African countries there was no instructor, and PhD candidate at The Toward War, An Encouragement for resistance. Ten years later, Senegalese Ohio State University where she studies Peace, And A Subject of Discussions choreographer Germaine Acogny somatics and activist performance took this humanitarian tragedy as with transnational feminist and queer Sunday, 10:15 - 11:45 a.m., an opportunity to create the piece ecological perspectives. Her work Valletta Campus, Level 1, has been published in Choreographic Lecture Room 3 FAGAALA (GENOCIDE). Practices and her research supported by the Mershon Center for International Conflicts implying Sweden were Using the example of FAGAALA, Security Studies. very serious during the 17th century. the lecture seeks to investigate the Queen Christine organized a court question of whether (dance) aesthetic feast celebrating the end of these, and translations of genocide must inevitably which included Le Ballet de la Paix. fail, and whether it is not precisely in Several questions arise concerning this failure that there is a productive [email protected] KLOETZEL the ballet’s creation, author and potential of the aesthetic. contemporary reception. First, is it Site-Adaptive Dance: Conflict, really possible that it was intended Professor for Sociology of Dance Collaboration, and the Neoliberal Order to glorify peace if it was ordered and Performamnce Studies at the Hamburg University (UHH). Klein’s main by the same political power that Friday, 2:30 - 4:30 p.m., ordered war? Second, some scholars research areas include Urban Studies, Valletta Campus, Ground level, think the unsigned ballet was written Performance Studies, Urban Studies, Meeting Room 4

111 ABCDEFGHIJKLM

Arts festivals, a favorite of the Olympics Opening Ceremony, Associate Professor at the School of neoliberal order, walk a delicate asserted the UK’s post-imperialist Physical Education and Sport Science, line (Waitt 2008, Quinn 2010). While and multicultural profile. By contrast, University of Athens and Tutor at the typically state-sanctioned, these Newson’s contemporaneous work Hellenic Open University. Member of festivals present a myriad of forms Can We Talk about this? (2011/12) scientific organizations in Greece and some of which work against the was highly critical of current British abroad, Maria Koutsouba’s research priorities of a neoliberal state. A approaches to multiculturalism, interests and publications focus on frequent guest on the festival circuit, particularly prevailing attitudes to ethnochoreology/dance anthropology, site-adaptive dance is one of these Islam(ism). The two choreographies dance notation and analysis, and forms that, while often colluding will be illuminated using a theoretical dance education. with the state, may also counter framework that draws on political neoliberal agendas. In this paper, thought and dance studies. I examine site-adaptive dance’s relationship with the economic Alexandra Kolb is Professor of Dance order (Harvie, 2013), its prospects at Roehampton University. She is [email protected] KOWAL for residual impact (Levin, 2014), the author of Performing Femininity and its capacity, or lack thereof, (2009) and editor of Dance and Politics Dancing Repatriation After World War II for mounting opposition to the (2011). She is Reviews Editor for Dance neoliberal order that fostered it. Research and on the SDR Executive. She Friday, 5:00 - 6:30 p.m., recently received the Marlis Thiersch Valletta Campus, Ground level, Melanie Kloetzel is an associate Prize (2017) and Gertrude Lippincott Meeting Room 6 professor of dance at the University Award (2014). of Calgary and the artistic director Over 16 million Americans served in of kloetzel&co., a dance theatre World War II, representing 11 percent company founded in New York and of the U.S. population. It is well now based in Canada. Since 1997, documented that the enlistment of men of fighting age, their prolonged kloetzel&co. has presented theatre [email protected] KOUTSOUBA works, site-specific performances, and service during the war, and their reintegration in society following the dance films across three continents Andrée Grau as a conciliator conflict, caused massive disruption to [www.kloetzelandco.com]. of dance studies in Europe homes and industries across the U.S. Saturday, 11:00 a.m. - 1:00 p.m., Yet the phenomenon and impact of Valletta Campus, Ground level, the departure and return of prominent Meeting Room 6 men in the dance field has not been examined. Documenting research [email protected] KOLB Professor Andrée Grau has played at its earliest stages, this paper will a substantive role in reconciling investigate the role of dance in the Multiculturalism in 21st Century East and West in Europe in terms repatriation of military personnel Choreography: Collaborations of dance studies while promoting after the Second World War and its and Conflicts dance anthropology as a distinct contribution to internationalism in the Friday, 11:30 a.m. - 1:00 p.m., discipline of certain content in UK. The field of concert dance at mid-century. Valletta Campus, ground level, presentation looks upon aspects of Meeting Room 2 Andrée Grau’s academic career – her Rebekah Kowal is Associate Professor research, teaching, leadership and and Chair of the Department of This paper examines the contentious mentoring of colleagues and young Dance at The University of Iowa. Her space that multiculturalism scholars – mostly in Europe through publications include How to Do Things has inhabited in 21st century her long and outstanding presence with Dance: Performing Change in choreography. It will analyze works in UK Universities and participation Postwar America (Wesleyan 2010), by Akram Khan and Lloyd Newson in non-governmental organizations The Oxford Handbook of Dance and to explore the starkly differing such as the ICTM Study Group on Politics (eds. Kowal, G. Siegmund, R. perspectives which characterize Ethnochoreology. Issues of social Martin), and a current book-length current discourses on multiculturalism justice, interculturalism, politics of project, Dancing the World Smaller: in the UK. Abide with Me, Khan’s identity etc. in relation to dance will Staging the Global in Mid-Century contribution to the London 2012 thus be revealed. America (Oxford UP).

112 NOPQRSTUVWXYZ

In this interactive workshop, cultural traditions. What happens [email protected] KURTZ participants will explore somatic when there are “mismatches” between elements of perception, attribution and dancing bodies, physical/aesthetic Disheartening Disputes: The Academia cognitive habits in conflict. Key findings techniques, and choreographic subject vs. Competition Dance Training Debate will be shared from the Dancing at matter, yet none of the three are the Crossroads research/practice steeped in whiteness or Eurocentrism? Friday, 11:30 a.m. - 1:00 p.m., initiative, including practical strategies How do these dancing misfits Valletta Campus, Ground level, from our book The Choreography of complicate the conflation of cultural Meeting Room 3 Resolution. This work identified and identity and aesthetic belonging, documented contributions of dance and disturbing dance as racialized In the United States, competition choreography to conflict transformation self-representation within liberal dance and academic dance are in pedagogy and intervention processes. multiculturalism and as ethnocultural constant conflict with one another In the project, Canadian dancer Margie nationalism in postcolonial contexts? and professionals within both arenas Gillis worked with a curated group of perpetuate this division. Despite this international mediators, facilitators and Cynthia Ling Lee creates interdisciplinary, stigmatization, this paper works to process designers to explore how dance border-crossing choreography and illuminate the strong connection training enhanced their capacities scholarship steeped in transnational between these two sides, via an and informed conflict transformation diasporic Asian performance praxis analysis of the critical language of the approaches in diverse political, cultural, and deeply informed by postcolonial, competition and academic facets of social and legal settings. feminist-of-color, and queer theories. She the dance field. By borrowing from the is an assistant professor of dance at UCSC field of Communication, specifically Professor Michelle LeBaron is a conflict and a Post Natyam Collective member. through an application of the theory transformation scholar/practitioner www.cynthialinglee.com of Constitutive Rhetoric, this paper at UBC in Canada. Her work explores foregrounds the ways in which language how arts, particularly dance, help serves as the common thread that links shift intractable conflicts. Michelle’s these two often conflicting, but highly international appointments include the related arenas within the same field. Trinity College Arts and Humanities [email protected] LENART Research Institute in Dublin and the Madeline Kurtz is a recent graduate Stellenbosch Institute for Advanced Modern Dance, Modern Women, of the M.F.A. program in dance at Studies, South Africa. She is the author and Cold War Conflict: Martha Graham SUNY Brockport. Her current research of four books. in 1957 Berlin focuses on the intersection of training and performance practices within Saturday, 3:00 - 5:00 p.m., the divided worlds of American Valletta Campus, Ground level, dance competitions and academia. Meeting Room 2 She continues to present written and [email protected] LING LEE choreographic scholarship in academic Focusing on Kongresshalle’s and professional settings. presentation to the City of Berlin as a Dancing Misfits: Ethnicity, Alterity, gift from the US government, my paper and Cultural Representation in analyzes a little explored moment of “Contemporary” Dance American diplomacy in Europe involving Saturday, 11:00 a.m. - 1:00 p.m., Martha Graham. Challenging the Valletta Campus, Level 2, rhetoric of the male dominated Cold L Lecture Room 3 War society and discourse, and attended by Isamu Noguchi, Mary Wigman, [email protected] LEBARON This paper examines work by Jose Limon and Dore Hoyer, Graham’s minoritarian artists who strain at the performance was a new confirmation The Choreography of Resolution: epistemological limits of contemporary of Graham’s uniqueness and value: as a Conflict, Movement and Neuroscience and ethnic/world dance labels, whereby choreographer and dancer in spite of her “contemporary” is associated with advancing age, as a cultural diplomat Friday, 11:30 a.m. - 1:00 p.m., unmarked whiteness and aesthetic in Europe (where her tours in 1950 and Valletta Campus Theatre innovation, and “ethnic” with identity- 1954 were limitedly successful), and as a based representation and racialized maker of dance history.

113 ABCDEFGHIJKLM

Camelia Lenart’s thesis “The European The purpose of this study is to Tours of Martha Graham and Her [email protected] LILLE examine a change of the dance Dance Company, 1950–1967,” curriculum in higher education in supported by a Mellon Fellowship, Dancing to Connect South Korea and to explore the received a Distinguished Dissertation future-oriented model in dance Award. “Dancing Art and Politics Friday, 2:30 - 4:30 p.m., education. There have been two beyond the Iron Curtain: Martha Palazzo Pereira, Level 2 changes in general education. The Graham’s 1962 Tour to Yugoslavia and first change is that the curriculum of Poland,” published in Dance Chronicle, Jonathan Hollander and the dancers/ higher education is switched from earned a Dance Chronicle Founding teaching artists of the Battery Dance ‘Basic knowledge’ focused class to Editors’ Award. Company have traveled to over 60 ‘communication’ focused class. The countries in their practice of “dance second change is that dance class diplomacy.” Hollander formed the group is designed as a requirement course 40 years ago in NYC. Since then it has for graduating. There are two tasks been active in dance education and a for the future in dance in general [email protected] LEVINE yearly dance festival. In recent years, in education. The first task is that their pursuit of the project Dancing to dance class should pay attention to A Tale of Two Winter’s Tales: Connect, they have engaged thousands convergence education. The second Philosophical Conflict and New of youth to create. Their unique use of task is to develop various humanities Choreographies dance is in their travels, where they have approaches in dance class. led movement workshops to connect Saturday, 3:00 - 5:00 p.m., such groups as Palestinians and Israelis, Dr. Su Jin Lim is a research professor Valletta Campus, Ground level, Germans and immigrants from Turkey, at Kookmin University in Korea. Meeting Room 1 youths battling HIV in the Congo and After receiving a doctorate degree girls in India rescued from sex slavery. at Seoul National University, Lim Early in Act 1 of Christopher This presentation will show Moving became a post-doctorate researcher. Wheeldon’s ballet of The Winter’s Scenes, a documentary on their work She majored in dance pedagogy (Ph. Tale, King Leontes—convinced his recently seen at MOMA. D), dance education (Ed. M), dance wife, Hermione, has slept with his science (M.A), and Ballet (B.A). Her oldest friend, Polixenes—freezes for Dawn Lille, trained in ballet, modern scholarship includes dance literacy a moment and wiggles the fingers dance and Labananalysis, has and ballet pedagogy. of his right hand like a spider, worked with dancers and actors as after circling the two in a series of a performer and coach. She headed lunges. The moment is a translation the graduate program in dance of a line from 2.1 of the play, in research and reconstruction at City which Leontes compares his own College/CUNY, taught dance history [email protected] LIN dilemma to having a drink with at Juilliard for 14 years and has a poisonous spider steeped in it. published two books. Her writing has “Trouble in the Field” Roundtable Vacillating between the conviction also appeared in encyclopedias and that he can trust appearances and an numerous periodicals. Saturday, 11:00 a.m. - 1:00 p.m., acknowledgement that the evidence Valletta Campus, Ground level, of the senses is unreliable, Leontes Meeting Room 2 articulates both a personal crisis and a philosophical question crucial to the Taiwan has been full of conflict period. How does Wheeldon’s ballet recently, as in the rest of the world. [email protected] JIN LIM seek to embody such a conflict? Founder of Cloud Gate Dance Theatre, The Reality and Future of the Curriculum Lin Hwai-Min, confronted this topic in Levine’s “Men in Women’s in Higher Education: A Change and Task Formosa (2017). Starting with recorded Clothing” examines anxieties about of Dance Education as General Education recitation of verses describing the efeminization and the Renaissance in South Korea beautiful landscape of the island, stage. Sections of her current book along with Chinese characters on the on Shakespeare and ballet appear in Friday, 11:30 a.m. - 1:00 p.m., projected screen, the seventy-minute Shakespeare Survey 65 and Lupton’s Valletta Campus, Ground level, dance develops into a multi-media forthcoming book on Romeo and Juliet. Meeting Room 4 production with violent confrontation.

114 NOPQRSTUVWXYZ

Cloud Gate dancers’ solid training in one of CI’s foremost developers since Chinese martial arts provided a realistic its inception, working with dancers [email protected] LYONS representation on stage. At times worldwide. An activist for relational of antagonism and unrest, how can intelligence, she initiated the global Dance Pedagogy and the socially aware choreographers create Institute for the Study of Somatic Praxis of Change any efect on society? These are the Communication (ISSC) in 2016. questions this presentation will unravel. Saturday, 9:00 - 10:30 a.m., Valletta Campus, Ground level, Meeting Room 4 Yatin Lin is Associate Professor of Dance Studies and Chairperson of This paper references conflict in higher the International MA Program in [email protected] LOUKES education when professional artists Cultural and Creative Industries at and educators bring new ideologies, Taipei National University of the Arts, Conflict/Contact: Translation, Wu Wei discourse, dialogue, praxis and change Taiwan; author of Sino-Corporealities: and Gelassenheit in the ArtsCross Project to a low-income rural community Contemporary Choreographies from of Western Colorado. Research Taipei, Hong Kong and New York; former Friday, 2:30 - 4:30 p.m., examples include rehearsal processes Director of SDHS and current President Valletta Campus, Level 1, having immense conflict amongst the of the Taiwan Dance Research Society. Lecture Room 1 performers due to socio-political climate Drawing from the practice of Elsa of the community, university, and the Gindler (1885–1961), who applied country at large, with issues around her unique Gymnastik movement diversity including gender, sexuality, pedagogy very concretely within race and personal histories. This paper [email protected] LITTLE (NELSON) the conflict zones of Berlin during and presentation places focus in World War 2, this paper explores how expanding the ideas of what dance is Somatic Activism: A Sword, not a Shield Heidegger’s notion of ‘Gelassenheit’ and can be outside of the entertainment and commercially focused industry, and Friday, 5:00 - 6:30 p.m., and the Taoist principle of Wu Valletta Campus, Ground level, Wei can be applied within the the lack of access to arts education in Meeting Room 4 ‘contact zone’ (Pratt 1991) of large low-income rural communities. scale intercultural performance This presentation considers somatic project ArtsCross http://rescen. Meredith Lyons is an Assistant Professor practice beyond the personal, inward net/events/ArtsCross_index.html#. of Dance and the Dance Program sensorium to its actions as a cultural WpVQPWaca34. What can be learnt Coordinator at Colorado Mesa determinant; an outward attentional from attempting to ‘translate’ University. A performer, choreographer, communication, its power is world- these terms and understanding the and administrator, she has presented defining. Populated by dancer/ potential dialogic space between her creative work and recent research researchers, together with experts them in the context of intercultural Foreword/Afterword internationally. in the sciences and humanities, the creative practice and communication? Prior to CMU, Meredith was the Institute for the Study of Somatic Assistant Director of Bates Dance Communication is actively developing Rebecca Loukes is Associate Professor Festival. www.meredithlyons.org the field of somatic communication as of Performance Practice at University a science of intra-action and response- of Exeter, UK. She trained in the ability (Barad, Haraway) through somatic awareness work of Elsa embodied tactile attention (Little and Gindler (1885–1961) and in Asian Dumit). Its activism moves through martial-meditation arts with Phillip dynamics of the ecological self, both Zarrilli. She writes and researches M human and non-human, to question in the areas of performer training, the cultural training of attention – the devising and choreography and inter/ [email protected] MACLEOD binding of perceptual values and the transcultural performance. biases that form them (Lurhmann). The Choreography of Resolution: Conflict, Movement and Neuroscience Choreographer, teacher, and scholar of improvisational dance and Contact Friday, 11:30 a.m. - 1:00 p.m., Improvisation (CI), Nita Little, PhD, is Valletta Campus Theatre

115 ABCDEFGHIJKLM

In this interactive workshop, policy. In the 1960s in the USA and Julie Malnig is a professor at New participants will explore somatic the Soviet Union separated by the York University. She is the author elements of perception, attribution Iron Curtain Ailey and Grigorovich of Dancing Till Dawn: A Century of and cognitive/emotional habits in created ballets drawing inspiration Exhibition Ballroom Dance and editor conflict. Key findings will be shared from a timeless theme of human being of Ballroom, Boogie, Shimmy Sham, from the Dancing at the Crossroads willpower in the struggle for freedom. Shake: A Social and Popular Dance research/practice initiative, including Revelations and Spartacus tell about Reader. She is currently preparing a practical strategies from the book historical processes which divided manuscript on dance and youth culture The Choreography of Resolution: human race into masters and slaves and of the 1950s. Conflict, Movement and Neuroscience. fight to preserve dignity and culture Funded by the Canadian Social endangered by racial hatred. Sciences and Humanities Research Council, this work identified and Anita Makuszewska is a professional documented contributions of dance and dancer, and a ballet master (Warsaw PAOLOinfo@zfinmalta.org MANGIOLA choreography to conflict transformation Ballet School, Poland) graduated pedagogy and intervention processes. from the State Conservatory of St. Choreographic Workshop In the project, Canadian dancer Margie Petersburg, Ballet Department, Russia; Gillis worked with a curated group of Interdisciplinary Doctoral Studies Saturday, 1:15 - 2:45 p.m., international mediators, facilitators and (Warsaw University of Social Science Valletta Campus Theatre process designers to explore how dance and Humanities); a teacher and a training enhanced their capacities translator: MA Applied Linguistics Paolo Mangiola is Choreographer and and informed conflict transformation of English with translation (UCSS, Artistic Director of ŻfinMalta Dance approaches in diverse political, cultural, Poland). Ensemble, the National Dance Company social and legal settings. of Malta. Alongside his work as a dancer he decided at a young age to devote Carrie MacLeod coordinated the himself to the exploration of his artistic Dancing at the Crossroads project at practice, refining his studies at The Place, London, achieving in 2015 a Master in the University of British Columbia and [email protected] MALNIG is a faculty member in Expressive Arts Choreography. He created works for at the European Graduate School in A Culture of Conflict: the Royal Ballet, Tanztheater Nürnberg, Switzerland. She has taught dance in Rock and Roll Dance and the Cold War Aterballetto and Balletto di Roma. As peace and reconciliation initiatives in a performer Paolo collaborated and Sierra Leone, West Africa, India and Saturday, 11:00 a.m. - 1:00 p.m., danced for artists and choreographers Central America. Valletta Campus, Ground level, such as Wayne McGregor, Deborah Hay, Meeting Room 4 William Forsythe, Martin Creed, Mauro Bigonzetti and Jacopo Godani. Paolo was “A Culture of Conflict: Rock and Roll appointed resident choreographer at Dance and the Cold War” will explore Balletto di Roma in 2015. various racial and class conflicts and [email protected] MAKUSZEWSKA controversies surrounding rock and roll during the 1950s cold-war era, The Influence of the Institution of Slavery among them the development of a on Ballet Theatre resistant teen culture; the assimilation [email protected] MANNING Friday, 5:00 - 6:30 p.m., of black and white working-class Valletta Campus, Ground level, styles of music into the cultural Cross-Viewing in Berlin and Chicago: Meeting Room 1 mainstream; and the filtering of black Nelisiwe Xaba’s Fremde Tänze dance styles through white dancing The question whether the political bodies. The presentation will also Sunday, 10:15 - 11:45 a.m., situation has influence on artistic examine protests against rock and roll Valletta Campus, Level 2, choices seems to be vital in any music and dance set against cold- Lecture Room 3 theoretical analysis of life and work of war censorship mechanisms and will artists who live in countries governed conclude with civil-rights protests Viewed in the divergent contexts of by totalitarian regimes or these that led to the demise of segregated Tanzfonds Erbe in Berlin and Black proclaiming racial discrimination teen dance TV. Arts International in Chicago, Nelisiwe

116 NOPQRSTUVWXYZ

Xaba’s Fremde Tänze (“Strange or Vanier Scholar for her dissertation Foreign Dances”) reveals difering project titled “Performing Truth and [email protected] MARSH referents and layers of meaning. Reconciliation: A Critical Analysis of In Berlin, the US dance historian Staging Canadian Colonial Violence Dance as an act of remembering experiences cross-viewing in terms through Dance”. She is currently an of gender and nationality, while in embedded performance researcher Friday, 11:30 a.m. - 1:00 p.m., Chicago cross-viewing in terms of with Toronto’s Signal Theatre. Valletta Campus, Ground level, race complicates these spectatorial Meeting Room 6 dynamics. At issue is how and whether cross-viewing may function as the This panel reflects upon three recent colonizing gaze of white privilege. project which address the relationship between dance, disability and human [email protected] MARLOW Susan Manning is an internationally rights. The panel comprises scholars of law and dance, developing inter- recognized historian of modern dance “Oi.Dancing boy”: Movement, disciplinary and cross-cultural whose writings have been translated Masculinity & the Myth of Billy Elliot into German, French, Italian, Spanish, dialogues about the rights of people and Polish. She is the co-editor of two Saturday, 3:00 - 5:00 p.m., with disabilities during and after forthcoming volumes: Futures of Dance Valletta Campus, Ground level, conflict, and reflecting on some of Studies and Routledge Encyclopedia Meeting Room 5 the ways in which dance and human of Modernist Dance. She is a Professor rights intersect in artistic and legal of English, Theatre, and Performance In the West, dance has traditionally practices. Studies at Northwestern University. been situated as “primarily a ‘female’ art form” (Risner, 2009), Dr. Kate Marsh is an artist-researcher and boys who dance are sometimes based at C-DaRE as a research labelled as “abnormal” or “gay” assistant on the Resilience and (Berger, 2003; Gard, 2008). Drawing Inclusion – Dancers as Agents of on semi-structured interviews and Change Project. She is an associate [email protected] MARCHINKO observations, this paper explores with Candoco Dance Company. She the experiences of 26 male is currently working as a creative Beyond Bearing Witness: Choreographing dancers, aged 8–18, who study a producer for Metal Culture. Kate’s Settler Inheritance of Canadian Colonial range of genres in private-sector PhD explores Dance, Disability and Violence in Dance and Opera English dance schools and asks, Leadership. Saturday, 11:00 a.m. - 1:00 p.m., in an era of supposed “inclusive Valletta Campus, Ground level, masculinity” (Anderson,2009) Meeting Room 5 and a “declining significance of homophobia”(McCormack, 2012), This paper analyzes two productions are male dancers beneficiaries of [email protected] MARTIN about truth and reconciliation in a such inclusivity, and if not, how do Canadian context: The Royal Winnipeg they resist and challenge dominant Sustaining dance education: Ballet’s Going Home Star (2014) and discourses about dance and Contemporary perspectives Signal Theatre’s dance opera Bearing masculinity? of dance teaching and learning (2017). With an eye toward the politics inside and outside of Syria and aesthetics of appropriation, I Chris Marlow is an experienced dance analyze the mise-en-scènes of these two teacher, lecturer, adjudicator, examiner Sunday, 10:15 - 11:45 a.m., productions, such as their performance and performer. Formerly the Director of Valletta Campus, Level 1, spaces and sonic textures. I discuss how Quality Assurance at UKA Dance, Chris Lecture Room 1 they facilitate proximity and/or distance is now completing a PhD on dance and in relation to witnessing history as a masculinity at Lancaster University in This presentation explores sustaining “past” event versus inheriting dificult England. He can be contacted by email: dance education in light of the Syrian knowledge as immanent. [email protected] or by phone Civil War. Through investigating + 44 7792 309992. the stories of three Syrian dancers Elan Marchinko is a PhD Candidate in exile, who reﬂect on their formal in Theatre and Performance Studies and non-formal dance education at York University. She is a 2017 experiences (some in Syria and

117 ABCDEFGHIJKLM

some abroad), it is intended that Professor of Humanities at Florida there is the possibility to construct a State College, Holly Masturzo also [email protected] MATTINGLY contemporary understanding of Syrian serves on the Board of Directors dance education. Through a multi-sited of Jacksonville Dance Theatre. Injustices of recognition: ethnographic enquiry rich descriptive She received an Established Artist dance studies and critical frameworks narratives emerge and stories are told, Fellowship from the Houston Arts ofering unique understandings of the Alliance and has published and Friday, 11:30 a.m. - 1:00 p.m., relationship between dance, society, presented on the arts, the body and Valletta Campus, Level 1, and politics. teaching and learning in a variety of Lecture Room 3 outlets. Dr. Rose Martin is Senior Lecturer This paper argues that dance criticism in Dance Studies at the University is a shifting system that generates of Auckland. Her most recent books visibility for particular artists at are Dance, Diversity and Diference: different historical moments. As an academic field, dance studies Performance and Identity Politics in [email protected] MATTHEWS Northern Europe and the Baltic (2017) present a conflicted relationship with criticism: scholars distance with Eeva Anttila, and Women, Dance Capoeira: Gesture of Conflict, themselves from critics’ approaches, and Revolution: Performance and Practice of Resolution Protest in the Southern Mediterranean yet are dependent on critics’ (2016). Friday, 2:30 - 4:30 p.m., writings as documents of historical Valletta Campus, Ground Level, events. I show shifting relationships Meeting Room 2 between criticism and artistic practices by exploring “House/Full of This paper explores Capoeira as a Blackwomen,” by Amara Tabor-Smith. movement form which, emerging from It subverts traditional approaches to [email protected] MASTURZO slavery, is martial-art-disguised-as- criticism, revealing how ritual and dance, and is a practice of conflict digital technologies work in tandem Embodiment and Community Ethics: and cooperation simultaneously. We to create “mutual vulnerabilities” Interrogating the Transformative look at how movement expressive that supplant the role of a critic as Potential of Collaborative Public Art of both aggression and compassion evaluator, documentarian, or judge. Friday, 5:00 - 6:30 p.m., unfolds against a multivalent backdrop Valletta Campus, Level 1, of safety and danger, etiquette and Kate Mattingly is an Assistant Professor Lecture Room 1 chaos, individual aesthetics and a in the School of Dance at the University collective ethos of empowerment. of Utah where she teaches courses in Advocates of relational aesthetics Through continuous negotiation dance histories, criticism, and theory. contend collaborative, public art of initiation and response, players She received her doctoral degree catalyzes social environments and can find an equilibrium of opposition in Performance Studies from the create transformative moments. Yet and resolution, independence and University of California, Berkeley. feminist critiques question the quality interdependence. Capoeira reflects of relationships cultivated in such and responds to violence even as activity and the degree to which such it improvisationally embodies the projects replicate or resist prevailing principle of cooperation; as such, cultural narratives. The inevitable dissonance is subverted by its own [email protected] MAXWELL tensions of public collaborative creative forces into consonance. processes provide a meaningful ground Independent Dance in Chile: Practices to test feminist theories of relational Holly Fishman Matthews is an of Resistance against the Dictatorship autonomy, particularly by teasing out independent dance artist in the the role of artist/organizer from that USA and Canada. She holds an MFA Friday, 2:30 - 4:30 p.m., of the often anonymized community in Dance and BA in English. Most Valletta Campus, Level 2, participant. The moving body is recently, she was Lecturer in Dance Lecture Room 3 central to understanding how artistic at Eastern Michigan University. She expression can approach any goal of teaches flamenco dance and contact Chile, During Pinochet’s bloody cultural understanding in response to improvisation, and is an ardent dictatorship a form of independent loss and cultural violence. student of Capoeira. dance – both economically and

118 NOPQRSTUVWXYZ

ideologically – and resistant erased, practiced discreetly passing a protest message and strengthening a rebel community. This dance drew its roots of what remained of the dance techniques brought from Europe and the artistic explorations of its choreographers. Near twenty years later, the Chilean independent dance followed its path, crossed the periods of transition, post-dictatorship and escorted the social and cultural changes. The aim of this presentation is to decipher the resistant nature of the independent dance in Chile from the mid-1970s until 1990, when the Chilean civil/military MUSIC IN MOTION REHEARSAL 2017 dictatorship was oficially over. University of Malta Department of Dance Studies in collaboration with Modern Music Days and Valletta 2018. Photo: Rafael Mielczarek PhD in Art, Adeline Maxwell is director of the Corporality and Performing Arts Research Center, author/editor in DanzaSur-platform, director of the serve to further normalize able-bodied, marital discord. For Alan Brissenden, workshop Cartografías-Imaginarias, racialized, heteronormatively sexualized ‘Shakespeare uses dance for its powerful founder of the Colloquiums-on-Dance/ articulations of the body and individual, symbolic qualities to signify order and Gender and the Dance–Festival–in– thereby perpetuating “symbolic harmony’. But while Brissenden – author Non–Urban–Space. She is currently violence” through embodied forms. of the seminal 1981 study Shakespeare making her post-doctoral research at and the Dance – acknowledges dance’s Montpellier University. I am currently writing my Master’s thesis allusive qualities, he may underestimate on intersections of ballet, nationalisms, its capacity for representing disorder and modernities in Gender Studies at and disharmony. This paper considers Queens University. I also have a Master’s Shakespeare’s employment of dance, degree in Political Studies. I work as a not as conflict management, but as a [email protected] MAZUROK ballet instructor and hold the Diploma powerful expression of dissonance. of Dance Teaching Studies from the Assembly, Protest and Social Royal Academy of Dance. Dr. Lynsey McCulloch is Senior Lecturer Choreographies: Rethinking in English Literature at Coventry Embodiment and Movement University and an Associate Member of in Public Space its Centre for Dance Research (C-DaRE). She is currently editing The Oxford Saturday, 9:00 - 10:30 a.m., [email protected] MCCULLOCH Handbook of Shakespeare and Dance Valletta Campus, Ground level, with Dr. Brandon Shaw. Meeting Room 1 Dance and Disharmony in Shakespeare’s Drama Acts of assembly generally follow normative social choreographies or, Saturday, 3:00 - 5:00 p.m., in the case of protest, disrupt them. Valletta Campus, Ground level, [email protected] MCJANNET While these acts articulate a “we” for Meeting Room 1 a specific purpose, their performativity Fighting words, Fighting Movements: often works to reinforce the very Dance as a vehicle for reunion and Choreographing Physical Conflict paradigms they contest. This paper reconciliation is entrenched within early in Shakespeare argues that moments of synchronized modern drama. At the conclusion of A Midsummer Night’s Dream, Oberon assembly, protest or dance in public Saturday, 3:00–5:00 p.m., space while, on the one hand disrupt and Titania dance – ‘new in amity’ Valletta Campus, Ground level, social choreographies, on the other (4.1.86) after the resolution of their Meeting Room 1

119 ABCDEFGHIJKLM

While exploring the importance of mass consumer culture, these dances dance, engaging mediums such as dance in Shakespeare’s texts and in have been reinterpreted as means of film and text. His work focuses on hip modern productions of them, I have subjective empowerment by performing hop for the proscenium stage. Medina heretofore assumed a distinction the sexed body. Hence, this study draws is an Assistant Professor of Dance at between “fight choreography” and on the critical perspectives of Gender, California State University, Long Beach. choreography more generally. This Cultural and Postcolonial Studies to paper will revisit this distinction, develop a comparative analysis that, exploring its origins in theoretical focusing on their current significance hierarchies of movement and in to experience identity processes, professional self-identification and contributes to interpret the endurance [email protected] MEDURI hiring practices and argue for its of American cultural imaginary since claim to equal status with other the Cold War. Global Dance Studies in Britain forms of stage movement. Examples discussed will include the gas-station Graduated (BA Hons) in Geography and Saturday, 9:00 - 10:30 a.m., gunfight and feud-related brawls in History, section Art History, in 1987. Valletta Campus, Ground level, Baz Luhrmann’s Romeo + Juliet (1996), Doctor from University of Valencia Meeting Room 4 and the duel scene in Simon Godwin’s (Gender Studies Department) in 2016, Hamlet, with Paapa Essiedu (Royal magnum cum laude. Currently, museum My paper discusses the global Shakespeare Company, 2016). assistant at the City Council of Ibiza, institutionalization of South Asian independent researcher and member Dance in Britain within the larger, Linda McJannet is Professor of English of Spanish Association Danza más historical framework of British and Media Studies, Emerita, at Bentley Investigación. multiculturalism, cultural diversity University, Waltham MA, and a co- and dance interdisciplinarity, which founder of the Shakespeare and Dance I explore from within a global Project (www.shakespeareandance. perspective. com). Her work on dance has appeared Avanthi Meduri is a scholar/dancer/ in Dance Chronicle, Shakespeare [email protected] MEDINA Bulletin, and Borrowers and Lenders and actress/playwright/curator and builder of programs. She holds the post of is forthcoming in The Oxford Handbook I Gotta of Shakespeare and Dance (2018). Reader in Dance Studies at the University Saturday, 3:00 - 5:00 p.m., of Roehampton University, London, is Valletta Campus, Ground level, Research Degrees Convener and Ex- Meeting Room 5 Convener of the first global South Asian Dance Studies program in the UK. MARÍA DOLORES I Gotta incorporates a series of “Power Moves” in b-boy practice, interspersed [email protected] MEDIALDEA with text. The dance is inspired by a power move known as a ‘windmill’ Feminine Nightclub Dances Revival where a breaker rolls his torso in a [email protected] MELPIGNANO and the Global Market: Commodification, circular path on the floor, on the upper Western Erotic Imaginaries and Cultural back, while the pelvis rotates in the air Ideologies Contended: Dancing Stereotypes as the legs swing through in a ‘V’ shape. Israel in the Cold War The work reflects on themes of hyper- Sunday, 10:15 - 11:45 a.m., Valletta Campus, Ground level, masculinity, sexuality, and power in Sunday, 8:30 - 10:00 a.m., Meeting Room 3 vulnerability. The soloist battles himself Valletta Campus, Ground level, by replacing breaking’s battle cypher Meeting Room 5 This paper examines the consecutive with meta-commentary, becoming the The 1950s and 1960s are fundamental popularization of two nightclub dances, spectacle for the theater’s audience as for the internationalization of Israeli belly dancing and burlesque (namely, he faces an unseen crowd rather than a concert dance and its afirmation striptease), as an urban phenomenon known opponent. on the domestic scene. This paper of globalized societies that matches unpacks the ideological tensions at late capitalist trend of commodifying Julio Medina draws from various work in this crucial moment in which both sexuality and nostalgia. Moving movement styles such as breaking, Israel’s dance politics rely on values from adult entertainment circuits to Latin social dances, and modern

120 NOPQRSTUVWXYZ

fostered by both Cold War blocs. By (research project: Fencing and Dancing analyzing Batsheva de Rothschild’s manuals in the Italian Quattro and [email protected] MIKOU writings, the Israeli staging of Graham Cinquecento); Tutor for Historical and Robbins, and institutional and Dance since 2012; Lecturer for Bodies in Confined Sites diplomatic policies, I will demonstrate Historical Dance at Saarland University how, in the 1960s, Israel’s concert 2017/2018. Freetime historical costume Saturday, 3:00 - 5:00 p.m., dance becomes the stage for the designer and miniature portraitist. Valletta Campus, Ground level, hegemonic afirmation of Western Meeting Room 6 values (which paved the way for the future development of a recognizable Oltre I Confini is an overarching “Israeli dance” identity). choreographic project directed by Italian choreographer Vito Alfarano [email protected] MIAO Melissa Melpignano is a Ph.D. candidate and it has emerged from a series of movement and voice laboratories that in Culture & Performance at UCLA. The Creation of Chinese Modern Dance— involved the inmates of the prisons at She owns an MA from the University ADF in Guangdong(Canton) during China’s Rovigo and Brindisi in Italy. Positioning of Lugano (CH), a BA in performance Early Reformation Period studies (University of Venice, Italy), and the project in a broader frame that BA in contemporary dance (The Place, Sunday, 8:30 - 10:00 a.m., deals with the overall rehabilitation London). She is the recipient of the 2014 Valletta Campus, Level 2, scheme of dance and performance Selma Jeanne Cohen award. Lecture Room 2 arts in Italian prisons, I will attempt to bring Oltre I Confini in dialogue This presentation explores the with socially engaged choreographic composition of Chinese modern dance practices mainly derived from the in a cross-cultural dance project Mediterranean Area. What kind of between the American Dance Festival dynamics dance has managed to [email protected] METTEL and the Guangdong Dance School activate and what kind of conflicts has that generated China’s first modern managed to resolve? The Art of Dancing as Part dance company in 1992. I argue that of the Historical Martial Arts? the tools that American teachers Ariadne Mikou (PhD in Choreographic Sunday, 8:30 - 10:00 a.m., introduced to deconstruct Chinese Research; MFA in Dance) is an Valletta Campus, Ground level, traditional dance contained specific independent artist-researcher and Meeting Room 2 concepts of modernism defined dance scholar. Her research has in the American cultural context, been supported by IKY, The Ohio In Early Modern Europe, dancing which differed from the meaning State University and the University of lessons were often a part of the military of modernism in China. Thus the Roehampton. She has taught in various education. Since the 17th century application of these tools produced academic and community settings and fencing and dancing was linked to a version of Chinese modern dance her articles have been published in academic schedules and part of the satisfactory to American audiences peer-reviewed journals. physical education of the oficer‘s rank but alien to local Chinese audiences. until the „Ritterakademien“ in the 19th century. Research in comparing military Fangfei Miao is a PhD candidate education (historical martial arts) and in the Department of World Arts dancing can be traced back to the early and Cultures/ Dance at UCLA. Her [email protected] (RAY) MILLER Renaissance. Comparing both fencing dissertation theorizes a cross-cultural and dancing manuals the question dance program between the U.S. Pedagogical Practices in Teaching arises to what extent both disciplines and China that took place from Dance History(s) in the 21st Century refer to a similar exercise concerning 1987–1992. Miao explores the fusion steps and practice as well as the and collision of corporeal cultures as Friday, 11:30 a.m. - 1:00 p.m., usefulness of knowing period dancing demonstrated in this project. Valletta Campus, Ground level, to perform period fencing. Meeting Room 4

Michaela Mettel is a Ph.D. Candidate Those who teach Dance History(s) are Saarland University, Department continually challenged to redefine of Early Modern History since 2016 what could/should be included. In

121 ABCDEFGHIJKLM

addition to the “what” of it, the “how” film critiques growing repressive of it may be the more pertinent conservative powers in America by [email protected] MOKOTOW question. Scholarship in teaching depicting the perversions of Nazi and learning (SoTL) demands that tyranny that seem pertinent to the Dancing behind the wire: choreographed we interrogate the assumptions we current political climate. bodies in protest make regarding what constitutes learning in historical study. This Dara Milovanovic is an Assistant Saturday, 9:00 - 10:30 a.m., author will address challenges and Professor of Dance at University Valletta Campus, Ground Level, opportunities related to pedagogical of Nicosia, Cyprus. She is currently Meeting Room 5 strategies that informs our teaching pursuing her PhD in Dance Studies at – from those of new and emerging Kingston University, London and holds The action of children in immigration technologies impact not only what is an MA in American Dance Studies from detention in Australia, who wrote studied but how to issues of cultural Florida State University. Her research on their shirts, then sat, arms raised relativity, appropriation, embodied interests include cultural analysis of and wrists crossed, presented a pedagogy and even conflicts within popular and screen dance. choreographed and political, albeit our field of study. silent and faceless, dance between wire and freedom. These, and similar Ray Miller, professor in Dance Studies protests by men in refugee-detention on and Theatre Arts at Appalachian State Manus Island, exploit choreographed action as empowering political event. As University, has served as President [email protected] MITRA for CORD and currently serves as inter-action (Barad), the choreography gains further power as sympathizer/ the Vice President for Professional Agonistic Acts: Anti-Racist and Decolonial activists in protest, replicate the actions Development for DSA. He has Interventions for Dance Studies published chapters and articles on of the detainees as a form empathetic dance dramaturgy, musical theatre Sunday, 1:15 - 3:00 p.m., resistance. This paper explores the dance, and dance pedagogy. Valletta Campus, Level 1, Aula Magna efects of choreographed ‘action’, and wonders, can a dance of resistance seed I will argue for decolonising dance a political outcome. studies by ‘making space’ for the inclusion of practices, voices, Anny Mokotow is a dramaturg, performer embodiments, philosophies and and lecturer. She worked for many years [email protected] MILOVANOVIC critical concepts beyond the in the Netherlands and Europe. She has a PhD from the University of Melbourne Cabaret: A Study of Fascism, predominantly pervasive Euro- on Dance and Dramaturgy. Her interests Sexuality, and Politics American canon. Starting from the premise that space is finite, I lie in contemporary performance, the Saturday, 3:00–5:00 p.m., would like to propose that the act visual arts and their social and cultural Valletta Campus, Ground level, of ‘making space’ is a decolonial act implications. Meeting Room 3 which has the potential to disrupt inherent power structures, with a In Cabaret (1972), Bob Fosse combines view to rearranging them, thereby efervescent music and dance centralizing narratives, voices and numbers with grotesque content practices that have hitherto been JEANETTE including violence, brutality, and marginalized. [email protected] impeding war, to create subversive commentary on authoritarian politics. Royona Mitra is the author of Akram A shifting focus: the dynamics of change The contradictory aesthetics of Khan: Dancing New Interculturalism in Irish step dance competitions Nazism serve as manifestations of (Palgrave; 2015), which was awarded spectacle that fuel the musical genre the 2017 de la Torre Bueno First Saturday, 11:00 a.m. - 1:00 p.m., of Cabaret in an unlikely manner as a Book Award by DSA. She is a Senior Valletta Campus, Level 1, fascinating macabre subject matter. Lecturer in Theatre at Brunel Lecture Room 1 The film presents a stylized historical University London and her scholarship account of war, seeds of genocide, and addresses intersectionalities between Step dancing was appropriated by authoritarian politics that reflected the race, gender, nation, sexuality and Ireland’s Gaelic League as a means 1970s America. Cabaret as a politicized postcoloniality. of fostering cultural and political

122 NOPQRSTUVWXYZ

allegiance. Focusing on Australian itself at times at odds with the tragic dancers, this paper identifies gist of Shakespeare’s play. This paper [email protected] MOORE catalysts of change within the genre’s focuses on Preljocaj’s responses to such competitive framework. Historically, tensions between text and music and No Collisions: Ballroom Dance discourses of legitimacy, authenticity examines how he integrates them into as an Antidote for Conflict and Irish identity were privileged, his vision of the ballet. and competitions were mounted in Sunday, 10:15 - 11:45 a.m., public arenas. Currently, the focus Nona Monahin. Five College Early Valletta Campus, Ground level, is on individual reputations, and Music Program, Mount Holyoke Meeting Room 5 competitions are sequestered within College, Massachusetts. Areas of the community of dance adherents. research: dance-music relationships, In “Master Harold” … and the Boys, Both the broader socio-cultural Shakespeare and dance. South African playwright Athol Fugard landscape and the metamorphosis used competitive ballroom dance of the genre, from ethnically-specific as a metaphor for a world without custom to poly-cultural global conflict. Pierre Dulaine, champion phenomenon, continue to generate ballroom dancer, has taken the analogy more seriously. Since 1994, dynamics which continue to transform [email protected] MONTEIRO step dancing’s competitive ethos. his Dancing Classrooms program has helped American, Israeli, and International Dancehall Queen Palestinian middle school students Jeanette Mollenhauer has recently Competitions: Spectacles of Nationalized learn to dance together. Drawing on completed her PhD, which focused on ‘Diference’ or Transnational Exchange? traditional dance in the Irish and Croatian three films based on Dulaine’s work, communities in Sydney. Several peer- Sunday, 10:15 - 11:45 a.m., this paper examines how the Dancing reviewed publications have resulted Valletta Campus, Ground level, Classrooms approach engenders mutual from her research and she has presented Meeting Room 4 respect, sportsmanship, and elegance, her work at several international transforming young people and laying conferences. She is the current Vice- Dancehall Queen Competitions are the foundation for a world where, as on President of Folk Dance Australia. underwritten by discourses surrounding the dance floor, there are no collisions. the nation. Dancers represent ‘their’ nation through costume and movement, Carol-Lynne Moore, PhD, has been yet irrespective of national identity, they involved in the field of movement study also systematically identify with Jamaica for over 35 years, combining interests – the original dancehall space (Niaah, in dance, nonverbal communication, [email protected] MONAHIN 2010), in their self-styling practices. and human behavior. The author of Dancehall’s image as quintessentially Meaning in Motion (2014) and Beyond Text, Music, Dance: Conflicting Jamaican, yet simultaneously global, Words: Movement Observation and Allegiances in Angelin Preljocaj’s speaks to the complexities inherent to Analysis (2012), she currently directs “Roméo et Juliette.” nation-state building in a postcolonial MoveScape Center in Denver, Colorado. Friday, 2:30 - 4:30 p.m., era. At a time of major globalisation Valletta Campus, Level 2, anxiety (Johnson, 2011), this presentation Lecture Room 2 reflects on how experiences of embodied synchronicity and exchange ofer routes Choreographers working with a through which transnational tensions and [email protected] MOORE preexisting literary text and musical imbalanced global power regimes may score are sometimes faced with be explored and negotiated. Breaking Barriers in Honolulu conflicting allegiances, since there Through Hip Hop are at least two “original sources” to Celena is a Lecturer in Dance at consider, sources that may occasionally Kingston University and is also currently Saturday, 11:00 a.m. - 1:00 p.m., contradict one another. Angelin writing up her PhD, which looks at the Valletta Campus, Level 1, Preljocaj’s version of Romeo and Juliet transnational dynamics of Dance Queen Lecture Room 1 re-imagines Shakespeare’s tragedy as Competitions. Celena holds a Masters in a clash between social classes, set in Dance Anthropology from the University According to oficial rhetoric, Hawai’i is a surreal, totalitarian dystopia. Sergei of Roehampton and a BA in Dance and a “multicultural melting pot.” However, Prokofiev’s score of the same name is Culture from the University of Surrey. tensions exist between ethnic groups

123 ABCDEFGHIJKLM

due to the complex colonial history of Margaret Morley is a Ph.D. student in the Islands. Drawing on ethnographic [email protected] MORLEY Anthropology at Indiana University, ﬁeldwork, this paper examines the where her research focuses on the multicultural community of b-boys in Dancers Inciting Debauchery: impacts of tourism and politics on raqs downtown Honolulu. Breaking is a highly Legitimizing the New Egyptian Regime sharqi in Egypt. She holds an MA in athletic and competitive dance form Middle Eastern Studies from SOAS and in which individual dancers “battle” Friday, 11:30 a.m. - 1:00 p.m., a BA in Theater and German Studies one another for prizes and audience Valletta Campus, Ground level, from Oberlin College. accolades. Nevertheless, interviews with Meeting Room 1 the dancers themselves and observations of breaking events and dance practices Although many performers of raqs suggest that, rather than fueling conﬂict, sharqi (an Egyptian dance known as “belly dance” in English) felt that breakdancing actually fosters close- [email protected] MORRIS knit social relations, not only between business was bad when the Muslim Brotherhood was in power, they crew members, but within the broader The Evolution of English Ballet Style breaking community in Honolulu. expected their position to improve under the ostensibly more secular Friday, 11:30 a.m. - 1:00 p.m., Kiyomi Moore has a Master’s degree General Abdel Fattah al-Sisi. Instead, Valletta Campus, Level 2, in Cultural Anthropology from dancers are under increasing legal Lecture Room 3 the University of Hawai’i Mānoa. pressure to exhibit less skin and Her research interests include dance less sexually. I will argue that This paper examines how wartime globalization, education, popular prosecuting the supposed immorality of deprivations ultimately shaped English culture, dance, and Hip Hop, with belly dancers lends an air of legitimacy ballet style. Drawing on rare syllabus a focus on Japan. She is a hip hop to Sisi’s regime as he is seen to be material and on historical and cultural dancer herself, and she has conducted pursuing policies ostensibly desired by material from dance writers and research in both Japan and Hawaii. the Islamists he ousted. popular culture, the paper will use a

DIASPORA 2017 By Francesca Tranter. Contact Dance Company, Malta. Photo: Emma Tranter

124 NOPQRSTUVWXYZ

range of sources. Films from the 1950s expressed by dance teachers and demonstrate the stylistic aspects Council staf as they respond to an [email protected] MUELLER of the technique and these will be increase of cultural diversity. used to support the paper. The links When English Folk Dance and Hip-Hop between ballet and the war have been Kristie Mortimer is currently a Doctoral Collide: Contrast, Common Ground, and thoroughly documented in Karen Eliot’s Candidate in Dance Studies at the the Transformation of Public Space excellent book. This paper builds on University of Auckland. She also works this by demonstrating how war actually with youth through afterschool dance Friday, 11:30 a.m. - 1:00 p.m., lead to the development of a unique programs and community dance Valletta Campus, Ground level, English style of moving. initiatives. Her key research interests Meeting Room 2 are in community dance practice, Geraldine Morris is a Reader in dance education and youth within On center stage in Trafalgar Square at Dance Studies at Roehampton diverse contexts. England’s Feast of St. George’s Day, one University. Her teaching and research might expect performances that evoke interrogates ballet from historical and a nostalgic sense of English cultural philosophical perspectives. Her book lineage. Instead, amongst 2017’s diverse Frederick Ashton: Style, performance, line-up of performers, one company fuses English folk with hip-hop. This Choreography was published in 2012 [email protected] MOVE and, together with Larraine Nicholas, anthropological analysis explores how Folk Dance Remixed, a touring street she edited Rethinking Dance History: Dancing in the Devil’s Excrement – festival company, invites a playful re- Issues and Methodologies. The Vibrant Elegy of Molissa Fenley’s imagining of ‘Englishness’ as it explores Floor Dances (Requiem for the Living). the contrasts and commonalities of Friday, 5:00 - 6:30 p.m., two seemingly disparate genres. In the Valletta Campus, Level 2, divisive age of Brexit, I argue that there Lecture Room 3 is a heightened significance to how [email protected] MORTIMER this entangled product symbolically This essay examines Floor Dances occupies and transforms ‘folk,’ ‘hip-hop,’ Blenheim as a ‘Dance Bantustan’: (Requiem for the Living), Molissa Fenley’s and British public spaces. An exploration of how dance teachers solo response to the environment in and governance are responding to an crisis created at the time of the tragedy Katherine Mueller is a doctoral increase in immigration and separation that it embodies, the 1989 Exxon candidate in Anthropology at the within the Blenheim community. Valdez oil spill in Alaska. Fenley’s elegy University of Connecticut. Her research Saturday, 11:00 a.m. - 1:00 p.m., develops from a reciprocal animism with focuses on intercultural collaborations Valletta Campus, Ground level, mediated images of the event that resist in the performing arts in London. She has Meeting Room 1 entropy with vibrant agency. An animism a BA in Dance from Connecticut College, of enfleshed temporalities that exist in MA in Anthropology from UCONN, and This presentation explores the how the life and afterlife of archival artifacts, MA in Dance Anthropology from the dance teachers and governance and the life and afterlife of wildlife that University of Roehampton. in Blenheim, New Zealand, are the spill entombed with oil, named el responding to the increase in diversity excremento del Diablo or the devil’s through the immigration of Pasifika excrement, by an OPEC founder, Juan youth. People are increasingly Pablo Pérez Alfonso. immigration to Blenheim, resulting [email protected] MULLIS in conflict and separation within the Richard Move is Director of MoveOpolis! community, as it appears that Blenheim a TED Fellow and Assistant Professor at Ethics, Choreographic Witnessing, is a ‘dance bantustan’. Through Queens College, CUNY. Commissions and the Urban-Rural Divide doctoral research, this study utilizes include works for Mikhail Baryshnikov, ethnographic interviews with dance European Cultural Capitol, Guggenheim Friday, 2:30 - 4:30 p.m., teachers, council members, and wider Museum, Deborah Harry and Shirley Valletta Campus Theatre community in Blenheim. The study Bassey. Films include Bardo, BloodWork— seeks to investigate this paradigm of Ana Mendieta, GhostLight and GIMP. This project draws on extensive ‘dance bantustan’, and explores the Martha@..., Move’s performance of academic, ethnographic, and perceptions, responses and challenges Martha Graham tours globally. practical research on ecstatic

125 ABCDEFGHIJKLM

states in Appalachian Charismatic Julie Mulvihill holds a PhD in Dance Pentecostalism. The research has Theory and Practice with a focus of [email protected] MUNRO culminated in a postdramatic dance making within groups. She dance theater piece that, among teaches at Bridgewater State University Choreographing the Audience – other things, functions as a form of and in the Boston Public Schools. Julie collective, immersive, political artistic witnessing aimed at fostering has presented work all over the world consideration of the urban-rural and has practiced all kinds of dance Sunday, 8:30 - 10:00 a.m., divide in the Southeastern United with all kinds of people! Valletta Campus, Ground level, States. It considers how dance Meeting Room 4 artists uniquely contribute to such considerations, how performance I exam the choreography of the engages with the politics of conflict audience, drawing on Gorz’s (2007) theory of the collective and I stress an characteristic of fundamentalist [email protected] MU Christianity, and what occurs when anti-neo-liberal approach to immersive dance. Analysing the practice of the pluralist artistic witnessing and The Individualized Choreography immersive dance work, Rope Piece, I religious witnessing aimed at spiritual in the Name of “Folk Dance” in China conversion intersect. consider the scenography of a large Friday, 2:30 - 4:30 p.m., shipping rope that sculpts space for Eric Mullis recently received an MFA in Valletta Campus, Level 1, the audience, alongside as a series of Dance from the University of Wisconsin Lecture Room 1 verbatim text questions concerned (Milwaukee) and received a Ph.D. in with soft, intimate and state borders. I Philosophy from the University of South With the frequent dance exchanges suggest that this collective encounter Carolina in 2005. ericmullis8.com between China and foreign countries with borders, both experienced and and regions, the original deep-rooted represented, in an immersive dance concept system of Chinese dance has work can generate a development gradually been challenged during of diversity, rather than neo-liberal the cooperation and communication individual consumerism in much with artists and educators. According immersive performance, as Alston, [email protected] MULVIHILL to the standards of national attribute, (2016) suggests. historical time and space, cultural Collaboration in Dance Making: holders respectively, the speech will As a choreographer, I hold a practice Conflict, Compassion, Creation discuss the academic concepts of as research PhD on Immersive Saturday, 11:00 a.m. - 1:00 p.m., “national or ethnic dance”, “traditional Contemporary Dance. I teach dance Valletta Campus, Level 2, dance” and “folk dance” in Chinese and contemporary performance at Lecture Room 2 dance communities, including the the Central. My research examines mixed understandings of “folk dance” experiential immersive dance and Through collaboration, dance makers as well. Our understanding of Folk draws on somatic movement practices think together and are changed by Dance difers not only from the and dance improvisation. It examines the relational dynamics of their dance international understanding, but the political potential of aesthetic making communities. Holding the also from other literary and artistic immersive performance for building relationships in the process as essential, classifications in China. community. dance makers create each other as they make the dance together. In this Mu Yu, Ph.D. in Dance Studies, is paper, I will present the philosophy of a professor of the Beijing Dance relational being through investigating Academy. She was a visiting scholar practices of collaborative dance at London Contemporary Dance JACQUELINE making and how those practices may School in 2008, American Dance [email protected] MURPHY engender skills that are universal Festival and NEA Arts Journalism in scope for understanding and Institute in 2010, Queens College Choreographies of Indigenous communicating with other people. An in 2010–2011. Mu has published Abun-dance exploration of the experiences of dance books published on Chinese dance makers invites an inquiry of how people choreography analysis. Saturday, 3:00 - 5:00 p.m., create, maintain, and sustain positive Valletta Campus, Level 2, relational connections amidst conflict. Lecture Room 3

126 N OPQRSTUVWXYZ

This paper puts decolonial scholar choreographer, proposed a project Zionism. Arnon’s dances, I argue, Patrick Wolfe’s now-familiar discussion involving the Tamil bharata natyam encouraged Jewish scouts to re-imagine of colonization as a structure, not an teacher Sharmini Kavithasan and their identities from that of victimized event, into dialogue with dance scholar sixteen children of the “Associazione to victorious. Randy Martin’s reappraisal of dance’s Unione dei Tamil d’Italia”. “derivative” capacities “as a kind of Gdalit Neuman is a PhD candidate abun-dance,” and with new work by Since the migrants involved in the in Dance Studies at York University Indigenous dance artists. I focus on how project were Tamils from Sri Lanka, in Toronto. She has taught ballet Santee Smith’s Neo-IndigenA and Tanya the final performance also included technique and pedagogy at Canada’s Lukin Linklater’s “how we mark land and revisited choreographic fragments of National Ballet School and York how land marks us” embody durational their repertoire illustrating the war. University. Gdalit’s research interests regenerative “abun-dance.” Their As a consequence of this choice, the involve dance and contemporary sensorial engagements with layered, Italian audience encountered a dance Jewish history. ongoing, re/in/surgent Indigenous technique in which a faraway conflict durationality, I argue, inhabit Indigenous was represented. continuity in the face – and outside of – ongoing structures of coloniality, Cristiana Natali, PhD, is a researcher in countering the “conflict” of Indigenous Cultural Anthropology and Ethnology [email protected] NICHOLAS disappearance that structures Euro- at the University of Bologna (Italy). American modernity. She conducted research in the LTTE (Panel) Post-war British Dance: ballet, (Liberation Tigers of Tamil Eelam) class, conflict and the popular (Paper) Jacqueline Shea Murphy is associate controlled areas in Sri Lanka between Atlantic Crossings: Film Representations professor in dance at UC Riverside, 2002 and 2006 and has been working of the Windmill Theatre in the 1940s and author of “The People Have Never with the Tamil Diaspora, particularly in Stopped Dancing”: Native American Italy, since 2000. Friday, 11:30 a.m. - 1:00 p.m., Modern Dance Histories. She directs Valletta Campus, Level 2, regular “Indigenous Choreographers at Lecture Room 3 Riverside” gatherings, and is completing a new book, Choreographing In the immediate post-World War II Resurgence: Indigenous Dance Artists years, two musical films ostensibly [email protected] NEUMAN Re-Making New Worlds. depicted onstage performances at the Windmill Theatre in Soho From Victimized to Victorious: which produced continuous variety Re-Imagining Identities through Dance performances (1932–1964) including the famous fan dances and nude static Friday, 5:00 - 6:30 p.m., Valletta Campus, Level 2, tableaux and which became a byword N Lecture Room 3 for British defiance during the Blitz. From an American studio, Tonight Following the Holocaust in Hungary, and Every Night (Columbia, 1945) [email protected] NATALI the late Yehudit Arnon, Israel’s with choreography by Jack Cole is contrasted with its low budget British Echoes of a remote conflict in the Kibbutz Contemporary Dance counterpart, Murder at the Windmill encounter between contemporary Company’s founding Artistic Director, (Daniel Angel Films, London, 1949) dance and bharata natyam choreographed dances of protest and empowerment with the participation choreographed by Jack Billings. The Saturday, 11:00 a.m. - 1:00pm, of hundreds of Hungarian child films open up discussion of screen Valletta Campus, Ground level, Holocaust survivors, in the framework and theatre choreography across the Meeting Room 1 of Hashomer Hatzair (the Young Guard) Atlantic in this period. Zionist Youth Movement. Her mass In January 2017, the Italian Ministry for gymnastics and folk dance displays Larraine Nicholas is an Emeritus Arts and Culture promoted an initiative challenged practices of violence and Fellow at the University of for projects promoting an “intercultural war by presenting performers and Roehampton, London. Authored books: dialogue”, especially with “second audiences alike with then-progressive, Dancing in Utopia: Dartington Hall generation” young migrants. Simona alternative and utopian worldviews and its Dancers (2007); Walking and Bertozzi, an Italian contemporary dance such as Marxism and socialist labour Dancing: Three Years of Dance in

127 ABCDEFGHIJKLM

London, 1951–1953 (2013) and she is In this discussion, I take up Eve Tuck co-editor of Rethinking Dance History, [email protected] NWARU and K. Wayne Yang’s provocation that 2nd edition (Routledge, 2018). decolonization is not a metaphor. I Representing Violence and War expand upon Tuck and Yang’s ideas to through Choreographic Practices: investigate the role of universities in The Iri-Agha Instance fostering or contesting the economic exploitation exercised by expansionist [email protected] NIKULINA Sunday, 10:15 - 11:45 a.m., neocolonialism. In a neoliberal context, Valletta Campus, Ground level, the arts and humanities frequently Meeting Room 6 Ukrainian State Ballet Schools as a justify themselves via their ability Site of Conflict between Russian Neo– to produce innovation and creative In Africa, dance art is being experience Imperialism and Post-Soviet Nationalism thinking. While diversity, creativity, in almost every stages of human and failure can be celebrated within Saturday, 9:00 - 10:30 a.m., life. Most traditional dances do not neoliberal frameworks, a politics of Valletta Campus, Level 1, just occur, they were created and dissent remains castigated as a “liberal Lecture Room 3 performed to suit and represent bias”. Here, I consider how dance diferent events and can be grouped studies, in particular, can support a This study explores the conflict into categories such as birth, death, politics of disagreement. between Post-Soviet nationalism war, initiation and ritual. This paper, and Russian imperialism through the seeks to address the question “How Author of Risk, Failure, Play: What prism of dance training at the state has choreography represented, Dance Reveals About Martial Arts ballet schools of Post–Soviet Ukraine. exposed, or challenged practices of Training and At Home in the World: I rely on a combination of archival violence and war?” The researcher Bharata Natyam on the Global Stage, and ethnographic methodologies to carried out his investigation through Janet O’Shea is Professor of World Arts examine and interpret the history and interview and observation and and Cultures/Dance at UCLA. current state of Ukrainian ballet and its concluded that the creation and relationship to state power. Through my structuring of traditional Iri-Agha analysis of ballet training and dancers’ dance was intended to represent the narratives across state-sponsored violence and war in Ohafia. Post-Soviet institutions, I reveal [email protected] OFAMO’ONI how cultural tensions and national Christian Nwaru worked with the Imo identities are formulated, perpetuated, State Arts Council and the National Wayfinding Tertiary Dance and, at the same time, resisted by Troupe of Nigeria as a dancer/actor. as a young Pasifika man the ballet teachers, choreographers, Chris has published articles locally administrators and students. and internationally. Chris graduated Sunday, 8:30–10:00 a.m., from the universities of Calabar (B.A), Valletta Campus, Ground level, Ania Nikulina is a Ph.D. Candidate in Ibadan (M.A), and Northampton, UK Meeting Room 1 Critical Dance Studies at the University (Ph.D.). He lectures at the Imo State of California, Riverside focusing on University, Nigeria. Dance remains a contested site within state-sponsored ballet as a site of New Zealand tertiary institutes, as cultural tension. Her dissertation diverse pedagogical approaches project explores Post-Soviet ballet seek to address the decolonization of in Ukraine, as a site of Russia’s long- knowledge within a Pasifika context term cultural influence and emerging (Buck & Rowe, 2015). This contestation Ukrainian artistic resistance to it. O inevitably influences Pasifika students educational/career decisions, afecting considerations over how, where, and [email protected] O’SHEA why they might enroll in tertiary dance. Agonistic Acts: Anti-Racist The research question: “How might and Decolonial Interventions cultural values related to family, afect for Dance Studies young Pasifika men’s attitudes before enrolling in, and during tertiary dance Sunday, 1:15 - 3:00 p.m., education in Auckland?” examines Valletta Campus, Level 1, Aula Magna challenges expressed by Pasifika men

128 NOPQRSTUVWXYZ

entering, continuing and completing a tertiary dance degree, whilst staying OLUWATOYIN aligned with their cultural family [email protected] P values, pressures and expectations.

Re-defining Dance Thrusts in 21st Century: [email protected] PANOURGIA Jasmin is of Tongan descent. She A paradigmatic Assay of Osofisan’s recently graduated The University of “Yungba Yungba” Towards Leadership A field of conflict: The Higher Private Auckland, New Zealand with a Bachelor institution and Conflict Resolution of Dance Studies (Honors) and will Professional Dance Schools in Greece and the Hellenic Ministry of Culture and Sports pursue her Dance Studies (Masters) Saturday, 3:00 - 5:00 p.m., in 2018. Jasmin hopes to continue Valletta Campus, Level 1, Saturday, 9:00 - 10:30 a.m., Lecture Room 3 researching Pasifika issues in dance/ Valletta Campus, Ground level, education, aiming to create a stronger Meeting Room 4 support-system for Pasifika youth in Prior to the 21st century, dances in their education and communities. Africa were created predominantly This paper sets out to provide an for marking life’s experiences. Taking insight into the conflicts that are roots from the 18th century with human present within dance studies in Greece. divergent and non-corseted means The current training system presents of bodily/gestural expressions which two major drawbacks. Firstly, the [email protected] OLSEN gave rise to the birth of modern dance, curriculum of the contemporary dance this period pivoted nonrestrictive training system focuses on physical- Euripides’ Andromache and the use of dance as communicative tools bodily training marginalizing a critical Dance of War towards diferent thematic thrusts. An theoretical-academic engagement evident of this is articulated in “Yungba with dance studies. Secondly, the Saturday, 11:00 a.m. - 1:00 p.m., Yungba and the Dance contest” using curriculum dictated from the Ministry Valletta Campus, Ground level, formalism and cultural realism. The of Culture and Sports presents Meeting Room 3 study demonstrates the ingenuity of serious lack of engaging with present the playwright at weaving aesthetics contemporary dance techniques and In his tragedy Andromache, Euripides of movement, song and mimetic act pedagogies of the 21st century. This dramatizes the aftermath of a past towards a concrete fight against paper provides an overview of this war for a city engaged in an intense, injustice, bad leadership, and ultimately field and presents recommendations ongoing conflict of its own. This paper the resolution of conflict. for enhancing and enriching the will explore the somatic resonance of contemporary dance curriculum and a messenger’s speech describing the Oluwatoyin Olokodana-James is a the dance studies in Greece. death of the hero Neoptolemus, arguing prolific dancer and choreographer that the speech draws the audience into in pure African and contemporary Panourgia Marianna (Greece) is a a complex experience of kinesthetic premise. She is a three-time recipient contemporary dancer/teacher and empathy by merging mythic and literary (2008–2011) of the Lagos State ethnochoreologist. (Dance Teaching allusions with references to personal Scholarship award through the Lagos Dip, MA in Ethnochoreology). She has and contemporary practices. By thus State University and is currently attended seminars/ workshops with inviting the audience into a multifaceted working on her Ph.D. in Dance at the many prominent dance scholars and embodied connection with Neoptolemus, University of Lagos. practitioners in Greece and abroad. Euripides both heightens and complicates She has also participated in numerous the emotional impact of the play. performances of contemporary dance and at dance conferences/congresses. Sarah Olsen is Assistant Professor of Classics at Williams College. She has published articles on a wide range of topics, including Homer, Greek vase painting, sympotic entertainers in ancient Greece, and the ancient novel. She is currently writing a book on solo dance in archaic and classical Greek literature and culture.

129 ABCDEFGHIJKLM

Inherently, the development of jazz and GERGANA CLAREc.parfi[email protected] PARFITT tap dance had an extremely diferent path in history and played a very diferent [email protected] “The Commune is dead: Long live political role than ballet and modern Four times “Contra”: The Soviet, the carnival!”: the cancan in the dance. However, these diferences in no American, Democratic and Emigrant aftermath of the Paris Commune way decrease the validity of jazz and models of “dancing the Bulgarian way” tap dance as art forms or as important Friday, 11:30 a.m. - 1:00 p.m., practice for students training in dance Saturday, 11:00 a.m. - 1:00 p.m., Valletta Campus, Level 1, technique. As these dance styles continue Valletta Campus, Ground level, Lecture Room 1 to battle a lowbrow status that inhibits Meeting Room 4 growth and recognition in the art world This paper analyses written and and higher education institutions, this The paper presents the phenomenon artistic depictions of the cancan paper explores their racially tense and of “Dancing the Bulgarian way” by following the Franco-Prussian War conflicted history and argues for greater Bulgarians and foreigners in modern and Paris Commune (1870–71) support of these two art forms. day urban centers: through theories of cultural 1. The Soviet model – as a “contra”– art memory (Wilson, 2007; Silverman, Sara Pecina is a MFA in Dance in the era of the Cold War; 2013; Parfitt, forthcoming). In the candidate at the University of 2. The American model – as a “contra”– aftermath of the Paris Commune, Oklahoma. She graduated Magna practice to the oficial state policies; the cancan participated in both Cum Laude with a BA in Dance from 3. The Democratic model in Bulgaria cultural forgetting and economic Western Kentucky University. Her – as a “contra”– hobby aimed at regeneration, while undermining academic research focuses on tap countering pernicious foreign fads; these processes by continuing dance pedagogy, and she is training in 4. The Emigrant model abroad – as to evoke troubling memories of the American Tap Dance Foundation a “contra”– culture to all real or women and the working classes Rhythm Tap Teacher Program. chimerical assimilatory tendencies. improvising within and beyond the choreographies of the state. The The first two models from pre-1989 are cancan’s revival in the 1880s and associated with the quest of identity, 1890s built on its post-war salience as a source of escape and decadence, whereas the newer two – with the [email protected] PÉTER struggle to preserve one’s identity. but also anxieties over feminine and working-class productivity. On subversive space strategies The analysis of the phenomenon used by Hungarian contemporary Dr. Clare Parfitt is a Reader in Popular provides philosophical reflections and dance creators in late socialism diagnostics of the times. Dance at the University of Chichester. She is UK Chair of PoP Moves, an Saturday, 11:00 a.m. - 1:00 p.m., Gergana Panova-Tekath is international working group to develop Valletta Campus, Ground level, a communication scientist, research into popular performance, Meeting Room 1 ethnochoreologist, Laban-notator, and co-chair of the Memory Studies professional dancer and choreographer. Association’s new Memory and First contemporary dance performances Research focuses on dance philosophy, Performance Working Group. in Hungary used neither the direct integration and nonverbal intercultural political criticism nor the habitual communication. Lectured at several double speech technique of cultural Universities and conducted to date over resistance. By presenting three 400 folk dance seminars and workshops memorable examples I tend to focus in Europe, America and Asia. Author of [email protected] PECINA on three approaches of occupying two books in German. territory for independent performing Acceptance of “Lowbrow” Art: Conflict arts, how they leaped through borders. Surrounding the Development of Jazz Border of the country (Josef Nadj, and Tap Dance and the Lasting Efects Canard Pékinois, 1986), border between performers and viewers (Iván Angelus, Sunday, 10:15 - 11:45 a.m., Mirrors, 1982), border of the capability Valletta Campus, Level 1, of the body (György Árvai-Yvette Bozsik, Lecture Room 1 Living Space, 1986).

130 NOP QRSTUVWXYZ

Petra Péter is working for Budapest sites of conflict be they intellectual Contemporary Dance Academy from FILIPpetkovski PETKOVSKIfi[email protected] or geographic. How do our personal its foundation in 2004, where her experiences shape how we read, work ranges from teaching dance Dance as protest, folk dance as conflict: re-read, dance, and construct dance history and leading thesis seminars Cultural Revolution in Macedonia archives? The question, “Who is allowed to managing international programs. to know?” is examined in the context Besides this activity, she used to work Friday, 11:30 a.m. - 1:00 p.m., of sites closed to people because of for Culture2000 projects focusing on Valletta Campus, Ground level, claims by the author, race, and class, the development of contemporary Meeting Room 5 nationality, persuasion, or access to dance scene. https://tanc.academia. dance. Once the evidence is examined, edu/PetraPéter This paper will focus on dance how does it remake the present? performances during the “Colorful Revolution” in Macedonia such as “The Victoria Phillips specializes in cold Dying Swan” and the dances “Teshkoto” war cultural diplomacy at Columbia and “Kopachkata” that have been University’s European and Harriman inscribed at UNESCO’s Representative [email protected] PETHYBRIDGE Institutes as an Adjunct Lecturer in List of ICH, performed during the History. She runs the CWAR project, counter-protests by dancers that Relational choreography and the ethical and guides student projects in archives supported the right-wing government. frictions of dance dramaturgy internationally. Her book, Martha While certain performances were in participatory performance Graham’s Cold War will be published by spontaneous and were seen as a Oxford University Press in 2018–2019. Saturday, 3:00 - 5:00 p.m., form of activism and protest, others Valletta Campus, Ground level, were organized and paid and can be Meeting Room 4 considered as part of a nationalist political propaganda. This work explores Dramaturgical practice is increasingly how dance is used as a vehicle of [email protected] PICCIRILLO used by choreographers and dance protest, while at the same time appears scholars as a way to practice and as conflict between political ideologies. Choreographies of Resistance in the articulate the nuance of choreographic Mediterranean Performance Zone: decision-making, while the dramaturge Filip Petkovski is a PhD candidate at Politics of Border, Poetics of Touch has been conceptualised through terms the World Arts and Culture/Dance as polarised as ‘ally’ and ‘saboteur’. department at UCLA, and working on Saturday, 3:00 - 5:00 p.m., This positioning of the dramaturg is his dissertation that explores dance as Valletta Campus, Ground level, discussed here in relation to the current intangible cultural heritage. He is also a Meeting Room 6 trend for ‘participation’ in performance dancer and choreographer, and alumnus work, which also re-orientates roles from the Choreomundus program. The paper envisions the Mediterranean and responsibilities in the performance- conflicting zone as the actual, virtual making process. This provocation and creative space where to reclaim proposes ‘relational choreography’ as a practices of corporeal resistance. model for such processes and asks how Through the critical observation of dramaturgical practice might function [email protected] PHILLIPS forms of counter-dances, at work in this context - revealing ethical today in and around this Sea, I would frictions and fictions of equality. Hotspots in the Cold War: Archival like to discuss the re-imagination of Silences and Martha Graham on the the Mediterranean political ‘borders’ Dr. Ruth Pethybridge is a Dance Artist “Jimmy Carter Goodwill Tour” to the in poetical gestures of ‘con-tacts’. The and Researcher who has worked Middle East, 1979 touch, here becomes the critical sense extensively in participatory dance in for challenging practices of violence, the UK, most recently as dramaturge Saturday, 9:00 - 10:30 a.m., war and exclusion. Traversing the for large scale site specific work Valletta Campus, Level 1, borders of the Mediterranean, dance- in London and Cornwall. Ruth is Lecture Room 2 makers respond to the migration crisis, a lecturer in dance at Falmouth experiment alternative sensorial modes University and convener of DR@FT The panel explores the experience of of inhabiting the region, and manifest Dance Research Group. dance archives in practice and how the compelling desire of choreographing dance makes archives, particularly in new practices of hospitality.

131 ABCDEFGHIJKLM

Annalisa Piccirillo holds a Ph.D. in This paper focuses on Crystal Pite’s “Cultural and Postcolonial Studies of [email protected] PINI work Flight Pattern (2017). Pite’s the Anglophone World”. Co-curator work achieves a balance between of the digital archive “M.A.M. The Moving beyond divergence: universality and particularity through Matriarchive of the Mediterranean”. a cognitive ecological approach to a synchronous interplay between Friedrich Hölderlin Guest Professor presence in three diferent dance forms narrative and abstraction. This paper TFM Institute, Goethe University analyses how the work creates a sense (Frankfurt, W/S 2016). In her research, Saturday, 9:00 - 10:30 a.m., of tension through its physicality: she combines gender critical Valletta Campus, Ground level, a conflict through the body of the approaches with deconstructionist Meeting Room 3 performers that serves to elucidate an perspectives and investigates abstracted idea of conflict, pervading postcolonial dance, choreopolitics, Stage presence in theatrical traditions the work’s meaning and creating its bodily memory. is generally understood as the singular emotional atmosphere. Exploring how actor’s ability to enchant audience the more humane moments are used attention. According to such model, in contrast to more abstract ones, the presence is conceived as prerogative paper explores how the work emerges of the skilled performer, resulting from conflict, facilitating its becoming a from both regimens of training and voice to speak about conflict. SHEENAGH intrinsic charisma. Do dancers develop [email protected] strategies and embodied skills to Trained in Ballet and Contemporary enhance the experience of presence? Dance, Lucía read for a BSc in Women Whirling Dervishes on YouTube This work investigates presence’s Psychology, a MA Choreography, and variations in three diferent dance is currently a resident academic at Friday, 2:30 - 4:30 p.m., practices: Contemporary Ballet, in University of Malta and pursuing her Valletta Campus, Ground level, the case of the National Ballet of PhD at University of Roehampton. Meeting Room 3 Marseille, Contact Improvisation and Having received diferent commissions Body Weather. This exploration aims and residencies, she has presented This paper addresses the gendered to show how divergent ideologies both her research and her dynamics involved in the social media embedded in diferent techniques of choreographies internationally. transmission of dance practices the body can instead sustain similar recognized within UNESCO’s 2003 experiences of presence. Convention for the Safeguarding of Intangible Cultural Heritage. The case Sarah is a PhD Candidate at Macquarie study addressed explores the Mevlevi University working interdisciplinary [email protected] PAZ POLO Sema ceremony (Sema) or the whirling on embodied cognition in diferent dervish ceremony of Turkey, oficially systems of skilled movement. Her To lead and/or to follow: gender recognized as heritage by UNESCO research focuses on the enactment of conflicts in Argentinian Tango and in 2005. The key claim is made that ‘stage presence’ across distinct dance in Contact Improvisation the dissemination of videos of the practices. She graduated in Cultural Sufi dance of the Sema on YouTube Anthropology and Visual Arts after she Saturday, 9:00 - 10:30 a.m., can counter the transmission of trained professionally in ballet and Valletta Campus, Ground level, homogenized renditions of this practice contemporary dance. Meeting Room 3 that are put forward by the Turkish government through UNESCO. The aim of this paper is to reflect about gender conflicts in Argentinian Sheenagh Pietrobruno is an Associate Tango and in Contact Improvisation Professor of Social Communication [email protected] PIQUERO (CI). Starting from my own experience at Saint Paul University/ University of and Spanish context, I will try to Ottawa and a Visiting Professor (2018) Destabilising to Engage: Crystal Pite’s compare the history, practices and at the Department for the Studies of Work from and about Conflict discourses of both kind of dances. Social Change and Culture (ISAK) at While CI is a sort of paradise of Linköping University. She is the author Saturday, 3:00 - 5:00 p.m., gender equality, tango is mostly of Salsa and Its Transnational Moves Valletta Campus, Level 1, the symbol of hierarchical gender (Rowman and Littlefield, 2006). Lecture Room 3 differences. Nevertheless, it could

132 NOP Q R STUVWXYZ

be say that milongas and jams – Colin Poole (UK) and Simon Ellis (NZ/ social spaces of practice –, operate UK) are two independent contemporary PRARTHANA nowadays as laboratories that allow dance artists whom together form the [email protected] observe how cultural codes, are performance duo Colin, Simon and I. superimposed, in a very complex They collaborate artistically in the duet What’s Going On? Provocation Panel way, on the specific norms of the form, and choreograph and perform choreographic practices. dance that explores male friendship, Thursday, 5 July, 6:15-7:30 p.m. power and responsibility. Excelsior Ballroom Maria Paz Polo holds a Degree in Education and Physical Education and Dr. Prarthana Purkayastha is Senior a PhD in Sciences of Physical Activity. Lecturer in Dance at Royal Holloway Teaching “Body expression and dance” University of London. Her monograph and other subjects related to the [email protected] PRICKETT Indian Modern Dance, Feminism and performing arts at the University of Transnationalism was published in Leon (Spain), the main research focus Ballet for All: Breaking through the Palgrave Macmillan New World is on the historical and pedagogical barriers in Post-war Britain Choreographies series in 2014 and won study of Contact Improvisation and the 2015 de la Torre Bueno Prize from Contemporary Dance. Friday, 11:30 a.m. - 1:00 p.m., the Society of Dance History Scholars Valletta Campus, Level 2, and the 2015 Outstanding Publication Lecture Room 3 Award from the Congress on Research in Dance. Her dance research, In 1964, the British Royal Ballet’s which examines the intersections of touring group Ballet for All was formed [email protected] POOLE race, gender and nationhood, has under the directorship of Peter Brinson, appeared in Dance Research Journal, an Oxford-educated academic, writer Colin, Simon and I: Racial Antagonism Performance Research, Asian Theatre and educator whose exposure to ballet Journal, CLIO: Femmes, Genre et Saturday, 3:00 - 5:00 p.m., came through work with the London Histoire, and South Asia Research Valletta Campus, Ground level, Film Centre. In 1970, the company was among others. Prarthana co-convenes Meeting room 4 featured in a BBC television series and the Choreography and Corporeality the ideals of ballet for everyone was Working Group for the International We are Colin Poole (UK) and Simon the subject of books co-authored with Federation for Theatre Research (IFTR), Ellis (NZ) – two dance artists who the prominent critic Clement Crisp. where she also serves as an Executive collaborate as Colin, Simon & I. The paper interrogates how the Ballet Committee member, and also serves on Through our work we explore how for All’s version of dance history was the Board of Directors for DSA. friendship, power and privilege are written, what is represented and how tested, exposed and exploited. For the company’s objectives broke through DSA2018 we propose to address and class divisions, exploring issues of value, discuss the ways in which conflict has accessibility and funding. challenged – and made possible – our collaboration. Our presentation will Dr Stacey Prickett, Reader in R be built on un/shared belief systems Dance Studies at the University of that invite dificult conversations Roehampton, teaches at all levels and [email protected] RAJESH about “conflicting perceptions, investigates relationships between interpretations, and values”. We dance, society and politics through Reconciling the “Imagined Community”: will reflect on and renegotiate key historical and sociological perspectives. The Postcolonial Representation of moments in our choreographic Stacey’s publications include Embodied Mohiniyattam practice where racial antagonism is Politics: Dance, Protest and Identities, recognized as productively divisive articles in Dance Research Journal, Friday, 2:30 - 4:30 p.m., for our aesthetic aims and working Dance Chronicle, Dance Research and Valletta Campus, Ground Level, relationship. book chapters . Meeting Room 1

133 ABCDEFGHIJKLM

Benedict Anderson defines nation as an research. In this paper, I discuss the cypher’s alternative communality in “imagined political community” which erasure of dance practices within conversation with the work of black is socially constructed and imagined by published HCI research and explore liberation movements. people of a particular group. Appadurai the work of dancers haunting HCI further elaborates this complex research databases. By searching Lindsay Rapport is a Ph.D. Candidate at relationship saying that “while nations through the HCI publication archives, the University of California, Riverside. seek to capture or co-opt states and I recapture ghostly traces of dancers Her research places hip hop dance state power, states simultaneously whose contributions are often neither practices in conversation with Black seek to capture and monopolize named nor recognized. liberation movements in the U.S., both ideas of nationhood”. Building on the historical and contemporary. Her theories outlined by Anderson and Jessica Rajko explores the liminal dissertation project explores the ideas Appadurai, I explore the postcolonial space between dance, digital of fugitivity and communal connection representation of Mohiniyattam as a humanities, and human-computer embedded within hip hop’s social vehicle of reconciliation of the nation- interaction. Her work investigates dance practices. state, through several layers: costuming, the ethics within digital culture hairdo, history, publicity releases of the and computational infrastructures. dance on media, the state sponsored She is a founding co-director of the publicity videos which creates the Human Security Collaboratory, an image of an “imagined community” at intersectional collective that aims to [email protected] RATNAM various levels aesthetic and political. ensure vibrant lives in digital cultures for individuals and communities. Working Counter to Censorship Anisha Rajesh is an Indian classical of Bollywood Film, Padmaavat, dancer and researcher. Anisha is and to Stereotypes of Transgender the founder and artistic director of Bharatanatyam performer Narthaki Houston based Upasana Performing Arts Center, where she trains students [email protected] RAPPORT Friday, 5:00 - 6:30 p.m., in Bharathanatyam and Mohiniyattam. Valletta Campus, Level 1, Lecture Room 2 She is a PhD candidate in Dance at The Cypher as an Alternative Texas Woman’s University focusing to Individuated Identity: A Politics This paper analyzes the troubling her research on the pedagogy of of Communality, Care, and Rhizomatic campaigns fought under the banners Mohiniyattam. Connection of nationalism and religion, more Saturday, 9:00 - 10:30 a.m., accurately Hindu fundamentalists who Valletta Campus, Level 1, have become self-declared pubic censors Lecture Room 3 undertaking violent acts, including death threats. Currently, their venom [email protected] RAJKO This paper looks to hip hop’s is targeted against Bollywood film freestyle cypher as an example of Padmaavat’s depiction of Rajput history Haunted Databases: searching an alternative to a western, violently as objectionable. Movie sets in Rajasthan for dancers in the HCI archives individuated identity. Drawing upon and Maharashtra have been burnt with Sunday, 8:30 - 10:00 a.m., Eduoard Glissant’s utilization of threats to burn movie theaters if the film Valletta Campus, Ground level, Deleuze’s and Guattari’s idea of is released on December 1 (Subsequently Meeting Room 3 the rhizome, this work considers released on January 25). Ratnam also rhizomatic connectivity in the includes a discussion of transgender Human-computer interaction (HCI) cypher’s communal process, which it dancer Narthaki, a performing artist research has often incorporated recognizes as a function of blackness. of bharatanatyam in India and her dance practices in the design process, The paper explores what and resistance to gender stereotypes in her particularly when designing interfaces how connections are made within work. Ratnam includes a short embodied for complex, full-bodied gesture the cypher, challenging defined performance. recognition. While the data in these distinctions between individual design spaces is built from work by identities. Shifting from a paradigm Ratnam, a choreographer-dancer, dancing bodies, the performers and of ownership to one of sharing, the writer, and arts entrepreneur whose the specificity of their practices are work questions the formulation work intersects dance, theater, often omitted from the published of self-possession, and places the storytelling, and feminist themes. Dr.

134 NOPQR STUVWXYZ

Ratnam’s Neo Bharatam repertoire This paper analyzes how social attends to dances that push or rub distills the classical dance traditions of dancers at Alameda Central in Mexico against in simultaneously erotic her Bharatanatyam training. In 2000, City constitute themselves as queer and critical manner, as an aesthetic Ratnam created narthaki.com, the body-subjects as homosexual and of juxtaposition where the sexual largest web portal on Indian dance. heterosexual men dance with one pleasures of reggaetón stand in frictive another on the public square. The relation to status politics. argument contends that while dancing to salsa, cumbia and other Caribbean Ramón Rivera-Servera is author of rhythms every weekend, these dancers Performing Queer Latinidad: Dance, [email protected] AYMAMI RENE model more inclusive and celebratory Sexuality, Politics, and co-editor of forms of collectivity that have volumes on Latina/o, African-American, Choreographies of Silence contributed to gradually transform the and borderlands performance. He in Democratic Spain Mexican capital into a more tolerant is completing the book manuscript city. While I examine how these dancers Reggaetón’s Queer Turn: Sexuality, Friday, 2:30 - 4:30 p.m., perform self-afirming, transformative Abstraction, and Contemporary Art in Valletta Campus, Level 2, queer embodiments that apparently the Circum-Caribbean. Lecture room 3 “transcend” sexuality, I also account for how this seemingly utopic space This paper comprises a critical reproduces the patriarchal logic of exploration of female dance male privilege. performances in the recent conflictive [email protected] KATZ RIZZO history of Spain. It discusses democratic Dr. Reynoso, dance scholar, performer, Spain’s relationship with the memory and choreographer, is Assistant Performing Resistance with/in and with forgetting its repressive Professor of Critical Dance Studies Threatening Spaces: Ricki Starr’s the dictatorial past. As a way of dancing at UCR. His book project focuses on ballet-dancing wrestler’s choreographic the pact of silence, this research traces the role dance practices played in strategy as model of conflict engagement the development of gender values, the construction of Mexican rhetoric under the efects of this social oblivion; of modernity and nationalism. It Friday, 11:30 a.m. - 1:00 p.m., suggesting that this collective historical emphasizes dance’s influence on racial Valletta Campus level, 2 amnesia has had direct repercussions and social formations pre and post Lecture Room 2 on the construction of feminine identity Mexican Revolution. in post-Franco Spain. This paper illuminates how Ricki Starr, the ballet-dancing wrestler reimagined Eva Aymamí Reñé is a Lecturer of Dance the performance of gender within 1950s at Anglia Ruskin University. A native of professional wrestling choreography. Barcelona, Spain, Eva’s research focuses RAMÓN A symbol of hope and superhero to on performance of political identities fans, Starr used grace, style and humor and the construction of gender identity. [email protected] to defy the seemingly unbeatable She fulfilled her PhD thesis titled odds against him as the prototypical Choreographing the Silence, Women Rubbing Against: Perreo Politics, underdog. Mikhail Bahktin’s Dancing Democracy in Post-Franco Stateless Bodies, and Queer Performance articulation of the Carnivalesque Spain at University of Surrey, UK. further clarifies Starr’s choreographic Friday, 5:00 - 6:30 p.m., Valletta Campus, Ground level, strategies in which he takes on the Meeting Room 5 role of clown/fool within the drama of the transformative ritual of the This presentation looks at Puerto wrestling match. His choreographic [email protected] REYNOSO Rican dance and performance transgressions demonstrate one way artists Nibia Pastrana Santiago and that dance ofers possibility for using Constructing Queer Subjectivity José Alvarez Colón’s deployments creativity, imagination and intelligence through Social Dance on the of reggaetón aesthetics to contest to engage in productive conflict. Mexican Public Square issues of patriarchal state power and Puerto Rican statelessness. Attending Laura Katz Rizzo is a dance Sunday, 10:15–11:45 a.m., researcher, artist, and teacher. Valletta Campus, Ground level, to multimedia performance and Meeting Room 5 performance photography series it Currently an assistant professor in

135 ABCDEFGHIJKLM

Temple University’s Department of In 1922, the ballerina Anna Pavlova conflict within what the authors term Dance, she holds a Ph.D. in Dance and visited Tokyo, giving twenty a ‘theory of coalescence’ in order Women’s Studies, and Ed. M. in Dance, performances at the Imperial Theatre. to highlight different strategies of and a B.A. in English and History. Japanese spectators received her transforming conflict into creativity in with the same rapturous enthusiasm myriad contexts. as audiences around the world, and critics were quick to proclaim her Rufi O. Rodriguez, as artist: one of eminence and to demonstrate their the few in the world well-versed in [email protected] ROBERTSON appreciation of her art. At the same both contemporary dance and Latin time, however, reviewers questioned dancesport. As researcher: recipient of #LITDANCE: A Qualitative Cultural the suitability of Japanese bodies for the prestigious SSHRC scholarship; soon Analysis of Girls’ Viral Dance Videos on ballet. In articulating this argument to be Master of Arts, dance. As teacher: The Social Networking Site Musical.Ly about Japanese bodily diference, focused on fostering agentive dancers critics thus called into being a and disseminating cultural research. Sunday, 8:30 - 10:00 a.m., notion of a national body––not as an Valletta Campus, Ground level, abstract instance of polity, but rather, Meeting Room 3 as a vision of the physical body as nationalized corporeality. One of the most prolific uses of the [email protected] ROGOWSKI video-sharing application Musical. Tara Rodman is an Assistant Professor ly is the creation and dissemination of Drama at UC Irvine. Her research Text, Music, Dance: Conflicting of viral dance videos. This study focuses on the circulation of Allegiances in Angelin Preljocaj’s combines a case study of young performers and performance forms Roméo et Juliette women’s self-representations within among Japan, Europe, and the US in the two major categories of dance the 20th century. Her book manuscript, Friday, 2:30 - 4:30 p.m., on the app: #LITDANCE and #LIT Performing Exceptionalism, examines Valletta Campus, Level 2, bellydance, with content and visual the transnational career of modern Lecture Room 2 analysis to explore contemporary and dancer/choreographer Ito Michio. historic issues of ‘women in motion’ Choreographers working with a (Cofman, 2002) online. I also employ preexisting literary text and musical medium analysis (Meyrowitz, 1993) to score are sometimes faced with question what makes Musical.ly (one conflicting allegiances, since there of the primary means of distribution are at least two “original sources” RUFINOrufi[email protected] RODRIGUEZ for non-professional social dance) to consider, sources that may “diferent from other media and from occasionally contradict one another. Coalescence of Disparate Dances: live interaction” (61). Angelin Preljocaj’s version of Romeo Conflict and Creativity and Juliet re-imagines Shakespeare’s Eve Robertson is a PhD candidate in Saturday, 11:00 a.m. - 1:00 p.m., tragedy as a clash between social the department of Dance Studies at Valletta Campus Theatre classes, set in a surreal, totalitarian York University, Toronto, Canada. Her dystopia. Sergei Prokofiev’s score interests include feminism, dance, and Pizza-burgers. Dodgeball of the same name is itself at times digital culture(s). rollerblading. The Mexican Korean at odds with the tragic gist of eatery around the corner. The world Shakespeare’s play. This paper focuses is no stranger to fusion. Yet, fusion on Preljocaj’s responses to such is not simply the coming together tensions between text and music and of two wholes to create one greater examines how he integrates them into [email protected] RODMAN whole. In dance, it is a process fraught his vision of the ballet. with artistic and cultural conflict. In Natural Body / National Body: this lecture-demonstration fusion, Christian Rogowski. Department Anna Pavlova in Japan the authors share five years of data of German, Amherst College, from experimentally fusing Ballroom Massachusetts. Areas of research: opera, Saturday, 3:00 - 5:00 p.m., dance with Contemporary dance film, drama, Weimar Republic. Current Valletta Campus, Ground level, from a North American perspective. project: Ludwig Berger (1892–1969) as Meeting Room 4 This demonstration will embody director and Shakespeare scholar.

136 NOPQR STUVWXYZ

“The Survival Dance: Choreographies platforms for dance and reflection CRISTINA of Resonance” looks at how dance thereof. Through an overview of two works emerge as choreographies of new platforms for dance in Hamburg, [email protected] ROSA the political via embodied practices. the festival dance in response and the The Naked Truth: Notes on the I theorize how staged, choreographic Bewegungsraum, the lecture aims at Choreopolitics of Freedom in works generate resonance, a answering the following questions: Contemporary Dance in Brazil theoretical analysis drawing on notions how can the relation between dance of the sonic, vibration, and proximity. and institution be reevaluated, made Saturday, 3:00 - 5:00 p.m., In doing so, this paper asks how these practical and updated? Which new Valletta Campus, Level 2, choreographies trace absence, memory, ways of organization appear through Lecture Room 3 and negative space. It examines this “reinvention”? How does this how socio-political histories, public movement change the way dance is This presentation seeks to examine and private sites of performance, presented and perceived? a series of recent censorship cases and specific archives are engaged against contemporary artists from as choreographic ingredients. This Regina Rossi is performer, Brazil, e.g. Maicon K, Antonio Obá, paper investigates what these dances choreographer and researcher in and Wagner Schwarz, mobilized by might suggest about the potential for dance/performance studies. She national alt-right groups. I depart transmission, remaining, and futurity. graduated in Performing Arts at the from Sousa Santos’s understanding State University South Brasil (BA) and of “epistemology of blindness” and Danielle Ross is a choreographer, Performance Studies at the Hamburg “ecologies of knowledges” (2014) curator, co-founder of the dance University (MA). She was a visiting and Lepecki’s understanding of newspaper FRONT, and graduate graduate at SNDO. She develops her “choreopolitics of freedom” (2013) to student in Performance Studies PhD research at the Gießen University examine how artists from the Global at Northwestern. Her research by Bojana Kunst. South have put their moving bodies engages transmission, absence, at risk in order to articulate ideas cross-temporality, and public space otherwise. Across my presentation, I as choreographic ingredients for argue that the creative efort of these political activation. Her work has choreographers and performance been supported by PICA, Oregon Arts [email protected] ROST artists bare close proximity with what Commission, and the Andy Warhol Mignolo has termed “decolonial Foundation. The Uncanny. Afective Conflicts in the gestures” (2012). Presence/Absence of Sight and Sound

Cristina Rosa is a Senior Lecturer Friday, 5:00 - 6:30 p.m., at the University of Roehampton’s Valletta Campus, Level 1, Lecture Room 3 Department of Dance. Previously, she [email protected] ROSSI taught at various universities in the The uncanny has been determined USA. Her current research seeks to Against institutional dynamics: by Salomé Voegelin as a central examine the relationship of dance and short Analysis of new spaces and dimension of sound’s paradoxical status sustainability, paying close attention platforms for dance in the (of) between salience and immateriality. to non-Western ideas, processes, and scene in Hamburg, Germany. contexts. Rosa holds a PhD from UCLA. Sound therefore has a ghostlike (non-) Friday, 2:30 - 4:30 p.m., appearance between presence and Valletta Campus, Ground level, absence. The works of Gisèle Vienne Meeting Room 3 as well as the installations of Janet Cardif and George Bures Miller evoke Nowadays, lots of dance and theatre an experience of uncanniness that [email protected] ROSS institutions in Europe ignore freelance is connected to afective frictions The Survival Dance: artists’ needs and requirements, between sight and sound. I will reflect Choreographies of Resonance maneuvering in a problematic on the conflicts between the presence direction. Artists are answering to the and absence of sounds, bodies, voices, Saturday, 11:00 a.m. - 1:00 p.m., dificult circumstances they are working and connect these thoughts to the Valletta Campus, Ground level, with a positive movement, reacting to discursively coined understanding of Meeting Room 5 conflicts with numerous new spaces/ something either human – or ghostlike

137 ABCDEFGHIJKLM

that is determined by a speciﬁc University and currently performs with Aging is a sensitive issue for the relationship between materiality/ Israeli choreographer Nadine Bommer. performing arts. However, theatre immateriality, vitality/inanimateness, Her research combines critical race dance today is no longer exclusive and movement/immobility. theory, movement/dance studies, and to young and perfect bodies. afect theory to examine the kinesthetic Putting mature bodies on display, Katharina Rost is affiliated with identity of whiteness. contemporary dance is making the Theatre Department of the visible themes related to aging University of Bayreuth, receiving a and pushing them into the ﬁelds scholarship for her postdoc research of cultural and dance studies. How project on gender performance in does this mirror the inversion of the popular music/culture. Her PhD [email protected] ROTTENBERG age pyramid in western societies? thesis on listening and sound design How is dance provoking changes in in contemporary theatre, entitled Artistic Activism in The Work of Rami social perceptions about aging? How “Sounds that matter”, appeared in Be’er And Arkadi Zaides does one avoid the perverse efects 2017 (Transcript). of positive discrimination? To what Saturday, 9:00 - 10:30 a.m., extent does this relate to the fact that Valletta Campus, Ground level, memory and patrimony have become Meeting Room 1 central themes in western societies?

The subject of this paper is political [email protected] ROTH Lisa Roubaud is Professor in dance dance, which focuses on the Israeli- studies (Faculty of Human Movement, Palestinian conflict in Israel. The Reproducing the Foreclosed White Body: Lisbon, Portugal). MA degree in effectiveness of artistic activism Racial Imaginary and White Womanhood Portuguese Culture and Literature will be examined within two dance in Competition Dance and in Psychology. Researcher at works which are, each in its own way, the Institute of Ethnomusicology. Friday, 11:30 a.m. - 1:00 p.m., a milestone in its reference to the Researching domains include dance Valletta Campus, Ground level, conflict: Reserve Diary 1989 (1989) psycho-sociology, post-colonial Meeting Room 3 by Rami Be’er, and Quiet (2009) by and cultural studies in dance in the Arkadi Zaides. Both choreographers Portuguese and Lusophone contexts. Attending to a form often overlooked in are involved in and react to socio- Dance critic in the Portuguese press. US dance studies, this paper examines political issues and local reality in competition dance as an embodied their art. practice encoding aesthetics of whiteness into the flesh of participants Henia Rottenberg (PhD) leader and spectators. Predominantly of Dance-Theater Program, and a [email protected] RUTASINGWA engaging young working-middle senior lecturer in the Department class white girls in a form entangled of Theater Studies, Western Galilee How Dance has served as a vehicle with the commodified culture/ College; lectures at School of Dance for reconciliation economy of reality TV, its privileged at Kibbutzim College of Education. movement dynamics ofer an idealized Her research focuses on dance studies, Sunday, 8:30 - 10:00 a.m., standard of kinesthetic relationality dialogue between dance and visual Valletta Campus, Level 1, through a racialized sensorial arts, theatrical dance in Israel. Lecture Room 3 hierarchy. Considering foreclosures against gestural diference and Many authors like Kariamu, Hanley, rhythmic tendencies toward militant, D’Amboise (2010), Spencer (1985), Kerr, individuated unison, as seen on the Plasto, (2011), Afọlayan (2004), Albright show So You Think You Can Dance, I [email protected] ROUBAUD (2001) and Malone (1996) among others ask what violent traces this normative write about dance in African countries mode of relationality conceals. The mature age of contemporary dance: and how dance has played a large role ageism and conflict on stage in diferent occasions including both Sammy Roth is a dance artist, religious and non-religious festivals, performance studies scholar, and arts Saturday, 9:00 - 10:30 a.m., banquets, combat dances, and street manager based in NYC. She recently Valletta Campus, Level 2, dances. Kariamu et al (2010) urge that completed her MA at New York Lecture Room 2 the varied cultures of Africa and their

138 NOPQRSTUVWXYZ

respective dances are explored, along Program at Swarthmore College. Her with the efects that colonialism had on research focuses on eighteenth – and MALAIKA the art form and the ancient tradition nineteenth – century French and [email protected] of African dance has influenced dance Italian ballet and she also directs the styles all over the world. Washington, D.C.-based contemporary The Materiality of Conflict in Contact: dance company Agora Dance. Improvisational Explorations in ‘Pitch’ Bashir Rutasingwa, Director of African Cultural Development (ACD-ARTS) UK Friday, 5:00 - 6:30 p.m., an arts company. I’ve been involved Valletta Campus, Ground level, in projects liked with the arts and Meeting Room 4 overseas provision of artists at various [email protected] ŞAHIN events as well as partnered with This presentation investigates the several organizations to produce arts A Slippery Stage: Negotiating Saudi 2017 site-based dance film project related events. Petro-dollars, Tahayas, and Competing Pitch, featuring choreography by Masculinities in the Cairo Cabaret Charlie Morrissey, as an investigation into the materiality of conflict within Saturday, 3:00 - 5:00 p.m., contact improvisation practices. Valletta Campus, Ground level, New materialist philosophies invite Meeting Room 3 reconsideration of matter as animate S in ways which dance improvisers might This ethnographic case study be said to already perceive the body. viscerally explores the micro level [email protected] SABEE From an analysis of the choreographic of tactics and insight cabaret process and film product, this dancers offer in relation to macro- Defining dance in presentation will investigate how level gender, class, sexuality, and Eighteenth-Century France contact improvisation practices which nationality politics within Cairo. focus on the tactile experience of Sunday, 10:15 - 11:45 a.m., As the night wears on in a Pyramid matter can be said to be examples Valletta Campus, Level 1, Street cabaret, the dancer’s stage of iterative intra-activity on multiple Lecture Room 3 becomes increasingly slippery, not perceptual levels. just from five-pound notes littered In 1717 Pierre-Jean Burette, a doctor, across the dance floor, but from the Malaika Sarco Thomas, PhD, is a dance musician, and historian of antiquity, increasingly volatile male clientele, artist researching the potential of published his Mémoires pour servir à who contentiously perform their improvisation technologies to facilitate l’histoire de la danse des Anciens, framing masculinities through tahayas developments in environmental this work not within the context of music, and tipping. As the tipping wars perception. Senior Lecturer Dance a subject of his later work within the become more heated, the cabaret Studies at the University of Malta, and Académie, but rather as one element ra’asa (female dancer), remains the a founding member of Contact Festival Greco-Roman gymnastics training and centrifugal force in precariously Dartington and Contact Improvisation alongside articles on ball games, baths, performing, playing, and being Malta, she co-edited Interdisciplinarity and athletic events. Writing from a policed by these intersectionally in the Performing Arts: Contemporary medical point of view, he argued that vexed power plays. Perspectives (2018). exercise was critical to human health, and that dance was the ideal form of Christine Şahin recently defended exercise. I will argue that Burette’s history her dissertation, ‘Core Connections: difers so strongly from other dance A Contemporary Cairo Raqs writing of the period because of his Sharqi Ethnography’ in Critical [email protected] SATIN professional background as a doctor, and, Dance Studies at the University consequently, his generally empirical of California, Riverside in June Walking, Dancing, and the Politics approach to his work. 2018. Şahin’s research explores of “No”: Conflicted Sites in Tel Aviv the ways raqs sharqi engages Olivia Sabee is a dance historian with the precarious political and Friday, 2:30 - 4:30 p.m., and choreographer. She is currently economic transformations Egypt has Valletta Campus, Ground level, Assistant Professor of Dance and been experiencing since the 2011 Meeting Room 4 Interim Director of the Dance revolution.

139 ABCDEFGHIJKLM

This paper emerges from experiences of Karin Schlapbach is a professor of “moving and being moved” (Rainer) in Classics at the University of Fribourg [email protected] SCHWAN the streets of Tel Aviv. I had long resisted (Switzerland). She studies dance in visiting, while increasingly wanting to Greek and Roman antiquity and just Antagonistic Theologies: Jewish experience this charged site, its smallness published The Anatomy of Dance and Christian Perspectives on Early at odds with its tumultuous identity Discourse. Literary and Philosophical Modernist Dance and, potentially, my own. Defining my Approaches to Dance in the Later self-scripted walks as compositional Greco-Roman World (Oxford: OUP Saturday, 9:00 - 10:30 a.m., score and site dance, I draw on spatial/ 2018). Valletta Campus, Level 1, afect/literary theory, human geography, Lecture Room 2 phenomenology, social choreography, and autobiography to explore my walks, In my paper, I will devote particular Gaga practice, and the performance of attention to the antagonistic everyday life through frameworks of STEPHANIE theologoumena in early modernist architecture, design, history, nature, and dance by comparing Ted Shawn with [email protected] speech sounds, especially “lo, lo, lo”— his contemporary Baruch Agadati. I will analyze how Shawn, highly words which do/do not signal refusal, Bodies and Sounds in Digital Music denial, and conflict. problematically in terms of Jewish- and Dance Cultures Christian theology, used parts of the Hebrew Bible in a sense that portrayed Leslie Satin teaches at the Gallatin Friday, 5:00 - 6:30 p.m., School/New York University. Her Valletta Campus, Level 1, himself as a redeemer. Predictably, performance texts and essays Lecture Room 3 this went together with the nearly appear in anthologies and journals, complete lack of Jewishness in his including Women & Performance, Since the groundbreaking Variations V realm or any reference to political Dance Research Journal, Performing (1965) a variety of artistic experiments Zionism and Israel. Agadati by Arts Journal. Her choreography and have emerged, using digital interfaces contrast, created dance pieces that workshops have been presented in to create new and always diferent relied on exactly these topics and numerous venues in NYC, the U.S., relations between dance and combined modernist body culture and Europe, and South America. electroacoustic music. By taking the specifically Jewish spirituality in its example of the installation-performance broadest sense. Eadweard’s Ear – Muybridge extended –, which was premiered in 2017 under Alexander Schwan is a Postdoctoral the artistic direction of Penelope Wehrli Research Associate at the Institute of in collaboration with the sound artist Theatre Studies at Freie Universität [email protected] SCHLAPBACH Gerriet Sharma, the musician/computer Berlin. Prior to this, he studied Protestant theology, Jewish studies “Dancing down”: dance and conflict scientist Joa Glasstetter and the Berlin and philosophy in Heidelberg, in the myth of Dionysus based dance company Rubato, I will explain principally to what extent Jerusalem, and Berlin. In his current Saturday, 11:00 a.m. - 1:00 p.m., conflicts between the visual and aural book project, Alexander researches Valletta Campus, Ground level, components – constraints, resistance theological implications in the works Meeting Room 3 and latency – have advanced to driving of modernist choreographers. forces within the development of the This paper argues that the notion of performance. “dancing down” (katorcheisthai) and other dance-related words used to Stephanie Schroedter finished her second describe warfare reflect the ambivalent monography Paris qui danse. Spaces for [email protected] SCOTT nature of dance in ancient Greco- Movement and Sound in a Modern City Roman culture. It could be seen as an at the Freie Universität Berlin in 2015. Dances of Battle, and the Battle empowering practice or a belittling She is currently working on a new project to Understand Dance in Plato attribution, depending on the context. focused on interrelations between music/ What matters is that these categories sound and dance/movement, which is Sunday, 8:30 - 10:00 a.m., always imply a power relation between subsidized by the German Academic Valletta Campus, Level 1, Lecture Room 2 the dancers, or between the dancer(s) National Foundation (DFG). and an audience.

140 NOPQRS TUVWXYZ

In Plato’s Laws we find the first sensual dance as resistance, we suggest University of Lisbon). Her main research extensive account of war dance, which the importance of attending to the interests include ethnicity, dance I summarize before recommending production of meaning in specific cultures, children cultures and parenting against one of the most popular demographic and situational contexts. practices. She has worked extensively translations of the treatise from the on immigration, social exclusion and 20th century, by E.B. England, because Stephanie Sears is an Associate Muslim communities in Spain. he improperly excises crucial passages Professor and Chair of Sociology at related to dance. Extending this last the University of San Francisco. Her point, I correct some Platonic dance research explores how race, class, theory that is also in efect excised gender, sexuality, and generation because of misunderstood terminology. intersect and interact in complex and [email protected] SETHI In other words, I demonstrate which contradictory ways. She is the author other Greek terms, similar to the archaic of Imagining Black Womanhood and ‘Black & White’: ‘Artivism’ (From Art Greek melpesthai (“to sing and dance in received her Ph.D. from Yale University. and Activism), Against Triple Talaq a tragedy”), are not usually recognized and Other Issues of Muslim Personal to mean or include dance for Plato. Law Through Dance

Trained at the San Francisco Ballet Sunday, 10:15 - 11:45 a.m., School and the National Ballet School Valletta Campus, Level 1, [email protected] JIMÉNEZ SEDANO of Canada, with a PhD on Aristotle’s Lecture Room 2 Poetics, Greg directed the doctoral “White People Dance Like Robots”: program in dance education at NYU. The paper, based on a Kathak dance Ways of Postcolonial Dancefloor His most recent publication corrects the choreography “Black & White”, Resistance to The Commodification omission of dance in Aristotle’s Poetics raises the issue of the anti women of Afro-Portuguese Dance Styles and Politics because of long-standing interpretations of Muslim Personal Law in India, referencing the Quran, poor translations. Friday, 5:00 - 6:30 p.m., hitherto unused in dance. While Valletta Campus, Ground level, Meeting Room 3 contextualizing the complexities of Islamic feminism and using the Since the late nineties, several dance dancing body, it nuanced the burning discourse in the country. Unsheathing [email protected] SEARS styles from the Portuguese-speaking Africa have been commodified the conspiracy of legal silences, it defied the patriarchal attack and “Arrest that Oficer”: Power and Play in Portugal, being kizomba the efectively initiated discussion in in a US Carnival Street Parade most successful both nationally and internationally. This recent unexpected areas including the press Sunday, 10:15–11:45 a.m., phenomenon has led to ambivalent and the social and development sector. Valletta Campus, Level 1, reactions among African people It also resulted in the coining of the Lecture Room 2 living in Lisbon. Even though most of term ‘artivism’, being a portmanteau these research participants deemed word from art and activism. Informed by critical dance studies and that their culture is becoming valued sociological theories of embodiment, all over the world, on the other Independent scholar, Dr. Arshiya we draw upon participant observation hand they considered their dance is Sethi, twice a Fulbright Fellow, and interviews to explore how members being poorly represented by white writes on cultural issues, in India and of a Trinidadian inspired dance performers. In a general context of internationally. An Art Consultant, troupe contend with heterogeneous postcolonial unsolved and unspoken building tangible and intangible discourses regarding Black women’s conflict, the boom of kizomba and cultural equities, a former dance bodies. In a larger context of the spatial other related styles such as semba critic and advisor on India’s national containment of Black communities, or kuduro among Portuguese middle Television channel on Arts, she the group encourages black women to classes has been interpreted as established the Kri Foundation, which claim space, find pleasure and support illegitimate cultural appropriation. promotes ‘Artivism’ – Arts and Activism. through collective performance. Building upon previous studies Livia Jiménez (PhD in Anthropology, of carnival, which have noted the 2011) is a postdoctoral fellow at the contradictions inherent in viewing Institute of Ethnomusicology (New

141 ABCDEFGHIJKLM

Toni Shapiro-Phim (Ph.D /cultural historiography, race studies, [email protected] SHAPIRO-PHIM anthropology) is a specialist in war, phenomenology, and adaptation refugees, conflict transformation, studies. www. cleavedancetheatre.com Four Women and War gender and the arts. Co-editor of Dance, Human Rights and Social Justice, she Sunday, 10:15 - 11:45 a.m., directed the documentary Because of Valletta Campus, Ground level, the War, about Liberian women who Meeting Room 6 harness the power of traditional song [email protected] SHAY and dance to counter violence and loss. This paper focuses on the artistry Raqqas: Iranian masculinity’s and activism of four Liberian women dreaded other survivors of their homeland’s civil wars (1989–1996 and 1999–2003). Each artist Saturday, 3:00–5:00 p.m., was, and remains, a famous traditional Valletta Campus, Ground level, Meeting Room 5 dancer and singer; each chose to address [email protected] SHAW the conflict through performance, Raqqas! Dreaded epithet! The male in her own way, engaging with the Brandon Shaw is a Lecturer in Dance dancer in the Persianate World unspeakable, while also imagining Studies at the University of Malta (Iran, Afghanistan, Central Asia, the alternatives to the viciousness of war. and chair of DSA’s 2018 conference, Caucuses) is masculinity’s other, They did this by harnessing the aesthetic “Contra: Dance & Conflict.” He is a societal scare figure, but also a and moral potency of expressive culture. co-editor of the Oxford Handbook sexually seductive, that serves as Based on ethnographic and historical of Shakespeare and Dance (2019), vehicle to ensure rigid standards research, I place their eforts within an which gathers thirty contributors of masculine behavior. The raqqas emergent field of theory and practice from diverse disciplines. The awardee constitutes one of the most abject resting at the nexus of the arts, conflict of the 2016 Gertrude Lippincott figures in the historical and transformation and reconciliation. Award, Shaw’s research integrates

LISTEN, THAT YOU MAY LIVE 2017 By Francesca Tranter, part of Music in Motion, University of Malta Department of Dance Studies in collaboration with Modern Music Days and Valletta 2018. Photo: Emma Tranter

142 NOPQRS TUVWXYZ

contemporary Middle East. In this Karen is currently completing a presentation I describe and analyze dissertation on the interrelationship [email protected] SMITH masculinity in the Persianate world between images of the Cosmic Dance, through two major sources: I analyze dance theory and practice from Plato Neoliberalism and Reviving historical advice literature such as the through the 13th century as part of an Postmodern Work Qabus nameh (Mirror of Princes) to Interdisciplinary Ph.D. at UC Berkeley. look at elite behavior and filmfarsi and She has published articles and book Saturday, 9:00 - 10:30 a.m., twentieth century novels to look at chapters on Medieval Dance and Valletta Campus, Ground level, working class men and contrast their lectures at various universities. Meeting Room 2 behaviors to the image of the male dancer. How does reviving postmodern dance works in a neoliberal, marketability- Anthony Shay is professor of Dance and focused context operate as a site for Cultural Studies at Pomona College SUZANE WEBER ideological conflict? Postmodern works, is the author of The Dangerous Lives often developed experimentally in [email protected] SILVA of Public Entertainers: Dancing, Sex, communal settings, face conceptual and Entertainment in the Middle East challenges when revived in Violence Movements, contemporary, audience-support driven (2014), Ethno Identity Dances for Unveiling the Patriarchy Sex, Fun, and Profit: Staging Popular spaces. Through close examination of Trisha Brown’s Man Walking Down Side Dances Around the World (2016), and Friday, 2:30 - 4:30 p.m., co-editor (with Barbara Sellers-Young) Valletta Campus, Ground level, of a Building (1970) this presentation of the Oxford Handbook of Dance and Meeting Room 6 will explore the socio-economic and Ethnicity (2016). political circumstances surrounding the This communication presents the 1970 original work and the 2010 revival. choreography “Acuados” (Harassed) from the Brazilian choreographer Laura studies the influence of political Eva Schull created in 2016. The and economic forces on the dancing choreography is a denunciation body. She has an MA in Performance [email protected] SILEN created to celebrate the ten years of Studies from NYU Tisch and a BA in Dance and Cultural Studies from NYU Trouble in Paradise: Conflicting the Brazilian Law Maria da Penha. This Gallatin. She’s worked in nonprofit Visions of the Cosmic Dance law is a Brazilian legal instrument that aims to increase the punishment of management and completed post- Saturday, 9:00 - 10:30 a.m., domestic and family crimes committed graduate work in Performing Arts Valletta Campus, Level 1, against women. Brazil is the fifth in the Administration at NYU Steinhardt. Lecture Room 1 ranking of murders against women. In this sense, this communication is The image of the Cosmic Dance also an opportunity to discuss gender was recognized as a symbol for concepts in Brazil. Patriarchy is central divine and social harmony for to support most of the inequalities, [email protected] SORGEL more than two thousand years. It which the choreography Acuados endured in part because it offered reveals with mastery. Dance Beyond Pathos: Practicing a model for an imagined paradise Resilience in a Traumatized World that could be imitated by humans Suzane Weber da Silva (Suzi Weber to eliminate conflict. Yet how that – artistic name –) earned her PhD Friday, 2:30 - 4:30 p.m., dance was imagined – the identity from Études et pratiques des arts, at Valletta Campus, Ground Level, Meeting Room 1 of the participants, the divine forces the Université du Québec à Montréal they embodied, and the ways that (UQAM), Canada. She has been a The paper interrogates the potential they moved – could be altered to professor at Federal University of Rio of contemporary dance practice as challenge or promote different Grande do Sul (UFRGS), Porto Alegre, a mode of embodied resilience in conceptions of social harmony. This Brazil, since 1996, teaching in the response to the psycho-pathological paper examines the trope of the Performing Arts Programme. She is also violence unleashed upon colonized Cosmic Dance as a means to theorize an actress and contemporary dancer. and communicate conflicting visions subjects in the aftermath of Western of order and harmony. modernity and globalization. The

143 ABCDEFGHIJKLM

global impact of Western capitalist Ruth Spencer makes, performs and modernity may count as perhaps the facilitates dance. As Senior Lecturer [email protected] STANGER most consequential pathos experience on the BA (Hons) Dance Performance to impact on human existence, mental and Teaching course Ruth oversees the Conflict’s Choreographics: health, and psychological well-being Education and Community based dance Suspension, Contamination, Debility on this planet. Dance across a diverse practice. Her work with organizations range of geo-political conflict zones such as Cheshire Dance, Dance Friday, 11:30 a.m. - 1:00 p.m., appears as a forceful response to Manchester and the International Valletta Campus, Level 1, redress psychological trauma and Schools Theatre Association (ISTA) Lecture Room 2 conflict. In contexts of trauma and focuses on inclusion and improvisation. conflict, so the paper argues, dance This panel troubles conceptualizations practice often serves as the basis for of conflict in relation to modalities of re-establishing community and a sense the choreographic. In a roundtable of self and sustainability. conversation travelling through reflections on dance practices and [email protected] STALNAKER Dr. Sabine Sörgel is Senior Lecturer choreographies understood more expansively, we conceptualize in Dance and Theatre at University of Representing Conflict through Dance: conflict variously as a motion of Surrey. Her publications include Dancing a rules-based approach to studying and reciprocity, fleeing, inaction, sustained Postcolonialism: The National Dance creating choreography (Workshop) Theatre Company of Jamaica (2007), decline. Reflecting on the bodily, Dance and The Body in Western Theatre Sunday, 8:30 - 10:00 a.m., biological and material dimensions of (2015), and several articles and book Valletta Campus Theatre theorizations of conflict articulated by chapters on contemporary theatre, Catherine Malabou, Jasbir Puar and dance, and cross-cultural corporeality. Using motion-capture technologies Roberto Esposito, among others, we and statistical methods to analyze move between ideas of suspension, movements and written texts about debilitation, contamination and dance, we developed rules/models immunity to re-imagine the centrality for machine learning, which were of the body to discourses on war, validated through subsequent project working towards an understanding of [email protected] SPENCER phases and tests. In this 90-minute conflict as a relationship of sufusion rather than assertion. Stilling as a Choreography of Protest workshop/presentation participants will: learn the history of the rules Friday, 11:30 a.m. - 1:00 p.m., generation; use the rules to create Arabella is Lecturer in Theatre at the Valletta Campus, Theatre Studio their own short work as solos or small University of Sussex. She was previously groups; combine their movement Lecturer in Dance at the University of Drawn to stillness as a deliberate not works using staging rules to create Roehampton and holds a PhD from moving, an active non-doing, a state a “conflict-derived” piece of work. Goldsmiths, University of London. She that we can prepare for or invite, and Thus, we will begin the conversation researches the politics of choreography, simultaneously as a moment that as to how we as choreographers/ currently working on materialist can catch us unaware, we will lead researchers respond to conflict and theories of dance space and histories of an explorative workshop that will negative situations through our work. maritime protest. employ that which Heidegger names as In other words: how we represent “attentive dwelling” (1978:150), in order Conflict through Dance. to reflect upon how creating spaces for slow-ing and still-ing, might inform and Following a professional performance empower. We wish to explore some of career, Rommie Stalnaker has [email protected] STEIL the possibilities that the employment published on performance theory of stillness, and still-ing can open up and design and presented at several “The French call it New Style”: and the potential it continues to hold, international conferences, receiving Transatlantic tensions around the as we dwell together, producing still a bursary award for her work for ownership and trafic of hip-hop dance acts where-when our concerns move DH2016. Her research interests towards immobility, slowness and include the “memory palace” and the Friday, 5:00 - 6:30 p.m., arrest, into as Lepecki (2001: 1) writes traumatized brain, kinesiology, and Valletta Campus, Ground level, Meeting Room 3 “action, filled with force.” embodied movement analysis.

144 NOPQRS TUVWXYZ

Disagreements about how urban dance innovation in contemporary dance, and the political climate, the piece styles should be advertised, taught, the respect for a tradition required by a experiments with citations on specific and transmitted, have opposed black Classical form. This paper explores how attributes of various eras and the hip-hop dancers from Paris and New diferent results from engaging with gender role significance. York for years. At the core of these this conflict can be considered fusion, disagreements are vested interests hybridity, or ‘contaminazione’. These Adelheid B. Strelick, inaugural class of in the histories (and mythologies) three terms, will be contextualized, ABT/NYU MA degree students. An ABT® of African “trafic” and kindred, and then applied to propose a National Training Curriculum Certified permeating hip-hop culture since its possible development of a theoretical Teacher. Professional dancer and emergence. Drawing on more than framework that would allow multi- choreographer for 14 years in Germany. a decade of ethnographic fieldwork genre choreographies to be analyzed She graduated 1994 (BFA) from the among globally-connected and from diferent perspectives. University of Music and Performing highly mobile Afro-French dancers, Arts Frankfurt, Germany. Since 2010 at this paper examines the conflicting Moritz Zavan Stoeckle is a Adelphi University and recently became notions of culture that inform the Bharatanatyam and Contemporary Assistant Professor. dancers’ disagreements, at the dancer. In 2007, he started his career intersection of their personal histories as light designer. He is currently of, and experiences with, migration, collaborating with ZfinMalta Dance their economic aspirations, and their Ensemble and the University of Malta, political strategies. teaching a lighting design course [email protected] SU at Mcast, whilst doing a Master in Laura Steil (PhD anthropology, 2015) Performance Studies at the University “Classism” Established in Contemporary is Traveling Faculty at the School of Malta. Time - the Aesthetic Foundations for International Training. She has of Chinese Classical Dance conducted research on youth cultures, urban dances, gender relations, digital Friday, 2:30 - 4:30 p.m., circulations, mental health, and the Valletta Campus, Level 1, Lecture Room 1 African diaspora (particularly in [email protected] B. STRELICK relation to Congolese migration) in Chinese classical dance is a Paris, France. Purposefully Regendering Choreography contemporary exploration of classism. to Evoke the Dancer’s Voice and Speak On the one hand, it roots in traditional to a Disappearing Audience corporeal philosophies of approaching Saturday, 3:00 - 5:00 p.m., joints, wheeling axis, spiraling extension, MORITZ ZAVAN Valletta Campus, Level 1, leading breath, and transcending Lecture Room 3 forms. On the other, the economic [email protected] and cultural reformation of China This research investigates regendering allows its classical dance to absorb Fusion, Hybridity, and ‘Contaminazione’ a contemporary ballet piece. The movement logics from ballet, such as In Bharatanatyam And Contemporary original choreography questions open joints and extended straight lines, Dance: The Conflicts of Creating Multi- contemporary gender roles in society, to enhance the classical elegance. Genre Dance Choreographies politics, and dance. Regendering the Thus, Chinese traditional corporeal piece confronts the needs and desires philosophies provide the grammar and Saturday, 11:00 a.m. - 1:00 p.m., Valletta Campus, Level 2, of 21st century students and audience major vocabularies whereas ballet Lecture Room 3 members alike. Inspired by Gareth movements serve as the connecting Belling’s “Engendered: An Exploratory words. This integration demonstrates a Although choreographic works Study of Regendering Contemporary contemporary adjustment of classism blending Bharatanatyam and Ballet,” and since the dancers’ and poses questions for its development Contemporary Dance have already experience was lacking in the Belling and diversification. been approached, it would seem that study, in this research the students’ every time connections between these narrative and descriptive accounts Su Ya, PhD in dance studies, is a two forms are explored a conflict permit a greater understanding of professor in the Beijing Dance arises. The conflict emerges from the the participants’ relationship and Academy. A specialist of Chinese confrontation between the need for identity regarding gender. Analyzing classical dance, Su focuses on

145 ABCDEFGHIJKLM

theorizing its practices in technique development, choreography and [email protected] SZETO education. Su also takes comparative T research on classical dance and its Choreographing Politics: histories in China, Korea, and Japan. Chinese Revolutionary Ballet ANAMARIA and M. Butterfly [email protected] Saturday, 3:00 - 5:00 p.m., Valletta Campus, Level 1, Memory, displacement JANANI Lecture Room 2 and disappearance. Dance KARATHOZHUVU and performance in Colombia This presentation will compare and in the context of an armed conflict [email protected] contrast the choreographies of M. Butterfly in 1988 and 2017. M. Butterfly Saturday, 3:00 - 5:00 p.m., Conflicting Styles During Revival (2017) is a Broadway production Valletta Campus, Level 2, of Bharatanatyam In the Indian directed by Julie Taymor and Lecture Room 2 Cinematic Space choreographed by Ma Cong. Playwright David Henry Hwang re-writes this For this paper, I want to explore three Sunday, 8:30 - 10:00 a.m., 1988 modern classic to deal with the ways dance and performance have Valletta Campus, Level 2, engaged with the after efect of he last Lecture Room 3 erotic discourse of colonialism in transnational perspectives. The 2017 50 years of armed conflict in Colombia, especially interrogating the place of The revival of the south Indian dance version incorporates influences from Chinese revolutionary ballet, to situate victims in these artistic discourses form of Bharatanatyam witnessed a around violence, disappearance massive migration of Bharatanatyam both its story and Puccini’s opera, in the larger context of Orientalist works. and reconciliation. How have artists teachers and dancers into the Indian engaged with/about material victims on cinematic realm. Situating itself in This paper will examine how the use of revolutionary ballet in M. Butterfly their productions? What places – if any, dance anthropology, this paper probes occupy their stories, bodies, voices and into the conflicting Bharatanatyam expresses the complexities of crossing over between the East and the West. experiences in those art works? Using styles of the two iconic figures in performance, contemporary dance and cinema industry, Vyjayanthimala and Kin-Yan Szeto (Ph.D. Northwestern) popular dance, three examples present Kamala. A comprehensive analysis us with important questions about of their dance techniques from two is Professor of Theatre and Dance at Appalachian State University and ethics and politics in art and everyday traditional numbers performed by life, also open avenues of inquiry on them in Hindi films substantiated author of The Martial Arts Cinema of the Chinese Diaspora. Szeto has working with/about/on dancing bodies by a personal interview with in violent contexts. Vyjayanthimala, goes to prove how contributed to essay collections on film, dance, and performance studies. She beautifully their individual dance styles Assistant Professor in the Performing have blossomed with outstanding is currently a board member of Dance Studies Association. Arts Department at the Universidad creativities because of their conflicting de Antioquia (Colombia). She has BA opinions and a strong adherence to in Anthropology and a Ph.D. in Critical their own dancing style. Dance Studies from UCR. Her research areas are popular dance, national Janani is a professional Bharatanatyam dances, dance and the screen and dancer, choreographer and researcher. embodiments of gender/race in Latin She has been performing in India and America; decolonial philosophy, dance Europe over the past 23 years. She has and political citizenship in Colombia. also conducted several workshops for Bharatanatyam dancers. She has a Masters in Fine Arts and is currently pursuing doctoral studies at Universität Tübingen, Germany.

146 NOPQRSTUVWXYZ

examine processes of translation, research engages the body in [email protected] TARAH appropriation and re-staging of conversation with critical theory Colombian dances. Additionally, there and interdisciplinary approaches to Dance as Battlefield: Bangladeshi Folk will be a discussion of the outcomes academic research. Her dissertation Performance and Cold War Ideologies of presenting the choreographic focus is socio-cultural salsa practices. material, performed by U.S. college Thigpen is a doctoral candidate at Saturday, 11:00 a.m. - 1:00p.m., dance students, to diverse audiences Texas Women’s University. Valletta Campus, Level 1, in the region of Western Pennsylvania. Lecture Room 2 Melissa Teodoro is an Associate This paper analyzes the Bangladeshi Professor of the Department of national performing arts troupe’s Dance at Slippery Rock University [email protected] A. THOMAS experiences in the 1979 International (USA). She holds an MFA degree in Folklore Festival in Yugoslavia within Performance and Choreography from Courting Disaster (“I Don’t Remember the context of the Cold War and the the University of Hawaii and an MA Anymore”) Monstrous Missteps in the Soviet Union’s support of the nationalist degree in Dance Ethnology from Ländler (The Sound of Music, 1965) movement during the Bangladeshi UCLA. She is Artistic Director of the Liberation War in 1971. Afro-Colombian Dance Ensemble. Friday 11:30 a.m. - 1:00 p.m., Valletta Campus, Level 1, Munjulika Tarah is a Visiting Assistant Lecture Room 1 Professor in the Dance Department at Williams College (Williamstown, MA). Soft-focus, the camera closes in on Her research explores how national Maria’s misstep: “I don’t remember [email protected] THIGPEN identity is constituted through the the rest.” Maria’s momentary (and practice, performance, and pedagogy of climactic) amnesia in Rogers and Salsa Comes from The Streets dance in South Asia. Hammerstein’s The Sound of Music Sunday, 10:15 - 1:45 a.m., doesn’t just illustrate a conflict Valletta Campus, Ground level, occurring within a Hollywood courtship, Meeting Room 5 but transfixes the spectator’s gaze on dance as the embodiment of looming [email protected] TEODORO Popularized representations of salsa political upheaval. This paper deploys have shaped familiar stereotypes ‘the monstrous’ (as developed in Who am I to embody your dances? Re- of this Latin dance form as well literary/performance theory) to parse staging Identity and representing the as of the people who participate forgetting as symptom and antidote other. Afro-Colombian dance applied to in it. However, there also exists a to political conflict. Turning to college students in Western Pennsylvania socio-cultural realm of salsa dance understandings of choreography as a performance with its own history, civilizing force, the paper considers that Satruday, 3:00 - 5:00 p.m., culture, and practice. Although not as the forgotten Ländler illustrates the Valletta Campus, Level 1, commonly known or recognized as ways in which the body’s commotions Lecture Room 1 commercial salsa, this presentation may signal the existence of dangerous, seeks to highlight the socio-cultural unrecognizable pathologies to an This presentation will examine the performative practices of salsa. existing social order. research and creative methods This paper, which is the result of an utilized in studying, reconstructing, ethnographic study of New York- Priya Thomas, PhD, is a dancer, re-staging and ultimately performing based Yamuleé Dance Company, choreographer, musician, and historian Colombian dances of African reveals how Yamuleé continues to researching kinetic transgression and descent to audiences in Western preserve salsa’s African roots, while normativity in dance and across a range Pennsylvania. I will explore the also locating the Bronx as a global of performances. Specializing in the inherent complexities of translating mecca for salsa dance innovation. sociopolitical, technological, legal, and movement, choreographic intent, and material dimensions of the nonhuman/ cultural aesthetics when re-staging Mila Thigpen is interim chair for monster, she has published in Dance these dances. The presentation Boston Conservatory at Berklee’s Chronicle, among others, and has will reflect on field experiences, dance division. Since completing received research awards from SDHS assess methodological choices, her EdM at Harvard, Thigpen’s and CORD.

147 ABCDEFGHIJKLM

Doris Humphrey presented an all-Bach a ballet that enacted a prescriptive [email protected] THOMS program in New York. This performance relationship between bodies and the initiated a polemic with the New York state at a time when the government Reconﬁguring Testimony: Dance at the Times critic John Martin about the sought to mobilize civilians toward Crossroads of Literature and the Body legitimate use of classical music in the defense of the Revolution. modern dance concerts. At the same Friday, 2:30 - 4:30 p.m., time, on the Soviet bloc, poetess Anna Lester Tomé (Smith College, Five Valletta Campus, Ground level, Achmatova questioned the normative College Dance Department) has Meeting Room 1 use of Bach, evoking his music against published about the relationship political terror. Similarly, in Humphrey’s between ballet and ideology in Cuba Literary theorists working with the choreography, Bach represents an in Dance Research Journal, Dance efects of trauma (Caruth 2013, 1996; access point to an idea of future as gift Chronicle, Cuban Studies and other LaCapra 2013, 2001; Felman and Laub and remedy against the “cold” present. journals. He has been an NEH fellow 1994) consider that the creative act and a Visiting Scholar at Harvard embedded within literature can bear Stefano Tomassini is Assistant University’s David Rockefeller Center witness to those experiences whose professor at IUAV – University for Latin American Studies. understanding only gradually reveal of Venice (I), he teaches at the themselves and only through ancillary University of Italian Switzerland means. This paper explores and extends (CH) and he is Dance Adviser for analysis of the creative act at the LuganoInScena (CH). In 2008-2009 heart of literature to that of dance he was Fulbright-Schuman Research TAMARA performance. It does this by looking Scholar (NYC); in 2010 Scholar-in- [email protected]Ć-VAJAGIĆ at the Martha Graham Company’s Residence at the Jacob’s Pillow ongoing post 9/11 choreographic series Dance Festival and, in 2011, Associate Lamentation Variations, with a speciﬁc Signal, noise and being OUT: Research Scholar at the Italian tracing the spaces of the dancer agency focus on the ‘variation’ (called Bardo) Academy, Columbia University. commission from Richard Move in 2007. in conversation with Christopher Roman

Saturday, 11:00 a.m. - 1:00 p.m., Victoria Thoms is Research Fellow Valletta Campus, Ground level, at the Centre for Dance Research Meeting Room 5 (C-DaRE), Coventry University, UK. Her [email protected] TOME research engages with recent debates In conversation with Christopher in performance, trauma, and gender Ballet as a Theater of War from Bay of Pigs Roman, this presentation wonders how studies. She is author of a monograph to the Missile Crisis: Military Corporealities is the dancer’s contribution staged on Martha Graham (2013) and is of the Cuban Revolution (1960s) in the work, as well as how the work Vice-Chair of the Society for Dance commissioned by a dancer impacts Research in the UK. Friday, 5:00 - 6:30 p.m., upon power relations, authorship Valletta Campus, Ground level, and ownership of the work. OUT, Meeting Room 5 Roman’s recent collaboration with Ivo Dimchev (DanceOn Ensemble, Out of This paper documents the Now Festival Berlin, 2018), will serve [email protected] TOMASSINI participation of dancers in the as a case study. Drawing upon Hito Revolution’s defense campaigns Steyerl’s concept of ‘signal and noise’ Music Contended: Dancing Bach of the 1960s, as Cubans’ daily lives (2017) this dialogic presentation looks in Cold War United States became increasingly militarized. at the broad and ﬁne grain distinctions Next to rallies, parades and military between the rhetorical and potent Sunday, 8:30-10:00 a.m., exercises, ballet belonged in the modes of the performer’s ‘agency’ (or Valletta Campus, Ground level, broad spectrum of performances that its im/possibility) in performer-led Meeting Room 5 constituted the Revolution’s “theater dance commissions. of war.” Here I examine the military This paper looks at the choreographic symbolism of an islandwide tour of Dr. Tamara Tomić-Vajagić researches response to the J. S. Bach’s music, in the Ballet Nacional de Cuba that dancers’ contribution and visual relation to the political tensions of overlapped with the Missile Crisis. culture in Western dance. Recent the Cold War era. In December 1942, I also analyze La Avanzada (1963), publications investigate dancers’

148 NOPQRST UVWXYZ

noncharacter roles, and acts of self/ portraiture in performance. Her [email protected] TRANTER CHRISTINA upcoming chapters are on William [email protected] Forsythe’s choreography, spectatorship From Politeness to Brutality, Conﬂicts and FOMO, and parallel structures in Maltese Identity and Lineage: With Golden Sails: Combining found in Forsythe’s dance and Issey the future and legacy Traditional Folk and Classical Dance Miyake designs. Principles in Samos, Greece Saturday, 3:00 - 5:00p.m., Valletta Campus, Ground level, Saturday, 9:00 - 10:30 a.m., Meeting Room 6 Valletta Campus, Ground level, Meeting Room 5 A brief overview outlining the [email protected] TORRES legacy of yet unwritten history of Samos Island, situated at a crossroads contemporary dance in Malta (1975– The Body as Memorial: of east and west, holds a rich present) from an autobiographical Choreographing in Response tradition in folk custom and dance. perspective, unavoidably intertwined to the PULSE Shooting in Orlando At the forefront of the recent refugee within the framework of my research crisis, the island’s ever changing Friday, 5:00 - 6:30 p.m., investigating current practices in style, demographics and the desire for Valletta Campus, Level 1, conﬂicts of identity, lineage. Perceived cultural identity, seem to have Lecture Room 1 from a Maltese social, cultural, strengthened as Samians’ struggle political ethos as a Maltese dance with both identity and acceptance. There is no end line for death or pioneer, practitioner, choreographer, This presentation offers a view into art. This presentation highlights the spectator. The opportunity to question current efforts of a local dance implications of using the moving body embodied history through a ‘lived’ school to collaborate with cultural as memorial in public performance. form of resource and the challenges organizations and the Orthodox The Orlando PULSE shooting of 2016 faced within the phenomena of Church. It aims to reveal dance at the is the subject of the choreographic ‘dance importation’ with an existing front lines of cultural and religious work, with participant-performers suggestion of possible suppressed strain. Together, dance education and who are students in collegiate cultural identity. the performing arts are used as means contemporary modern dance courses. of conflict management. This presentation incorporates video Francesca Tranter is a a pioneering from the choreographic process, Maltese dance practitioner and Christina Tsardoulias received her rehearsals and public performance choreographer. In 1998 she founded MFA in Dance from UC Irvine and BA in and interrogates how participants in Contact Dance Company touring Dance from the University of Oregon. dance-making can potentially process internationally and Dance Hybrid She studied at San Francisco Ballet cultural traumas through the stages of Malta, an annual intensive dance School. She has presented at CORD and creating, learning, and performing. It platform, in 2001. She has curated SHDS in the past. She founded Samos addresses the implications of process several interdisciplinary dance School of Dance in 2003 and continues and product, including the role of productions, contributed widely to the to be the director. grief and what might constitute a dance community in Malta while also pedagogy of empathy. developing numerous international collaborations. In 2010 she joined the Director of dance at Florida State University of Malta’s Department of College at Jacksonville, Talani Torres Dance Studies. has received a NC Dance Alliance Choreography Fellowship, United Arts Council of Raleigh Project Grant and Ovation TV’s One Chance One Dance grant. Her choreography has been presented internationally and her current publications and presentations address process and pedagogy.

149 ABCDEFGHIJKLM

[email protected] VENUSO U V Unresolved Conflict Between Public Teaching and Private Teaching: [email protected] UFFORD-AZORBO [email protected] VASS-RHEE The Royal School of Ballet of San Carlo Theatre in Naples Dance Commentary on Democratic Cluster, Clutter, Conflict: Polyvocal Nigeria: A Question of Conflicting Counterpoint from A Scenographic Saturday, 3:00 - 5:00 p.m., Paradigms in Select Performances Perspective Valletta Campus, Ground level, Meeting Room 6 Sunday, 8:30 - 10:00 am, Friday, 5:00 - 6:30 p.m., Valletta Campus, Level 1, Valletta Campus, Level 1, Nationalization of teaching dance Lecture Room 3 Lecture Room 3 originated, in the Two Sicilies’ Kingdom, with the foundation of Dance, as a nonverbal art, is a potent This paper applies an “expanded” the Royal School of Ballet at the tool for socio-political commentary scenographic perspective (McKinney & San Carlo Theatre in Naples. Private addressing conflicting situations. Palmer) to consider choreography as a teaching created problems for the This study succinctly captures the visuo-sonic design element set within a Royal Schools and the Ministry of Nigerian situation from military rule to web of intra-connected sights, sounds, Policy had to issue a particular law, to democracy. Studies abound in dance objects, and ephemeral spaces, the prevent the private teaching of dance and politics but this study is to bridge composition of which choreographers and the opening of private schools the gap in documentation of command usually singlehandedly curate. in Naples. Pupils of Royal Schools dance performances and their Examining earlier and later works by had many problems about their work conflicting paradigms in support of or Balanchine and Forsythe, it highlights contracts, in continuous competition opposed to governance of the day. This equivalences across perceptual with private schools. This paper is done through a review of literature, challenges despite substantial intends to give a general vision about content analysis, comparative studies diferences in their choreographic the conflictual situation in Naples and participant-observation. The and staging styles, arguing that in the XIX century about public and performances chosen from three foregrounding the broader visual, aural private teaching. diferent ethnic groups capture the and spatial composition of these and Nigerian experience and will be other works provides an opportunity PhD in Classics at Naples University beneficial to students, practitioners, to refocus the analytic lens of dance “Federico II”, she published essays researchers and government agencies. studies by recognizing the impact of about connections between Opera the choreographed environment on and Ballet in the XIXth century and A Senior Lecturer, teaching and perception and afect. other works about dance cultural researchIng in the area of Dance, perspectives. She is teacher of Dance Choreography and Performance Dr. Freya Vass-Rhee’s research History at Suor Orsola Benincasa Aesthetics. Currently the National interests include cognitive dance Institute in Naples and “help teacher” Vice President of Association of Dance studies, dance dramaturgy, at University of Salerno. Scholars and Practitioners of Nigeria performativity, devising, and arts- (ADSPON). Dancer-Choreographer sciences interdisciplinarity. A former trained in the Universities of Uyo and dancer, ballet master, choreographic Ibadan. Internationally published. assistant and choreographer, she Married with children. Life principle collaborated with William Forsythe “Dance or Die”! as Dramaturg/Production Assistant [email protected] VERMEYDEN (2006–13). She is currently a Lecturer at the University of Kent and a Politicized Raqs Sharqi in Egypt and freelance dance dramaturg. Canada: Challenging Societal Status-Quo and Negotiating Patriarchal Backlash

Sunday, 10:15 - 11:45 a.m., Valletta Campus, Ground level, Meeting Room 3

150 NOPQRSTUVWXYZ

Performances of raqs sharqi in motto for the creation of these artistic Giulia Vittori completed her Ph.D. Canada and Egypt highlight belly works. These works search to provoke in Theater and Performance Studies dance’s potential as a tool for the spectators so that they move from Stanford University and earned peaceful, yet powerful societal their thoughts by having moments her bachelor’s and master’s degrees innovation. In Canada since the of pause. Pauses to think about the in theatre history at Università 1970s, belly dance has been used artistic work and the general violence Ca’ Foscari, Venice. She studies by some to lay claim to contested so dominant in Brazilian society. the embodiment of the image in politicized identities and to Emphasizing multiple dimensions of contemporary western dance and destabilize Orientalist stereotypes. It dance composition and research on theatre, using interdisciplinary was centralized in conflict over dance contemporary dance in Brazil, the oral approaches from art history and and identity re: Israel and Palestine. presentation is also intended to enrich, philosophy. Also, in post-revolution Egypt, various exchange, and mutually comment on dancers have used raqs sharqi to ideas and issues raised. criticize both societal norms and the Muslim Brotherhood. In these Ph.D. in Dance (USA, 2007), Associate very different contexts, raqs sharqi Professor at Federal University of Vicosa, [email protected] VORA was a controversial societal and Brazil; author of book chapters and political tool. However, those hoping papers in Brazil and abroad; organizer Performing Everyday Infinities to use raqs sharqi as a social justice of two books: Arts and Violence (2017) at the Wagah-Attari Border tool have had to negotiate various and Education for the Arts (2010). culturally specific manifestations of At the university level, she teaches Friday, 2:30 - 4:30 p.m., social patriarchal backlash. composition, dance history and somatics. Valletta Campus, Ground level, Meeting Room 2 Anne Vermeyden is currently a visiting scholar at the Doha Institute for The Border Ceremony in the divided Graduate Studies. Her research centers region of Punjab stands testament to the presence of Partition in on Arab cultural production and the [email protected] VITTORI role of dancers in enacting social, present-day India. Exhibiting a highly choreographed march consisting of cultural, and political change. Her Finding Agency in Tarantism: A Conflict goose-stepping, ludicrous gestures recently completed PhD focused on between Scriptive Choreography and absurd one-upmanship, this hybridity in the history of belly dance’s and Autopoietic Dance popularization in Toronto, Canada. ceremony sees a footfall of over Saturday, 9:00 - 10:30 a.m., twenty thousand people every single Valletta Campus, Level 2, day. This performance was meant to Lecture Room 2 symbolize peace between Pakistan and India, in the aftermath of the In tarantism, the tarantata is a woman struggle for Independence. This [email protected] VIEIRA who has exhibited some form of paper deals with the feeling of ‘being social misbehavior believed to be affected’ during this ceremony. It ...And the Body Moves: Connections caused by the tarantula’s bite. The studies the role of hyper-masculinity, Between Contemporary Dance and tarantata would dance to expel the propaganda, and absurdity to explore Violence in Brazil spider’s poison and “cure” her of her the power of political performances Friday, 2:30 - 4:30 p.m., inappropriate conduct. The tarantata’s in a mass democracy. Valletta Campus, Ground level, ritual dance, while inscribed with Meeting Room 6 patriarchal trappings of identity Urvi Vora is a contemporary appropriation, in fact allows for tactics dancer and researcher from New This paper explores dance issues of identity reappropriation, expressing Delhi. She has recently finished focusing on their relationships to conflict between societal restraint and her postgraduate studies in Dance violence by examining my own work the subject’s agency in performing a Anthropology in which her interests (“Being Bricolage”, 2017), and the dance that profoundly exceeds such revolved specifically around modern works of Elisa Smichdt (“Entre Terra”) restraint. As such, tarantism allows for rituals, performance of politics and and Alejandro Ahmed (“Violencia”). the communal disclosure of agency, performative afect. She currently Several aspects of violence such as which I read by juxtaposing scriptive resides in Budapest and remains power relations and political were the choreography and autopoietic dance. fascinated by what the body can do.

151 ABCDEFGHIJKLM

This paper discusses the initial findings [email protected] BLU WAKPA from Performing Empowerment, an W AHRC/ESRC-funded project examining Critiquing the Omission, Subordination, how a novel combination of ‘mixed and Criminalization of Native American abled’ dance and human rights [email protected] WAELDE Martial Arts and Artists: Adrian Roman’s education might help empower people Tushka Homa (Red Warrior) System with conflict-related disabilities in the Human rights: rhetoric and reality context of post-war Sri Lanka. In this Friday, 11:30 a.m. - 1:00 p.m., paper, we look at key methodological Friday, 11:30 a.m. - 1:00 p.m., Valletta Campus, Level 1, Valletta Campus, Ground level, issues we faced in trying to ‘evidence’ Lecture Room 3 Meeting Room 6 the impact of dance on disabled participants’ self-esteem and legal In examining the under-researched A call to fulfil ‘my human rights’ is empowerment. We then situate our topic of Native combative practices, often made in times of stress and preliminary findings within the larger this paper asks: how and why have conflict, but what can those calling literatures on the capabilities approach settler colonial discourses operated for such fulfillment expect in reality? and post-war rehabilitation. to omit, subordinate, and criminalize Much is often claimed for human Indigenous martial arts, and how rights, which include rights to life, Lars Waldorf is Reader at Dundee have Native people resisted these to education, to a cultural life, to Law School. He has authored impositions? I center Tushka Homa privacy – but what do they look like numerous publications on post- (Red Warrior), a Native martial arts in practice? Obligations are placed conflict accountability, including system that “Chief” Adrian Roman on states to protect, respect and three co-edited books. He is Principal (Mississippi Choctaw) founded. I posit fulfil human rights – but what does Investigator on an AHRC/ESRC-funded that Roman builds on his “blood that entail? These questions will project in Sri Lanka involving dance, memory” to revive Indigenous martial be explored in this contribution by disability, and empowerment: https:// modes, making a notable contribution reference to the arts and humanities performingempowerment.wordpress. to combative practices. I discuss how research council funded research com/. the controversy surrounding Roman project InVisible Diference, Disability, in part stems from settler ideas Dance and Law. During this project, regarding Native “authenticity” and the the human rights framework was supposedly paradoxical confluence of examined to consider what practical Indigeneity and capitalism. benefits it might deliver to dance [email protected] WANG artists with disabilities. Tria Blu Wakpa, a 2017–2018 UC Inclusion or exclusion? President’s Postdoctoral Fellow in Charlotte Waelde is Professor of Dance at UC Riverside, will be an Intellectual Property Law at the Sunday, 8:30 - 10:00 a.m., Assistant Professor in Dance Studies Centre for Dance Research at Valletta Campus, Level 2, in the Department of Worlds Arts and Lecture Room 2 Coventry University. Her interests Cultures/Dance at UC Los Angeles lie at the intersections of copyright, in Fall 2018. Her research examines In dance programs, teachers care dance and new technologies. She Indigenous dance and embodiment in about international students and make reaches out into other domains educational and carceral contexts. eforts to build inclusive study space including intangible cultural heritage for them. However, there are possible and human rights as they intersect conflicts in inclusive education for with her core interests. this student cohort, especially those coming from Eastern countries to [email protected] WALDORF enroll in dance courses in Western institutions. This presentation regards Reparative dancing in postwar Sri Lanka Milton Bennett’s Developmental Model of Intercultural Sensitivity Friday, 11:30 a.m. - 1:00 p.m., as a framework, particularly its Valletta Campus, Ground level, ethnocentric stage, to inspect the Meeting Room 6 probable conflicts in the inclusive setting of dance education. Through

152 NOPQRSTUVW XYZ

a thematic approach to analyzing protest and in forming communities of data, the presentation indicates that [email protected] WANG protest. Combining approaches from conflicts are possible to exist between Media, Dance and Theatre Studies and teachers’ pedagogical theories and Dancing Polyphony: On Taiwanese with regard to news media reports teaching practices. Aborigines’ Contemporary Choreography covering actions of protest against the AfD Convention (Cologne 2017) and I am a PhD candidate in Dance Friday, 11:30 a.m. - 1:00 p.m., the G20 Summit (Hamburg 2017) this Program at the University of Auckland. Valletta Campus, Level 2, paper investigates the interrelation of I finished my Master degree at the Lecture Room 2 choreographed actions of protest and University of Auckland. I am doing news media attention: By concentrating research about inclusive dance This article focuses on the recent dance on the impact of choreography education in higher education, works of Taiwanese Aborigines, suggests on framing of protest, the paper especially for international students a theoretical approach based on centers around the key-questions with diverse cultural backgrounds. Bakhtin’s aesthetics of the novel named as how aesthetical, performative, ‘polyphony’. These Dance works not only choreographic aspects in actions of assimilate the symbol of indigenous protest trigger news value and spawn culture and the “Aboriginal Songs” into news media attention. their works, but also stage the “karaoke [email protected] WANG scene” of tribe life that arouse a dialectic Anna-Carolin Weber M.A. is a scholar, theme between the the Colonizer and choreographer and researcher “Global View” of Chinese Dance and the Colonized People. According to the currently working on her PhD project the “Chinese Images” in World Dances idea of Bakhtin in Tzevtan Todorov’s and as Research Associate with RUB point of view, ‘polyphony’ is an extension arts & culture international (inSTUDIES) Friday, 2:30 - 4:30 p.m., notion of the ‘dialogical principle’. Ruhr-University Bochum. She holds Valletta Campus, Level 1, These dance works reveal the hybrid a MA degree in Theatre and Media Lecture Room 1 relationship between the Han immigrant Studies (University of Cologne), and has and the Taiwanese Aborigines, which are previously worked at Universities in The form of contemporary Chinese often ignored by the mainstream society. Cologne, Berlin and as a DAAD-fellow dance has been heavily influenced in the USA. by other types of dances in the world, Granted Dance Critic from National especially Western dances. It seems Culture and Arts Foundation, Taiwan. that Chinese dance can only gain M.A. program of Graduate Institute meaningful global recognition if it of Dance, Taipei National University follows the predominant pattern and of the Arts. (Major: Dance Critic [email protected] MARIE WEBSTER pursuit that overarches world dances. and Culture Studies). B.A. degree of However, Chinese dance, with very Department of Philosophy, National Dance: African Diaspora Transforming rich cultural connotation and very Chung Cheng University. unique aesthetic standards, has been Christian Spiritual Landscape misinterpreted in many situations. This Friday, 2:30 - 4:30 p.m., paper analyzes a set of diferent dance Valletta Campus, Ground level, examples to elaborate the “global view” Meeting Room 6 of Chinese dance and the “Chinese [email protected] WEBER images” in world dances. In Jamaica, the intermingling of Choreography and Its Impact on News spiritual and religious thoughts and Wang Xin is an Associate Professor in Media Coverage of Political Protests expressions of varying Diaspora the Department of Dance Studies of peoples with received western the Beijing Dance Academy. Having Friday, 2:30 - 4:30 p.m., Christianity transformed the spiritual received her doctor degree from the Valletta Campus, Level 1, landscape of Christianity, creating Peking University, Wang studies the Lecture Room 2 spaces and places for African Diaspora histories and theories of dance in peoples to survive, and thrive, in spite modern China, with a focus on dance Recent reports on actions of protest of the violent and violating Christian education and the institutionalization illustrate that dance and choreography economic and cultural thrust of of Chinese dance. play a specific role in gaining attention, colonial and postcolonial cultures. This framing, communicating actions of paper explores the relationship of the

153 ABCDEFGHIJKLM

African Diaspora Jamaican female body dance work investigating consent and with celebratory body performativity consensus. Her performance work [email protected] WHATLEY such as dance, tracing legacies a has appeared on both US coasts, the healing, renewal, and (w)holiness from Midwest, and Europe. She teaches at Social choreography and embodied enslavement to the contemporary Marlboro College and is Associate responses to conflict moment, exploring the deployment of Editor of Contact Quarterly. dance in social, spiritual, and religious Sunday, 8:30 - 10:00 a.m., transformation and (w)holiness. Valletta Campus, Ground level, Meeting Room 3 As an artist/scholar my work is This presentation will discuss the grounded in critical ethnography [email protected] WESTWATER and situated at intersections of ‘social choreography’ network project, examining how movement arts and arts, health, healing, and activism, Tortured examining African Diaspora/Black bodily perspectives are responding to Atlantic performance and performative Saturday, 2:30 - 4:30 p.m., the current crisis of forced migration articulations of identity and belonging. Valletta Campus, Ground level, and displacement. We will share how Meeting Room 1 our activities are revisiting earlier approaches to social choreography to Since 2005, pain has served as a vital take into account present-day issues intersection and launch point for my such as the impact of digital technology, creative research across an array of closing of national borders, restriction [email protected] WEIDMAN experiential performance contexts. of free mobility, and crucially, the While working on a live ensemble stereotyping, tagging or ‘labeling’ of Communal Body: Collective Tools performance work entitled “Macho,” ‘refugees’ or ‘asylum seekers’. Whilst and Obstacles reports of the torture by American focusing on non-stage practices, the Sunday, 8:30 - 10:00 a.m., soldiers of prisoners in Abu Ghraib network contributes to thinking about Valletta Campus, surfaced. These mediatized images how choreography in the widest sense Valletta Campus Theatre Studio intersected with the war and pain sheds light on conflicts and contentions elements that I had been experimenting within and beyond dance. How do tension and diference with in the studio and also with bring us into togetherness? Can personal experiences of illness, both Sarah Whatley is Professor and Director, group negotiation and conflict my own and of people close to me. Centre for Dance Research, Coventry facilitate dynamic choreography? In “Tortured,” my proposed paper, I University UK. Her research focuses on How does dancing expand notions ask what it means to place oneself the interface between dance and new of collectivity and collective action? in a choreography of pain across the technologies, dance analysis, somatic In this workshop, we will address contexts of live performance, panel dance practice and pedagogy, and these questions through movement discussion, and movement workshop. inclusive dance. She led the AHRC- practices and improvisation scores funded Siobhan Davies digital archive that operate on consent, consensus, Kathy Westwater is a New York City- project, RePlay, and is founding editor and interdependency as well as others based choreographer and teacher. Her of the Journal of Dance and Somatic in which the roles of “leader” and major works have explored the built Practices. “follower” shift frequently. From these environments of monuments, landfills, materials, we will map the patterns and parks; phenomena of war and produced by our consent, non-consent, pain; and intersections of human and disagreement, and agreement— animal culture. Since 2000 she has recording the spatial, physical, and taught improvisation, composition, [email protected] WHITESIDE aural evidence of group accord and choreography, and dance studies at discord. These scores are meant to Sarah Lawrence College. Dance Exchange, Knowledge Exchange: elicit reflection and conversation on Innovating with Scottish Ballet, Scotland’s power and community building. National Dance Company

Lailye Weidman is a dance artist whose Sunday, 8:30 - 10:00 a.m., recent projects include a solo homage Valletta Campus, Ground level, to hardcore music and an ensemble Meeting Room 1

154 NOPQRSTUVW XYZ

Since 2015, I have collaborated with to reform knightly masculinity in the Susan L. Wiesner PhD, CMA is Digital Scottish Ballet through evaluating Peace and Truce of God and clerical Humanist in Special Collections and conducting research on a diverse masculinity in the Gregorian Reform, for the Performing Arts at the UMD series of education projects. Definitions monastic precursors to Renaissance Libraries, and is archivist for the of Knowledge Exchange vary but all privileging of masculine grace Bartenieff and LIMS collections focus on the positive interplay and historicize the flush of attention to the housed there. Her research focuses relationships between academia subject in early modern sources and on intersections of language and and industry. This presentation ground the complexities of engendering movement using motion capture and considers the particular narrative male subjects in high culture in the pre- other technologies while supporting associated with a relationship that modern period. her creative impulses. has grown to be sustainable and long-term in nature, and asks wider James completed his graduate work questions pertaining to the future and in Comparative Literature at Brown direction of our discipline. What are University, writing on Cistercian the key benefits and challenges for homiletics and its impact on vernacular [email protected] WINEROCK Knowledge Exchange between dance literatures of the late medieval academia and industry? What is the and early modern periods. He has Discourteous Courtesies and Irreverent role of Knowledge Exchange in the published articles on medieval drama, Reverences: Rethinking the Renaissance Bow development of dance studies? Latin literature, and Dante’s Paradiso. Currently, he is working on a book Saturday, 9:00 - 10:30 a.m., Dr Bethany Whiteside is Research project on monastic subjectivity and the Valletta Campus, Level 1, Lecturer and Doctoral Degrees poetics of space. Lecture Room 1 Coordinator at the Royal Conservatoire of Scotland. Her research focuses on Bowing was an essential component the cultural and social analysis of of social interactions in Renaissance participatory dance, often through Europe, and instructional manuals describe it with care. Bowing showed ethnographic means, with a particular [email protected] WIESNER focus on the ballet, Highland, and Irish respect on and off of the dance floor, and when performed by those dancing genres. Representing Conflict through Dance: of different ranks, ages, or genders, a rules-based approach to studying acknowledged and confirmed power and creating choreography relationships and social hierarchies Sunday, 8:30 - 10:00 a.m., … in theory. That dance instructors described proper reverences to [email protected] WHITTA Valletta Campus Theatre those who did them daily suggests awareness of the alternative “Quid Illa Creatura Mereri Potest, Nisi Using motion-capture technologies messages that a bow could impart. Gratiam?”: Performing the Medieval and statistical methods to analyze This paper compares the respectful Masculine Subject Through Grace movements and written texts about dance, we developed rules/models for and reverent message that bowing Saturday, 9:00 - 10:30 a.m., machine learning, which were validated was supposed to convey, with Valletta Campus, Level 1, through subsequent project phases examples from English Renaissance Lecture Room 1 and tests. In this 90-minute workshop/ plays where bows show tension, presentation participants will: learn aggression, and scorn. Renaissance dance manuals and the history of the rules generation; courtesy books privilege masculine use the rules to create their own short Emily Winerock is an independent grace as both an ennobling work as solos or small groups; combine scholar and adjunct lecturer at manifestation of class superiority their movement works using staging the University of Pittsburgh. Her and a moral virtue. As a moral virtue, rules to create a “conflict-derived” research focuses on the politics and the concept emanates in part from piece of work. Thus, we will begin practices of dancing in sixteenth – Neoplatonic and Ciceronian ethics, but the conversation as to how we as and seventeenth – century Europe. A an equally powerful source frequently choreographers/researchers respond to scholar-practitioner, she also teaches unexamined in this context is high conflict and negative situations through Renaissance dance workshops and is medieval monastic writing on gratia. our work. In other words: how we a co-founder of the Shakespeare and Expanding upon the Church’s campaign represent Conflict through Dance. Dance Project.

155 ABCDEFGHIJKLM

production “Meeting Point 70” I am [email protected] WITTROCK going to discuss the working process [email protected] WOOTTEN that led to the project at the heart of Fremdes Erbe. Nelisiwe Xaba In the which are the original files of the East Turning Up the Volume: Context of German Dance Heritage German security agency called “Stasi” Thoughts on The Listening Body which observed my family throughout Sunday, 10:15 - 11:45 a.m., my childhood in the GDR. The work Saturday, 11:00 a.m. - 1:00 p.m., Valletta Campus, Level 2, reflects in several choreographic Valletta Campus, Ground level, Lecture Room 3 methodological ways how the political Meeting Room 5 is linked with the biographical, how the Nelisiwe Xaba’s ‘Fremde Tänze’ was burning issues of persons in conflict Part reflection, part research paper, conceived within Tanzfonds Erbe with the society in which they live this presentation examines the place (Dance Heritage Fund), an initiative imprint a life. of the listening body in dance and by the German Federal Cultural music education contexts. This view is Foundation set up in 2011 in order Katja F.M. Wolf, M.A. dance studies, not from the perspective of listening to heighten the public visibility of choreographer, dance & healing to one’s own body but rather looking the history of dance in Germany. The practitioner started her academic at how our bodies can and do (under presentation traces the production and career with philosophy at the Munich the right circumstances) listen intently reception of this work from a curatorial University followed by dance & and respond sensitively to the bodies perspective, as a simultaneous critique choreography at the European of others. How, in this increasingly and afirmation of the archive. How Dance Development Center Arnhem/ disembodied world, do we turn up can an ‘archival performance’ become Dusseldorf. Her trans-disciplinary the volume on this listening body? a tool to produce alternative historical projects as choreographer and Empathetic and sympathetic responses knowledge, as well as question performer gained her numerous are defining features of our humanity potential canonization and every awards and stipends. and, the more technologically mediated archive’s inherent mechanisms of our interactions become, the greater the selection and exclusion? imperative of public displays of humanity.

Eike Wittrock is a dance historian Claire’s research has evolved from and curator, currently teaching at the years of studio-based, student-centered [email protected] WONG department of media, theater and work, and include all aspects of popular cultures at the University of dance education. Claire also teaches Trouble in the Field (Roundtable) Hildesheim. His academic research movement classes for those living with focuses on the history of 19th and Saturday, 11:00 a.m. - 1:00 p.m., Parkinson’s Disease (Dancing with early 20th century European dance, the Valletta Campus, Ground level, Parkinson’s Canada), is a 3-D Workout politics of the archive and queer and Meeting Room 2 TM Level I Instructor, a hand drummer, exoticist performances. an Argentine tango student and a Using the emergence of Asian Dalcrozian wannabe. American dance studies as a case study, this presentation addresses how the politics of creating new areas [email protected] F.M. WOLF of scholarship within established disciplines afect the possibilities Surveillance and Privacy – of research, curriculum, and X Family Under Suspicion of Secret administration. Agency Reﬂected in Choreography [email protected] XIONG Yutian Wong is an Associate Saturday, 3:00 - 5:00 p.m., Professor of Dance at San Francisco Disapproved but Sustained: Valletta Campus Theatre State University. She is the author Authoritarian Pedagogy in of Choreographing Asian America, Chinese Tertiary Dance Education How can choreography ofer a platform editor of Contemporary Directions in for dealing with political issues? Asian American Dance Studies. Sunday, 8:30 - 10:00 a.m., Presenting selected contents of the Valletta Campus, Ground level, documentation of the dance theater Meeting Room 1

156 NOPQRSTUVWXYZ

Authoritarian pedagogy keeps a ideas in dance techniques and aesthetic Emi Yagishita, Ph.D., is an Assistant dominant role in Chinese tertiary approaches meet through cross- Professor at Waseda University (Tokyo) dance education though it is claimed cultural communications. Translating Faculty of Letters, Arts and Sciences. as resulting in low esteem and passivity dance culture, therefore, requires She was a Research Fellow of the of students in learning. If authoritarian understanding the hidden meanings Japan Society for the Promotion of pedagogy is understood as problematic, in languages and movements. This is Science (April 2013–March 2015). how is it sustained? To answer not only a dilemma of cross-cultural She holds a Certification in Duncan this question, the study conducted dialogue for Chinese dance, but also an Dance from the Isadora Duncan Dance qualitative in-depth interviews with ten opportunity to find a productive way Foundation in New York. Chinese tertiary dance teachers, seeking forward. to unpack experiences of authoritarian teaching. Within the presentation, Prof. Xu Rui, dance scholar and theatre data identifying authoritarian aspects director, is the vice-president of the in Chinese tertiary dance institutions Beijing Dance Academy, board member [email protected] MALKA YELLIN (obedience, content-emphasis, and of the China Art Critics Association and humiliation) is shared. The presentation Beijing Dancers Association. Working Yardena Cohen’s Alternative Vision provides insights into how authoritarian in both areas of art research and of Dance and National Ideology aspects are disapproved but sustained creation, Xu is a founding co-director by the behaviors of teachers, students, of the ArtsCross Performance Research Friday, 2:30 - 4:30 p.m., and institutions. project since 2009. Valletta Campus, Level 2, Lecture Room 3 Xiong Xi was graduated from Beijing Dance Academy and gained Master Yardena Cohen was one of the leading degree at the University of Auckland, pioneers who shaped early Israeli New Zealand. As a lecturer of Dance modern dance. Her career began in Academy in Sichuan Normal University, Y the pre-state period, and she sought China, her current research focus is to create a local dance form that expresses the emerging national critical dance pedagogy in China, [email protected] YAGISHITA especially in the field of tertiary dance identity. Cohen used to call herself Canaanite, as she was born to a sixth education. Yeichi Nimura’s Dance Career generation native family. Canaanism in Twentieth-Century America was, however, an artistic style that Saturday, 11:00 a.m. - 1:00 p.m., ofered an alternative view of local Valletta Campus, Level 1, (Israeli) cultural identity. Cohen, I Lecture Room 2 suggest, worked in this frame, which [email protected] XU was oppositional to hegemony but This paper focuses on Yeichi Nimura reflected the local youth attitude. In Translating the Hidden Meanings (1897–1979), a Japanese-born dancer this paper, I intend to explore Cohen’s in Languages and Movements who primarily performed in the West. alternative vision concerning pivotal Friday, 2:30 - 4:30 p.m., Nimura trained in America with conflicts. Valletta Campus, Level 1, modern dance pioneers Ruth St. Denis Lecture Room 1 and Ted Shawn. In the 1930s, Nimura Liora Malka Yellin is a dance and attempted a fusion of East and West theatre studies scholar at Tel Aviv Chinese and English languages in his dance. With his American dance University. She serves as the head of demonstrate a core diference in that partner Lisan Kay, he toured Europe the Israeli Society for Dance Research. the former emphasizes parataxis (co- and the United States to great acclaim. Currently her research concentrates located, equally important phrases) and Unfortunately, Nimura’s performing on early Israeli theatrical dance, from the latter emphasizes hypotaxis (linked, career was interrupted by the outbreak its inception in the 1920s up to the late subordinating phrases). This diference of World War II. He remained in 1950s. contributes to a more profound America, choreographing and teaching. contrast in ways of thinking between After the war, Nimura encouraged Chinese and Western cultures. Under the reconciliation of Japan and the globalization, Chinese dance faces a U.S. by supporting Japanese cultural significant challenge when conflicting performances in America.

157 ABCDEFGHIJKLMNOPQRSTUVWXYZ

[email protected] YU [email protected] YUAN Z Martiality, Not Fighting New Dance of Hakka Tradition: Research on The Intangible Cultural Heritage [email protected] ZONDI Sunday, 8:30 - 10:00 a.m., Project “Cup Flower” As an Example Valletta Campus, Level 2, Lecture Room 3 Friday, 2:30 - 4:30 p.m., Flow and Arrest in Nelisiwe Xaba’s Valletta Campus, Ground level, Choreographic Repertoire Martiality Not Fighting is a short Meeting Room 3 screendance that follows a young Sunday, 10:15 - 11:45 a.m., Chinese dancer performing the The Hakka ethnic groups spread Valletta Campus, Level 2, Lecture Room 3 role of conscientious objector. globally. Belonging to the same root, He moves through the pedestrian there are diferent ways of expression This paper discusses Nelisiwe and the abstract to deliberate the for them in culture. Taking the two Xaba’s Venus trilogy as indexing a question “to fight or not to fight.” The big Hakka regions of mainland pronounced entanglement between choreography utilizes iconic images China and Taiwan as examples, dance and “performance art” in and gestures of martiality as well the diferent political parties have South Africa. How does her Black as combining postmodern dance diferent policies on culture and arts, feminist praxis trouble various and the martial arts culture of “Ba and hence influence the directions universalizing gestures and common Gua Zhang.” With spiraling energy, of development of Hakka dance. senses, particularly of those who ever changing spatial interplays and However, in the “hometown” of Hakka, categorize her work under the physical exchanges, the choreography China, under the guidance of cultural umbrella of “feminist (performance) deconstructs the external martial art policies, is vigorously developing and art”? Xaba’s repertoire has primarily expressions of fighting. At its cinematic preserving Hakka traditional dance. been concerned with engaging the core, Martiality Not Fighting implies The proposal of “Intangible Cultural archive of apartheid, colonialism, forsaking violence in recognition of Heritage” has played a significant role and slavery. What are the stakes of vital exchange and kinetic empathy. in promoting the inheritance of Hakka this exercise? Do we understand it as traditional dance. a project of recovery, reparation, or Cheng Chieh Yu is Professor of of “critical fabulation” that refrains Choreography at UCLA’s Department Yuan Wenbin is currently a doctoral from replicating grammars of violence of World Arts & Culture/Dance. student in the Graduate Institute of when revisiting the archive of Black She choreographs dance theater Dance, Taipei National University of subjection? that explores Asian Diaspora, the the Arts. He is also currently a full- intersections of social-political time dance teacher in Guangdong Mlondi is a Chicago-based movement perspective, gender ascription and Vocational College of Foreign artist, dramaturg, PhD candidate, cultural hybridity. Marianne Kim is a Language. Upon graduating from the and performance theorist who screendance director and Associate Beijing Dance Academy, he started to writes primarily about contemporary Professor of Interdisciplinary Arts/ work in Guangdong Meixian Mountain Black performance and visual art Performance at Arizona State University. Opera Company. engagements with death, corporeal integrity, and form(lessness). Mlondi makes performances for the black box theater, gallery/museum, proscenium stage, other public spaces, and also co-edits an independent journal called Propter Nos.

158 Citation REGULATIONS Proceedings Submission Guidelines

Guidelines DANCE STUDIES ASSOCIATION 2018 CONFERENCE PROCEEDINGS

The Dance Studies Association is pleased to compile an unedited record of the DSA 2018 Conference, Contra: Dance & Conﬂict. Submission of conference papers and workshops for inclusion in the Proceedings is entirely voluntary. Those who are presenting workshops or lecture-demonstrations may submit transcriptions or summaries of their presentations. Each submission should be an accurate record of the conference presentation and not an expanded revision.

Deadline & submission procedure Accepted formats Submissions must be received by November 1, 2018. Papers Please submit two documents (pdf and .doc). The pdf is the must be submitted electronically in two formats (pdf and surest way to avoid inadvertent formatting changes or font .doc). In the body of your email message, please be sure substitutions caused, for example, by diferent versions of to include your name, paper title, and contact information word-processing software. However, it will be helpful to have (address, phone number, email address). Direct all formatting the paper as a .doc in case the editor needs to make minor and submission inquiries to: Proceedings Editor, Courtney formatting adjustments, or request revisions from the author. Harris at [email protected].

Please note Please note The proceedings will be made available online Submitted papers that do not conform to any or all of via the DSA website, with each paper posted as the above guidelines will be returned to the author a separate pdf file. Formatting requirements take for revision. You will have one week to re-format it into account the desire for online accessibility, as necessary and re-submit. If your amended paper as well as the wish to produce a uniform, high- does not arrive on time or has not been amended as quality publication without imposing undue required, it will not be included in the proceedings. constraints on the authors. We regret that papers that do not conform to the guidelines or are received after the deadline will not be included in the Conference Proceedings. As indicated above, the Proceedings Editor(s) task is to bring the papers together but they will not perform any signiﬁcant copy-editing tasks.

STRICT ADHERENCE TO THE STANDARDS AND DEADLINES IS REQUIRED.

160 Order of Sections Sub-headings do not include any of these in your • Title Use sentence case for sub-headings submission as they will not be published • Author’s Name and your paper will be returned to you. • Abstract (as submitted for Citations It is also the author’s responsibility to the conference program) For citations, use Chicago Manual delete any parts of the paper in which • Paper of Style author-date system with images or figures are referenced, since • Notes (see below on endnotes) parenthetical references in the text images and figures will not be published. • Works Cited and a list of works cited. The author- • Copyright Statement date system is used in the sciences and General • Author’s Biography the social sciences and increasingly Default to the Chicago Manual of Style • Email Contact Details publishers are requiring authors to (author , date) and Merriam-Webster’s adopt this kind of system. For further Dictionary for all issues not addressed in Page Limit reference please consult following URL: this style guide unless evidence of a clear Manuscripts may be no longer than 18 http://www.chicagomanualofstyle.org/ precedent to the contrary can be found. double-spaced pages. tools_citationguide.html • Spell out centuries—i.e., nineteenth Please note Endnotes (Optional) century, twentieth century This includes the abstract, body of paper, Endnotes may be used for supplemental (twentieth-century, adj.) endnotes, bibliography, and 50-word information. Please use the Microsoft • Figure captions should be listed at author’s biography. The paper should Word “Insert Footnote/ Endnote” and the very end of each manuscript file. be a record of your contribution to the choose Endnote with Arabic numbers. conference, not an expanded revision. Do NOT use footnotes as these will not Numbers be accepted. • Spell out simple numbers Language i.e., two, sixteen, fifty, ninety-nine. Papers must be submitted in English Works Cited • Use numbers themselves for and should be thoroughly proofread All references should follow Chicago complex numbers and checked for grammar and spelling Manual of Style. Please see examples i.e., 108; 2,500. and conformity to the guidelines before of the reference style to be used, in-text • Dates are written as numbers submitting your document. citations and other style requirements i.e., February 8, 1999. at the end of this document. • Use numbers for citations and pages. Spelling • Special case: “chapter 5,” but “the Use US English spelling Copyright Statement fifth chapter.” For example: © 2008, Isadora Duncan. Margins & Tabs Notes Use 1-inch margins on all sides. Indent Author’s Biography • Title section “Notes”. the beginning of paragraphs and block At the end of the paper, include a • The Notes section should come at quotes by 0.5 inches. professional biography. Fifty word the end of the article text but before maximum. Works Cited. Spacing • Make certain that each source cited • Double-space the main body of text. Translation Note within Notes section is included as a • Single-space the abstract, block If the paper has been translated from a reference in Works Cited. quotes, notes, and bibliography. language other than English, include a statement: “Translation from [original In-text Citations and Works Cited Alignment language] by [name of translator].” If • Title section “Works Cited”. Left-align the text. Justify block quotes. you would like to make the original • Use the Chicago Manual of Style’s paper available, you may provide an parenthetical, author-date method Font Style email address. of citation. In this system, all content Use 12 point Times New Roman font. notes belong in the Notes section; Headers, Footers, all bibliographic information is Title and Author’s Name and Page Numbers located in the Works Cited. There Left-align the title and author’s name at Do not include headers, footers, or should NOT be separate “Interviews”, the top of the first page. Use bold font page numbers. These will be added “Websites”, etc. sections. for the title. Use title case separately. Any text in the margins will be removed. Abstract After the author’s name, press return Images and Additional Material For further details on Online twice, and type “Abstract:” followed by Images, tables, appendices, and other and/or URL references see: the abstract that you submitted for the additional material are NOT ACCEPTED www.chicagomanualofstyle.org/ conference program. for conference proceedings. Therefore, tools_citationguide.html

161 Sample Entries In-Text Citations When reference to a particular page is necessary, include page numbers within the in-text citation: Trisha Brown, referring speciﬁcally to her own equipment pieces, has spoken of their danger (Goldberg 1990, 210).

If the author has just been mentioned, it is not necessary to repeat her or his name in the citation: In Body Art: Performing the Subject, Amelia Jones suggests that body art “provides for the possibility for radical engagements that can transform the way we think about meaning and subjectivity (both the artist’s and our own)” (1998, 15).

Use semicolon between two or more in-text citations: (Lang 2001; Smith 1999)

Condense inclusive page ranges: 120-21, 100-103, 201-2

Works Cited Please note that the date in this bibliographic format comes directly after the author’s or authors’ name(s).

Book Foucault, Michel. 1976. The History of Sexuality, Volume I: An Introduction. Harmondsworth: Penguin.

Chapter in an edited collection Chanfrault-Duchet, Marie-Françoise. 2000. “Textualisation of the Self and Gender Identity in the Life-story.” In Feminism and Autobiography, edited by Tess Cosslett, Celia Lury, and Penny Summerﬁeld, 61-75. London: Routledge.

Edited or translated volume Derrida, Jacques. 1994. Specters of Marx: The State of the Debt, the Work of Mourning and the New International. Translated by Peggy Kamuf. New York: Routledge.

Article in a journal Phelan, Peggy. 1993. “The Rats and the Democrats.” Drama Review 37 (3): 171-85. Do not include “The” before journal title

Article in online journal Kossinets, Gueorgi, and Duncan J. Watts. 2009. “Origins of Homophily in an Evolving Social Network.” American Journal of Sociology 115:405–50. Accessed February 28, 2010. doi:10.1086/599247.

Paper presented at meeting Berríos-Miranda, Marisol. 2003. “Bailando Salsa en la Sala, Como Aprendimos a Bailar y a Vivir.” Paper presented to the Annual Meeting for the Society of Ethnomusicology, Miami, Florida, October 4.

Dissertation Bosse, Joanna. 2004. “Exotica, Ethnicity, and Embodiment: An Ethnography of Latin Dance in US Popular Culture.” Ph.D. diss., University of Illinois, Urbana.

Newspaper article Mendelsohn, Daniel. 2010. “But Enough about Me.” New Yorker, January 25.

Stolberg, Sheryl Gay, and Robert Pear. 2010. “Wary Centrists Posing Challenge in Health Care Vote.” New York Times, February 27. Accessed February 28, 2010. http://www.nytimes.com/2010/02/28/us/politics/28health.html.

162 Website reference First example: Google. 2009. “Google Privacy Policy.” Last modiﬁed March 11. http://www.google.com/intl/en/privacypolicy.html. Intext website citation shall be: (Google 2009)

Second example: McDonald’s Corporation. 2008. “McDonald’s Happy Meal Toy Safety Facts.” Accessed July 19. http://www.mcdonalds.com/corp/about/factsheets.html. Intext website citation shall be: (McDonald’s 2008)

Citing no date (n.d.) Material If citing material with no date the in-text format is as follows: (Cooke n.d., 4-7)

Works cited entry shall be: Cooke, H.B.S. n.d. South African Pleistocene mammals in the University of California Collections. Typescript.

Citing first publication date If citing material that has an earlier publication date, insert the ﬁrst publication date in square brackets after the publication details of the cited work: Kinney Troy and Margaret Wise Kinney. 1998. The Dance: Its Place in Art and Life. Rev.ed. New York: F.A. Stokes [ﬁrst edition 1914].

Non-book material In-text citation from a manuscript collection: Alvin Johnson, in a memorandum prepared sometime in 1937 (Kallen Papers, ﬁle 36), observed that...

Works cited entry for a manuscript collection: Kallen, Horace. Papers. YIVO Institute, New York.

Online and/or URL references Include date accessed as follows: Accessed February 28, 2010.

163 Notes THE UNIVERSITY OF IOWA DEPARTMENT OF DANCE

TRANSFORM

IN DANCE

Dancing in Blackness BESTSELLER A Memoir HALIFU OSUMARE

Halifu Osumare is a relevant voice from the Black Arts Movement of the ‘60s and ‘70s. She has “danced the talk, music, and history of that period and beyond. This is a must read for insight into a black artist’s personal and professional journey.

—KARIAMU WELSH, editor of African Dance: An Artistic, Historical and Philosophical Inquiry £14.99 For pricing information and to order in the US: Since ancient times and across cultures, dance has upress.uf .edu/DSA18 800.226.3822 provided a powerful form of human expression. For pricing information and to order in Europe: In this inspiring book, Dana Mills examines the political eurospanbookstore.com/f orida +44 (0) 1767 604972 power of dance from a global perspective.

TO ORDER THIS BOOK VISIT UNIVERSITY PRESS OF FLORIDA WWW.MANCHESTERUNIVERSITYPRESS.CO.UK 50% OFF AND APPLY DISCOUNT CODE DANCE18 @floridapress AT THE CHECKOUT. EXPIRES 31st JULY 18

DSA-Program-ad1.indd 1 3/1/2018 2:14:38 PM wesleyan university press

Top scholars and artists theorize the body as a Graduate Degrees Ofered: crucible of knowledge MFA in Choreography The Sentient and Archive PhD in Culture and Performance Bodies, Performance, Application Deadline November 1, 2018 and Memory

Edited by Bill Bissell and Dance Faculty: Linda Caruso Haviland Kyle Abraham Anurima Banerji Susan Foster “T is volume presents a marvelous and Dan Froot diverse group of thinkers who are reckoning Victoria Marks with the dancing body as a site of knowing, Janet O’Shea remembering, and performing.” Lionel Popkin –SUSAN LEIGH FOSTER, UCLA David Rousseve` Tria Blu Wakpa Cheng-Chieh Yu order from your favorite bookseller or call 800-421-1561 welseyan.edu/wespress @weslpress www.wacd.ucla.edu Published on behalf of the Society for Dance Research

Dance Research is essential reading for those involved in the study and practice of dance

Provides an international forum for the presentation and discussion of contemporary dance research. Dance Research is addressed to scholars and practitioners working within the many disciplines of Dance Studies.

Disciplines covered include: studies of dancers, ballet, choreography, dance and movement, dance and music, dance history and social history, folk dance, performance technique, the sociology of dance. the anthropology of dance and injuries, ftness and nutrition studies.

FREE ONLINE ACCESS FOR 30 DAYS Access Token name: 2018DRS

1. Visit www.euppublishing.com/journals 2. Create or log-in to My Account 3. Enter 2018DRS in the ‘Access Tokens’ area of My Account and submit

EDITOR ASSISTANT EDITOR ASSOCIATE EDITOR REVIEWS EDITOR PUBLISHED Richard Ralph Margaret McGowan Clement Crisp Alexandra Kolb Biannual | Print ISSN: 0264-2875 | Online ISSN: 1750-0095 www.euppublishing.com/drs

@ MASON GROSS

Degrees in performance and dance education

BA, BFA, BFA/EdM, EdM, and MFA »Online courses »Summer programs »Year-long classes for all ages

www.masongross.rutgers.edu [email protected] Dance Research Journal To mark Dance Research Journal’s 50th anniversary volume, we have opened-up access to a special collection of articles. Chosen by the Editor, Helen Thomas, this collection celebrates some of the best research published by the journal.

Access this collection for free at www.cambridge.org/drj50

Performance Studies Journals from Cambridge

www.cambridge.org/core-performancestudies

37497.indd 1 27/02/2018 14:52 DANCE STUDIES ASSOCIATION Contact: 414-908-4951 Address: 7044 S. 13th Street, Oak Creek, WI 53154, USA 2018