Associate Professor of Dance; Program Director and Departmental Advisor for Dance
In my research, I analyze the social, cultural, and historical conditions that affect how people move. I’m fascinated by critical theories of the body, and I tend to think about dance as an arena for experimental relations between self and other. These interests are informed by my experience as a dancer – taking class, rehearsing, and performing (most recently for the choreographers DD Dorvillier and Beth Gill). Persistent shuttling between dance practice and academic work – two worlds that I’ve been trying to bridge for as long as I can remember – has shown me that dance and critical theory inform each other in significant ways, revealing much about embodiment, subjectivity, and notions of identity. I hope to make these relations apparent in my classes.
MA and PhD, Performance Studies, New York University
BA, Philosophy, Stanford University
Books: I Want to be Ready: Improvised Dance as a Practice of Freedom, Ann Arbor: University of Michigan Press, 2010.
“Improvised Dance in the Reconstruction of THEM,” Oxford Handbook of Critical Improvisation Studies, eds. George Lewis and Benjamin Piekut, Oxford University Press. (Online Publication date: February 2015. Print publication forthcoming)
“Deborah Hay’s O,O,” Planes of Composition, eds.André Lepecki and Jenn Joy, Seagull Press, 2010.
Co-editor (with Trajal Harrell), Movement Research Performance Journal #33 (August 2008).
“Sound Gestures: Posing Questions for Music and Dance,” Women & Performance: a journal of feminist theory, Women & Performance: a journal of feminist theory, 17,2 (Summer 2007).
"Turning Toward Trisha Brown: Valiance and Fragility in Beth Gill's New Work for the Desert," TDR: The Drama Review, 59:3 (Fall 2015).
“Deborah Hay: Stepping Aside, With Eyes Askance,” TDR: The Drama Review, 51,2 (Summer 2007): 157-170.
“Introduction: Sound Gestures: Posing Questions for Music and Dance,” Women & Performance: a journal of feminist theory, 17,2 (Summer 2007): 123-138.
“A Conversation with Zeena Parkins,” Women & Performance: a journal of feminist theory, Routledge, Taylor & Francis, 17,2 (Summer 2007): 247-256.
“Bodies on the Line: Contact Improvisation and Techniques of Non-Violent Protest,” Dance Research Journal, 37, 1 (Summer 2007): 60-74.
“Ghostcatching: an Intersection of Technology, Labor, and Race,” Dance Research Journal, Winter 2003 & Summer 2004: 68-87.
Performer, Tournamento by Sarah Michelson, Walker Arts Center, Minneapolis, MN, September 24-27, 2015.
Performer, Electric Midwife, choreographed by Beth Gill. Premiere: The Chocolate Factory, Long Island City, Queens, NY, June 17-July 2, 2011. Additional performances: River to River Festival, Pier 15, New York, NY, June 30-July2, 2012; Nazareth College Arts Center Dance Festival, Rochester, NY, July 14-15, 2012; Dance Umbrella Festival, London, England, October 9-10, 2012; Fusebox Festival, Austin, TX, April 26-28, 2012.
Performer, what it looks like, what it feels like, choreographed by Beth Gill. The Kitchen: New York, NY, November 20-22, 2008.
Performer, Nottthing is Importanttt choreographed by DD Dorvillier. Impulstanz: Vienna International Dance Festival. Kasino am Schwarzenbergplatz: Vienna, Austria, August 7-10, 2008; Playground, STUK: Leuven, Belgium, November 2-3, 2008; The Kitchen, New York City, February 1-10, 2007.
Performer, Eleanor and Eleanor, choreographed by Beth Gill. Dance Theater Workshop, November 29-December 1, 2007
Performer, The Tiger Situation, choreographed by Anna Sperber, Dance Theater Workshop, New York, NY, February 28-March 3, 2007.
Introduction to Dance History
Black Boxes and White Cubes
Ind Senior Project