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date: 29 February 2020

(p. xvii) Contributors

(p. xvii) Contributors

Daniel Belgrad is Associate Professor of Humanities and Cultural Studies at the University of South Florida. He is the author of The Culture of Spontaneity: Improvisation and the Arts in Postwar America (1998) and is currently writing a book on the influence of ecological thinking in American culture since 1960.



Elena Benthaus has a PhD in Dance Studies from the School of Culture and Communication at the University of Melbourne, an MA in English/American Studies and Theatre Studies, and a degree in Modern and Contemporary Dance. Her research focuses on the production, circulation, and transmission of affect in popular screendance works.



Melissa Blanco Borelli is Senior Lecturer in Dance in the Drama, Theatre and Dance Department at Royal Holloway, University of London. She is the editor of The Oxford Handbook of Dance and the Popular Screen (OUP, 2014) and author of She Is Cuba: A Genealogy of the Mulata Body (OUP, 2015), winner of the 2016 SDHS de la Torre Bueno Prize for best book in dance studies.



Erin Brannigan (PhD) is Senior Lecturer in Dance at the University of New South Wales and works in the fields of dance and film as an academic and curator. Her recent publications include Dancefilm: Choreography and the Moving Image (2011) and Bodies of Thought: 12 Australian Choreographers, co-edited with Virginia Baxter (2014).



Rachel Carrico is a scholar, artist, and educator whose research explores the aesthetic, social, and political dimensions of dance in the New Orleans second line tradition. She holds a PhD in Critical Dance Studies from the University of California, Riverside, and parades annually with the Ice Divas Social Aid and Pleasure Club.



Jeremy Carter-Gordon is a teacher, performer, and scholar of traditional music and dance. In 2011 he was awarded a year-long Thomas J. Watson Fellowship to learn, record, and document European hilt-and-point sword dances. He holds an MA in Dance Knowledge, Practice, and Heritage from Choreomundus.



Pallabi Chakravorty is Associate Professor and Director in the Department of Music and Dance at Swarthmore College. Her most recent books are Dance Matters: Performing India on Local and Global Stages (2010, co-editor), This Is How We Dance Now: Performance in the Age of Bollywood and Reality Shows (2017), and Dance Matters Too: Markets, Memories, Identities (2017, co-editor). She is artistic director of Courtyard Dancers, a nonprofit dance company based in Philadelphia and Kolkata.



(p. xviii) Sally Crawford-Shepherd is a dance practitioner, choreographer, and lecturer. She achieved a BFA in Dance at University of Missouri-Kansas City, an MA in Choreography at Trinity Laban, and her PhD in Dance Ethnography at De Montfort University. She is currently the Coordinator of Dance at the University of the West Indies, St Augustine Campus, Trinidad.



Sherril Dodds is Professor of Dance and Director of the Institute of Dance Scholarship at Temple University. Her research focuses on popular dance, screen dance, and cultural theory, and her publications include Dance on Screen (2001), Dancing on the Canon (2011) and Bodies of Sound (2013). She was a cofounder of the international research network PoP MOVES.



Mary Fogarty is Associate Professor of Dance at York University, Toronto, Canada. She is a co-editor of Movies, Moves and Music: The Sonic World of Dance Films (2016) with Mark Evans, and The Oxford Handbook of Hip-Hop Dance Studies with Imani Kai Johnson (OUP, forthcoming). She teaches breaking classes locally for the Toronto B-Girl Movement.



Catherine E. Foley is Senior Lecturer in Ethnochoreology at the University of Limerick, Ireland. She is Founding Chair Emerita of the international society, Dance Research Forum Ireland; Founding Director of the National Dance Archive of Ireland; and is the elected Chair of the International Council for Traditional Music’s Study Group on Ethnochoreology. Catherine has published widely and is a dancer and musician.



Susan Leigh Foster, choreographer and scholar, is Distinguished Professor in the Department of World Arts and Cultures at University of California, Los Angeles. She is currently at work on a book entitled Valuing Dance: Commodities and Gifts in Motion. Three of her danced lectures can be found at the Pew Center for Arts and Heritage website, http://danceworkbook.pcah.us/susan-foster/index.html.



Nadine George-Graves is Professor of Theater and Dance at University of California, San Diego, and past president of the Congress on Research in Dance. She is the author of The Royalty of Negro Vaudeville: The Whitman Sisters and the Negotiation of Race, Gender, and Class in African American Theater, 1900–1940 (2000) and Urban Bush Women: Twenty Years of Dance Theater, Community Engagement and Working It Out (2010). She is the editor of The Oxford Handbook of Dance and Theater (2015).



Ruth Hellier-Tinoco (PhD) is a scholar–creative artist and Associate Professor at the University of California, Santa Barbara. Her research and teaching focus on experimental performance-making; community arts and eco-activism; sport and music; and the politics and poetics of performance, theater, music, and dance in Mexico. Publications include Embodying Mexico: Tourism, Nationalism and Performance (2011) and Women Singers in Global Contexts (2013).



April F. Masten is Associate Professor of American History at Stony Brook University. She studies the convergence of ideas and events that built structures of opportunity for (p. xix) cultural producers in the nineteenth century. Her first book looked at female visual artists. Her current project is a double biography of rival challenge dancers, Irish American John Diamond and African American “Juba.”



Rowan McLelland is a Lecturer in the Dance Department at the University of Roehampton, London. She was a professional ballet and contemporary dancer, and now practices vintage swing dances. She was an AHRC fellow at the Shanghai Theatre Academy in 2016.



Juliet McMains (PhD) is author of Spinning Mambo into Salsa: Caribbean Dance in Global Commerce (OUP 2015) and Glamour Addiction: Inside the American Ballroom Dance Industry (2006). She is a Professor in the Dance Program at the University of Washington.



Liz Mellish is an independent researcher who completed her PhD at University College London in 2014. Her current research focuses on social dance, cultural events, and choreographic practices in Southwest Romania, and the history of the Balkan dance scene in the United Kingdom. She is Secretary of the International Council of Traditional Music study group on Music and Dance in Southeastern Europe.



Kathy Milazzo is an Adjunct Professor in Writing in Clovis, New Mexico. She received her PhD in Dance Studies from the University of Surrey, focusing on sub-Saharan African/Africanist influences on flamenco and Spanish dance. Her publications on Spanish dance and culture range from historical inquiries to anthropological explorations.



Celena Monteiro is a PhD candidate and Associate Lecturer in Dance at the University of Chichester. The working title for her current research is European Dancehall Queen Competitions in the Digital Age: Transcultural Feminine Identity Production in Performance. She holds an MA in Dance Anthropology (University of Roehampton).



Janet O’Shea is Professor of World Arts and Cultures/Dance at University of California, Los Angeles. She is author of At Home in the World: Bharata Natyam on the Global Stage (2007) and co-editor of the Routledge Dance Studies Reader (second edition, 2010). She is currently completing a manuscript entitled Risk, Failure, Play: What Martial Arts Training Reveals about Proficiency, Competition, and Cooperation.



Meghan Quinlan is a Lecturer in Dance at Kennesaw State University. She holds a PhD in Critical Dance Studies from University of California, Riverside, and a BA in Dance and English from Marymount Manhattan College. Her current research uses Gaga, Ohad Naharin’s movement language, as a case study to explore politics of technique, nationalism, neoliberalism, and gender in international contemporary concert dance trends.



Kaitlyn Regehr (PhD) is an ethnographer and documentarian. Her work has appeared internationally in academic and popular print outlets, including Variety Magazine and the Los Angeles Times. In addition to serving as a topic specialist for BBC World, Regehr (p. xx) has created documentary content for networks such as Super Channel (CA), SWR (DE), and ARTE (FR).



Laura Robinson (PhD) is a popular dance scholar and Lecturer in Dance: Urban Practices at the University of East London. Her doctoral research focused on the construction and performance of spectacle in male street dance crew performances on British television talent shows. Publications include chapters in Bodies of Sound (2013) and The Oxford Handbook of Dance and the Popular Screen (2014).



Karen Schupp is Assistant Professor in Arizona State University’s School of Film, Dance, and Theatre. She is the author of Studying Dance: A Guide for Campus and Beyond (2014), the book chapter “Sassy Girls and Hard-Hitting Boys: Dance Competition Culture and Gender,” in Dance and Gender: An Evidence-Based Approach (2017) and numerous scholarly articles examining innovative pedagogical approaches.



Nalina Wait is a dance artist, dance lecturer at Australian College of Physical Education, and PhD candidate at the University of New South Wales, researching improvised composition. Her professional performing credits include award-winning works by Sue Healey, Rosalind Crisp, Dance Works, Hans Van Den Broeck, and Marina Abramović. She has presented at Ecole des Hautes études en Sciences Sociales, UNSW, and ASDA Sydney University.



Sarah Wilbur (MFA, PhD) is a choreographer, dance scholar, and the Mellon Postdoctoral Fellow in Dance Studies at Brown University. Her current book project analyzes institution building through a dance lens, using as her case study the fifty-year struggle to uphold norms of dance production and professionalization in the Dance Program at the US National Endowment for the Arts (NEA).



Emily Winerock is a visiting Assistant Professor in History at the University of Pittsburgh. Her research focuses on the politics and practices of dancing in sixteenth- and seventeenth-century Europe. A scholar-practitioner, she also teaches Renaissance dance workshops and is a cofounder of The Shakespeare and Dance Project.



Yutian Wong is Associate Professor in the School of Theatre and Dance at San Francisco State University, where she teaches courses in dance history and theory, composition, and writing in the discipline. She is the author of Choreographing Asian America (2010) and the editor of Contemporary Directions in Asian American Dance (2016).



Ying Zhu is Assistant Professor of Dance at the University of South Florida. She holds a PhD in Critical Dance Studies from the University of California Riverside. She is presently at work on a book project using the Vietnam Veterans Memorial as a case study to consider the body, as a complicating factor, in processes of national, collective memorialization.