(p. xv) List of Contributors
(p. xv) List of Contributors
Darren Patrick Blaney, PhD, is a lecturer in the Theatre Arts Department at the University of Miami, Florida. He has contributed essays to Theatre Journal, Modern Drama, The New England Theatre Journal, and the Gay and Lesbian Review, Worldwide. He previously taught at Pomona College, University of California, Davis, and University of California, Santa Cruz, and his plays have been presented at numerous venues, including the San Francisco Fringe Festival, Highways Performance Space, and Works San Jose.
Christey Carwile is professor of anthropology and global studies at Warren Wilson College. She has published work on women and religion in Nigeria and popular dance and pan-African identity in West Africa. Her current research examines the pedagogical role of music and movement in resolving conflict and addressing issues of social justice.
Christine Emi Chan is currently living in Hawaii and studying at the University of Hawaii John A. Burns School of Medicine. She graduated from Pomona College with a major in religious studies and a minor in dance. She has studied hula for many years.
Paula Conlon, associate professor of musicology, teaches Native American and world music at the University of Oklahoma’s School of Music. Recent publications include chapters on the native flute revival (The Oxford Handbook of Music Revivals, 2014), the native flute and courtship (Music, Dance and the Art of Seduction, 2014), activism through powwow music and dance (Sounds of Resistance: The Role of Music in Multicultural Activism, 2013), and native entries in The Grove Dictionary of American Music (2nd ed., 2013).
Andrea Deagon received her PhD in classical studies from Duke University in 1984 and currently coordinates the classical studies program at University of North Carolina–Wilmington, as well as teaching in the women’s studies program. Since 1975 she has studied, taught, and performed Middle Eastern dance. She writes on the Western reception of Middle Eastern dance for both dance and academic publications; her most recent article, “The Golden Mask: Tipping the Belly Dancer in America,” appears in Feminist Studies 39, no. 1 (Spring 2013).
Thomas F. DeFrantz is professor of dance and African and African American studies at Duke University, and president of the Society of Dance History Scholars, an international organization that advances the field of dance studies through research, publication, performance, and outreach to audiences across the arts, humanities, and social (p. xvi) sciences. He is also the director of SLIPPAGE: Performance, Culture, Technology, a research group that explores emerging technology in live performance applications. His books include the edited volume Dancing Many Drums: Excavations in African American Dance (University of Wisconsin Press, 2002), winner of the CHOICE Award for Outstanding Academic Publication and the Errol Hill Award presented by the American Society for Theater Research, and Dancing Revelations Alvin Ailey’s Embodiment of African American Culture (Oxford University Press, 2004), winner of the de la Torre Bueno Prize for Outstanding Publication in Dance.
Ana Patricia Farfán holds an MFA in dance from the University of Maryland in linguistics and Spanish literature, Universidad Nacional Autónoma de México in Concert Dance, and Academia de la Danza Mexicana, National Institute of Fine Arts. She is the founder and current editor of the Mexican dance research journal Centrífuga. She was awarded a Fulbright fellow award for her research (2011–2013).
Jennifer Fisher is an associate professor in the dance department of the University of California, Irvine, and the author of Nutcracker Nation: How an Old World Ballet Became a Christmas Tradition in the New World (Yale University Press, 2003), which won the Special Citation of the De La Torre Bueno Prize given by the Society of Dance History Scholars. She coedited with Anthony Shay When Men Dance: Choreographing Masculinities Across Borders (Oxford University Press, 2009). As a ballet coroner, she recently held an inquest into the death of Giselle at the San Francisco Ballet.
Jonathan M. Hall is an assistant professor of media studies at Ponoma College. His research focuses on critical and psychoanalytic theories, avant-garde and experimental literature and film, queer theory, and cultural studies in popular cinema and media, from experimental film, to video, to animation, as well as the unfolding directions of new media. He is especially interested in the intersections of desire, expression, and politics, with special concern for filmic, literary, and new media texts from East and Southeast Asia. His first book project, “Geographies of Unbelievable Latitude,” addresses media theory, social histories of perversion, and the midcentury Japanese film underground.
Jessica Ray Herzogenrath a PhD candidate in history at Texas A&M University and dissertation fellow at Texas A&M in Qatar, explores the circulation of folk dance practices through women in education in her dissertation in progress, “Thinking American, Working American, Playing American: Folk Dance in Chicago, 1890–1940.” Her research interests include American popular dance; American identity; and the intersections of gender, ethnicity, race, and class in the early twentieth century.
Petri Hoppu is PhD and adjunct professor in dance studies at the University of Tampere, Finland. His areas of expertise include theory and methodology in dance anthropology as well as research into Nordic vernacular and folk dances. He has coedited (with Karen Vedel) Nordic Dance Spaces: Practicing and Imagining a Region (Ashgate, 2014).
Rebekah J. Kowal is an associate professor of dance at the University of Iowa, where she teaches dance studies. Her first book, How to Do Things with Dance: Performing Change in (p. xvii) Postwar America (Wesleyan University Press, 2010), received the Congress on Research in Dance Outstanding Publication Award in 2012. Currently she is coediting the Oxford Handbook on Dance and Politics and working on her second book about the politics of international dance performance in the United States in the mid-twentieth century.
Rachmi Diyah Larasati is the author of The Dance That Makes You Vanish (University of Minnesota Press, 2013). She is associate professor in the Department of Theater Arts and Dance and gender, women and sexualities studies, University of Minnesota. She also serves as visiting professor at the Madrasah of Critical Global Humanities at the Islamic University (UIN) Yogyakarta.
Allana C. Lindgren is an associate professor in the Department of Theatre at the University of Victoria in British Columbia, Canada. She has published articles in a variety of journals, including Dance Chronicle, American Journal of Dance Therapy, and Journal of Dance and Somatic Practices. She is also the coeditor of Renegade Bodies: Canadian Dance in the 1970s.
Aoife McGrath PhD, is a lecturer in the School of Creative Arts, Queen’s University, Belfast, where she researches and teaches dance and theater. She is also a dancer and choreographer and is co-convener of the Choreography and Corporeality Working Group of the International Federation for Theatre Research. Aoife has published several articles and book chapters on dance, and her recently published monograph, Dance Theatre in Ireland: Revolutionary Moves (Palgrave Macmillan, 2013), provides the first critical and contextual study of contemporary and historical dance theater practice in Ireland.
Juliet McMains PhD, is an associate professor in the Dance Program at the University of Washington in Seattle. Her first book, Glamour Addiction: Inside the American Ballroom Dance Industry (Wesleyan, 2006), won the 2008 CORD Outstanding Publication Award. Her second book, Spinning Mambo into Salsa: Caribbean Dance in Global Commerce, is forthcoming from Oxford University Press.
Ida Meftahi is a cultural historian whose research transcends the studies of gender, dance, theater, cinema, and political economy of public entertainment who offers a novel narrative of corporeality in twentieth-century Iran. She has a PhD from the University of Toronto’s Department of Near and Middle Eastern Civilizations and is a 2013–2014 postdoctoral fellow at the Institute for the Arts and Humanities, Pennsylvania State University.
Gabriela Mendoza-Garcia director, choreographer, and dance scholar, is passionate about teaching and researching Mexican folkloric dance. She is the director of the Gabriela Mendoza-Garcia Ballet Folklorico in Laredo, Texas. Currently she is writing on the role of gender in Mexican folkloric dance and is choreographing dances that incorporate her investigation of the Jarabe Tapatío in 1920s Mexico.
Kathy M. Milazzo received her PhD in dance studies from the University of Surrey. Her recent publications include a chapter on the puellae Gaditanae, the ancient Spanish (p. xviii) dancers, in Michelle Hefner Hayes’s forthcoming edited work for Macmillan, and a piece on the history of jazz and tap dance in Judith Bennahum’s newly revised textbook, The Living Dance. Milazzo has been a dance studies lecturer at the University of Surrey and the University of New Mexico in Albuquerque and is currently working at the Albuquerque Museum of Art and History.
Andriy Nahachewsky is a professor, director of the Kule Folklore Centre, and Huculak Chair of Ukrainian Culture and Ethnography at the University of Alberta. His research interests include folklore, dance, and ethnic identity. His most recent monograph is Ukrainian Dance: A Cross-Cultural Approach (McFarland, 2012).
Christos Papakostas PhD, is a lecturer in at the University of Athens in Physical Education and Sport Science. Last year he published ‘Saha isi varo ni nai’ (Romani dance and music identities in Macedonia).
Miriam Phillips is assistant professor in the School of Theater, Dance, and Performance Studies at the University of Maryland. She is a dance ethnologist, Laban movement analyst, and dancer whose primary research focuses on the kinesthetic and aesthetic comparisons between North Indian kathak and Spanish flamenco dance, with a recent article appearing in Ethnomusicology 57, no. 3 (Fall 2013). A newer research area explores performance as embodied cultural memory and the cross-pollination process between dance in rural communities in Guinea, West Africa, and their counterparts in nationalized staged versions, with a forthcoming chapter in the multidisciplinary collaborative publication Dancing with D’mba: Icon of Beauty and Power in West Africa (Yale University Press, forthcoming).
Leonard Pronko is a professor of theater and expert on kabuki at Pomona College. Since 1965 he has directed some twenty kabuki productions in English at the college and elsewhere. In 1970 he was the first non-Japanese to study at the Kabuki Training Program at the National Theatre of Japan. He has studied kabuki dance with a number of eminent dance teachers in both the United States and Japan. In 1972 Pronko received a Los Angeles Drama Critics Circle Award for his kabuki productions. In 1986 he received the Order of the Sacred Treasure, Third Degree, from the government of Japan in recognition of his achievements in introducing kabuki to the West. In 1997 he received the Association for Theatre in Higher Education Award for Outstanding Teacher of Theatre in Higher Education.
Rebecca Rossen is assistant professor in the Performance as Public Practice Program at the University of Texas at Austin, where she teaches courses in dance history and performance studies. She is the author of Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance (Oxford University Press, 2014), and has also published articles in Feminist Studies, TDR: The Drama Review, and Theatre Journal.
Nancy Lee Ruyter PhD, is a professor of dance at University of California, Irvine. Her publications include Reformers and Visionaries: The Americanization of the Art of Dance (1979), The Cultivation of Body and Mind in Nineteenth-Century American Delsartism (p. xix) (1999), and numerous articles on dance and theater in Spain and Latin America and dance in the Balkan regions.
Paul A. Scolieri is associate professor of dance at Barnard College, Columbia University. He is the author of Dancing the New World: Aztecs, Spaniards, and the Choreography of Conquest (2013), the inaugural book in the University of Texas Press’s Latin American & Caribbean Performance Series, sponsored by the Andrew W. Mellon Foundation. He is currently writing a biography of the father of American dance, Ted Shawn, for Oxford University Press.
Barbara Sellers-Young is a professor in the Department of Dance at York University in Toronto. She has published five books, of which three have focused on ethnicity and identity. They include a book on Japanese dance, Teaching Personality with Gracefulness, and two coedited volumes, Belly Dance: Orientalism, Transnationalism and Harem Fantasy, with Anthony Shay, and Belly Dance Around the World: New Communities, Performance and Identity, with Caitlin McDonald.
Anthony Shay is associate professor in the Department of Theatre and Dance, Pomona College, in Claremont, California. He is the author of four monographs and four edited volumes. His newest book is The Dangerous Lives of Public Performers: Dancing, Sex, and Entertainment in the Middle East (Palgrave Macmillan, 2014).
Carol Silverman professor of cultural anthropology and folklore at the University of Oregon, has done research with Roma in the Balkans, Western Europe, and the United States, exploring the intersection of politics, music, human rights, gender, and state policy with a focus on issues of representation; she is also a performer and teacher of Balkan music and works with the NGO Voice of Roma. Her recent publications include Romani Routes: Cultural Politics and Balkan Music in Diaspora (Oxford University Press, 2012), which received the Merriam Book Prize from the Society for Ethnomusicology, and “Global Balkan Gypsy Music: Issues of Migration, Appropriation, and Representation,” in The Globalization of Musics in Transit: Musical Migration and Tourism (edited by S. Krüger and R. Trandafoiu, Routledge, 2014).
Christopher J. Wells is assistant professor of musicology at Arizona State University. He has contributed entries on social and popular dance topics, tap dancers, and African American musicians to the African American National Biography and The Twenties in America.