Current Graduate Students

Juan M. Aldape: MA in International Performance Research from the University of Warwick (UK). As practitioner and researcher, his current work focuses on movement, migration and mapping discourses related to undocumented spaces and choreographic processes. Most recently, he co-founded A PerFarmance Project, site-specific collaborations between farmers and performers researching the concept of food security from rural and urban perspectives. He is an Erasmus Mundus Scholar, a regular contributor to loveDancemore performance journal, and the e-resource convener for the International Federation for Theatre Research’s Performance as Research working group. He holds a BFA in Modern Dance and BA in Anthropology from the University of Utah (USA). Email:  Website:

Miyuki Baker: B.A. Studio Arts, Asian Studies, Swarthmore College (2012). Miyuki is a resident of the place where many circles overlap. They are a queer, multi-racial/lingual artist, activist & academic passionate about using common or discarded objects, stories, zines, and performance in public spaces to make accessible art. Their research examines how we cultivate “hope” and meaning through space, architecture and the environment. Email: Website:

Miyoko Conley: B.F.A, Theatre, New York University; M.A., Individualized Study (Playwriting and Japanese Popular Culture), New York University. Miyoko researches transnational media, fan cultures, and affective technologies, with a focus on Japanese and South Korean popular culture. More broadly, she writes about the intersections of theatre and popular culture, and examines how media phenomenon impact traditional theatre spaces, as well as theatricality in online spaces. Miyoko is also a playwright and performer, and her work engages with what it means to perform with technology.  Email:

Lashon Daley: B.A. English, University of Miami (2005); M.F.A. Writing, Sarah Lawrence College (2008); M.A. Folklore, University of California, Berkeley (2015).  Lashon is a PhD scholar in Performance Studies at the University of California, Berkeley and an emerging storyteller.  Her research focuses on the performances of Brer Rabbit tales within contemporary U.S. culture. She is a 2014 Callaloo Poetry Fellow and a 2015 UC Berkeley Chancellor Fellow. Her work has appeared in O, The Oprah Magazine, Storytelling Magazine, and Underwater New York. Her children’s book, Mr. Okra Sells Fresh Fruits and Vegetables, was published by Pelican Publishing in February 2016.  Lashon is also the creator of Stories&Slams, a podcast that focuses on everyday stories.  More information can be found on her website at Email:

Bélgica L. del Río: B.A. in Dance and English, University of California Riverside. Bélgica explores the body’s oscillating meanings and power across ethnicity and culture. She is especially interested in technology’s intersection with the performance of identity and the politics of representation in cinema, theatre and popular dance. Her recent research interests include digital culture, racialization processes, and the global circulation and appropriation of ethnic dance. She is also concerned with the discursive shift digitality brings to theories of embodied knowledge, identity, and performance. Email:

Jess Dorrance is a writer, curator, and PhD student. She writes about the intersections between art, performance, and queer, feminist, and anti-racist politics. She is the co-editor, with Antke Engel, of Bossing Images: The Power of Images, Queer Art, and Politics (NGBK, 2012), which grew out of an eponymous series of experimental events. She is also a long-time team member of the Institute for Queer Theory, Berlin. Jess curates short film programs and organizes workshops in Berlin, Montreal, and elsewhere, most recently the workshop “Visibility and Violence in Late-Capitalist Digital Democracy” (QPIRG Concordia, 2015). She holds an MA in Art History, with an emphasis in Gender and Women’s Studies, from McGill University (2014), as well as a BA in Art History and English Literature from McGill University (2008). Email:

Natalia Duong is a performance artist, choreographer, and writer, based in the San Francisco Bay Area. Her research interweaves performance studies, disability studies, and critical race theory to examine embodied transmissions of the herbicide Agent Orange across human and non-human bodies in Vietnam and the United States. Natalia is a company member of The Lonely Painter Project and Poetic Theater Productions. She holds a Bachelor’s degree in Psychology and Dance from Stanford University and a Masters degree in Performance Studies from New York University. She is currently a Ph.D. candidate at University of California, Berkeley in Performance Studies with a designated emphasis in Women, Gender, and Sexuality Studies. Email:

Laila Espinoza: BFA in Community Arts with an Individualized Minor from the California College of the Arts, Oakland/San Francisco. Laila is a visual and performance artist, writer and scholar maker of ceremony, ritual and altars. Her work explores the spiritual and somatic permeability between private and public spaces, the home and the streets, the physical and the ephemeral. Her research focuses on how the memory of the body, as the carrier of ancestral knowledge, information and lived experiences can be activated through performance. In her most recent research, she examines transgenerational ghosting and other effects of colonial, post-colonial and capitalistic systems and how these social phenomena shape our personal sense of identity, expression and belonging to our environments. Laila received the California College of the Arts Travel Award in 2016 for her site specific performance and ritual in Ciudad Juarez, Chihuahua, Mexico in which she brings attention to the femicides in Ciudad Juarez.Email:

Randi Evans’ work and research explores the intersections of dance studies, cultural studies, curatorial practice, and social and community-based practices. She holds a BFA in dance from Cornish College of the Arts, MA in cultural studies from the University of Washington, and certificate in curatorial practice in performance from Wesleyan University. In addition to her academic background she has worked in community-based organizations in arts administration and as a teaching artist. Most recently she has been teaching courses on contemporary performance practices to first year students at the University of Washington Bothell. Email:

Patricia Gomes: B.A. Art History and Global Gender Studies University at Buffalo. M.A. Performance Studies NYU. She is a first-generation American, from a Brazilian family and largely grew-up in upstate New York. Her research explores cultural geographies and performance theory for the interrelationship between identity and place, something I consider a “geo-corporeality.” In order to do this, she turns to the artistic practice of black and brown women of the Americas, primarily in Brazil. Their use of performance, place-making, and relationship to everyday geographies of racial and gendered struggle, suggests an alternative way of conceiving activism, disruptions, entanglements, political identity and curation.  Email

Julia HavardB.A. History of Science, minor in Dance, Harvard University. Julia is interested in the embodiment of trauma and the effect of bodily memories on physical movement and gesture. She currently works at a health clinic educating young people in LGBTQ communities about the Affordable Care Act and wants to look more in depth at how barriers to affirming healthcare relate to institutionalized and interpersonal violence. Through her dance practice, she has been exploring reframing of personal and social history. Email:

Martha Herrera-Lasso: MA in Theatre from the University of British Columbia (Vancouver) and a BA in Playwriting from the National University in Mexico City (UNAM). She has worked as a writer and developer for theatre and television in Mexico and Canada, and is currently the co-director of the New Play Reading Series at UC Berkeley. She is concerned with the practical and theoretical implications of bi and tri-national theater collaborations amongst Mexico, Canada and the United States, read through the politics of linguistic, cultural and aesthetic translation. Email:

Matthew Jamison holds a BA in Theatre and Women’s & Gender Studies from Ohio Wesleyan University and the GEMMA Erasmus Mundus Master’s Degree in Women’s & Gender Studies from Utrecht University (Netherlands) and the University of Oviedo (Spain). His research interests include feminist new materialisms, science and technology studies, continental philosophy, queer performance, and modern and contemporary theatre. His master’s thesis explores the use of HeLa cells in mitochondrial DNA referencing, popular scientific narratives, and bioart. He is concerned with the entanglement of epistemology, ontology, and ethics and accountable knowledge production. Matthew is a proud native Houstonian. Recent performance credits include Ricky in Ike Holter’s Exit Strategy (Rec Room) and supernumerary roles in Zandra Rhodes’ production of Les pêcheurs de perles (Houston Grand Opera).  Email:

Paige JohnsonPhD Candidate in Performance Studies with a Designated Emphasis in Gender and Women’s Studies (UC Berkeley); B.A. Theatre and Cultural Anthropology, Columbia University; Mellon-Mays Fellow; Fulbright Fellow. Paige’s work sits at the convergence of performance studies, queer studies and Southeast Asian Studies. Currently working in Indonesia, Paige brings a cross-disciplinary intelligence as both a scholar and performer to her work with Male-to-Female trans communities known locally as WariaFocusing on a large constellation of  performative practices, Paige explores how “Waria”—as an identity, point of identification, social signifier of difference, and node within transnational queer codes—manifests through various “genres” of performance enacted by Waria-identified subjects, seeking to understand Waria as both subject position and aesthetic demarcation. In addition to her own research Paige has directed a TDPS workshop production of The Maids  and currently co-leads the Color of New Media working group with Professor Gail de Kosnik as well as the Queer Theory in South and Southeast Asia working group with Darren Arquero.

Zihan Loo: MFA in Studio Practice, School of the Art Institute of Chicago. MA in Performance Studies, NYU Tisch School of the Arts. Zihan is a queer artist from Singapore with a research focus on distended and pragmatic gestures of resistance under illiberal regimes. His work strives to reconcile the tension between the flesh of the body and the bone of the archive, while interrogating the fetish of materiality in our orientation towards a post-human world. He emphasizes the malleability of memory through various representational strategies that includes performance re-enactments and essay films. He was awarded the Young Artist Award by the National Arts Council of Singapore.  Email: Website:

Caleb Luna: B.A., Anthropology and Women’s and Gender Studies, The University of Texas at Austin (2015). Caleb is a working class fat, brown, queer, living, writing and dancing in Oakland, California. Their work explores the intersections of fatness, desire, fetishism, white supremacy and colonialism from a queer of color lens. You can find their writing on Black Girl Dangerous, Everyday Feminism and The Body Is Not An Apology.

Christian Nagler is an artist, writer, translator, and a PhD candidate in performance studies. Recent writings can be found in TDRPerformance ResearchArt JournalArt Practical, Fillip and in the books Somatic Engagement (ed. Petra Kuppers) and Six Lines of Flight (ed. Apsara DiQuinzio). He has been an Arts Research Center fellow and a columnist for SFMoma’s Open Space. His novel Human Capital: A Lifewas published in 2016 by Publication Studios press. He has recently performed or exhibited at CounterPulse, The Oakland Museum of California, The Kadist Foundation, and The Lab. His dissertation-in-progress investigates the role of performance and performativity in Silicon Valley’s representation of economic and social futures. Email:

Aparna Nambiar: BSc. Life Sciences, National University of Singapore; M.A. Theatre Studies, University of AmsterdamM.A. International Performance Research, University of Warwick. Aparna is an Indian classical dancer and performance studies scholar based in Singapore. Her research thus far has examined the genesis and evolution of minority Indian performance practices in Singapore, and the ongoing negotiations of Singaporean identity that manifest performatively and corporeally. Her interests include diaspora studies, traditional performance practices in contemporary Asia and the interventions of global capital flows on Asian culture. Email:

Lyndsey Ogle: B.F.A. Acting, Northern Illinois University; M.A. Individualized Studies (Interdisciplinary Curation and Digital Culture), New York University.  Lyndsey is an interdisciplinary artist and curator exploring the intersections of cultural discourse, narrative and technology through performance, public engagement and online content. Her current research interests include socially engaged practice, social networks as performance, interdisciplinary discourse and identity-making within digital culture. Email:

Vincente Perez: BA Anthropology and Comparative Race and Ethnic Studies, University of Chicago (2016).  Vincente is a performance poet, writer, and scholar with an interest in the way that artists use narrative to resist and challenge dominant stories that attempt to erase, subjugate, or enact violence on marginalized communities. His research focus on the ways that narrative and race work together to (re)produce the realities of racialization in America. Most recently, he wrote B(lack)NESS & LATINI(dad): a chapbook about the liminal and simultaneous experiences of being Black, Latino, light skinned, and a father of twins. He hosts workshops and performances throughout the U.S. with a central mission of underlining the role that narratives have in (re)shaping worlds, determining power, and if used strategically, fostering connections.  More information can be found on his website Email:

Kimberly Richards is a recipient of the Social Sciences and Humanities Research Council of Canada Graduate Scholarship, the Edward Hildebrand Graduate Fellowship in Canadian Studies, and the Heather McCallum Award from the Canadian Association of Theatre Research. Her dissertation, “Crude Stages of the Anthropocene: Performance and Petro-Imperialism” examines oil frontiers as material and representational spaces constituted through practice, representation and acts of the imagination. She considers how performance practices, such as spectacles and festivals, socially construct and performatively produce oil frontiers, and how theatrical tactics at petro-protests work to resist the expansion of petro-imperialism. Her research interests include performance theory, petrocriticism, the energy and environmental humanities, postcolonial ecocriticism, and human rights. She holds a B.A. and M.A. in English from the University of Calgary. Email:

Crystal Song: B.A. History, Ethnicity and Race Studies, Columbia University (2018). Crystal’s work explores the ways in which competitive partner dancing simultaneously resists and restages the hegemony of the white, heterosexual partnership. She is especially interested in the aesthetic, choreographic, and coalition-building strategies deployed by collegiate ballroom dancers. Email:

Rebecca Struch: B.A. Theatre Arts and Gender, Women, and Sexuality Studies, University of Minnesota; M.A. Applied Theatre Arts, University of Southern California. Rebecca is a theatre artist, cultural fieldworker, and educator with a commitment to community engagement through participatory practice. Her research on performance and memory examines the politics of participation in U.S. counter-memorial aesthetics by considering the performativity of space and place, and by exploring embodied performances of encounter and witness. Ongoing research interests include liberation psychology, critical race theory, Theatre of the Oppressed and popular performance, decolonizing research methods, critical pedagogy, protests and social movements, and the American South. In addition to her academic work, she developed a community based theatre program at San Francisco’s American Conservatory Theatre, trains M.F.A. actors in citizen artistry, and serves on the boards of Pedagogy and Theatre of the Oppressed and FaultLine Theater. Prior to joining TDPS she ran interdisciplinary arts programs at the Stanford Arts Institute. Email:

JT (Jennif(f)er Tamayo): BA Human Development, Fundamentals: Issues & Texts, University of Chicago (2005), MFA Creative Writing-Poetry, Louisiana State University (2010). Born in Bogotá, Jennif(f)er is Nancy’s daughter. She is a queer, latinx writer and performer whose research attends to (the performativity of) contemporary poetry readings, asking the questions: what knowledges does the voice hold that are distinct from language; if a body is a site of ancestral knowledges, how do the violent legacies of slavery and settler colonialism haunt contemporary poetry “readings”?  A former CantoMundo Fellow and Hemispheric Institute of Performance and Politics Emerge Fellow, Jenni(f)fer’s books include [Red Missed Aches] (Switchback, 2011), Poems are the Only Real Bodies (Bloof Books 2013) and YOU DA ONE (2014/15 reprint Noemi Books & Letras Latinas) and her writing has been published in Poetry magazine, Best American Experimental Poetry, Mandorla: Writing from the Americas, and  Angels of the Americlypse; An Anthology of New Latin@ Writing. Email:

Jaclyn Zhou: B.S. Journalism, Asian Languages and Cultures, Northwestern University (2017). Jaclyn is tentatively interested in queer artists’ use of digital media in works of speculative design, particularly wearable designs – but keeping an open mind. Broader interests include: new media, queer of color critique, science and technology studies, East Asian popular culture, ghosts. Currently alive and very, very well in the lovely town of Tokyo. Email: