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). firstname.lastname@example.org www.juanmaldape.com
Miyoko Conley: B.F.A, Theatre, New York University; M.A., Individualized Study (Playwriting and Japanese Popular Culture), New York University. Miyoko researches transnational 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 and in digital technology. email@example.com
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 www.lashondaley.com. Email: firstname.lastname@example.org
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: email@example.com
Jess Dorrance is a writer, curator, and doctoral 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. Jess also 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: firstname.lastname@example.org
Natalia Duong is a performance artist, choreographer, and scholar, native to the San Francisco Bay Area. Her research focuses on the contagion and reparation performed by bodies affected by the herbicide Agent Orange. She is the Founder and Artistic Director of PAO, a New York based movement collective. She holds a MA in Performance Studies from Tisch School for the Arts at New York University and a BA in Psychology and Dance from Stanford University. email@example.com
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. firstname.lastname@example.org
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@example.com
Megan Hoetger, Designated Emphases: Film Studies and Critical Theory. M.A. Art History, B.F.A. Drawing and Painting, B.A. Art History, California State University, Long Beach. Tracing the infrastructural politics of time-based art’s circulations across times and spaces, Hoetger’s current research examines the global media flows of ‘performance art’ alongside experimental film since the 1960s and 70s, from early alternative distribution and exhibition networks, to contemporary institutional circuits and new media platforms. Working with historical material, her project also reflects (on) the shifting and contended statuses of time, value, and the archive in the history-writing process.
Paige Johnson: PhD 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 Waria. Focusing 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.
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. firstname.lastname@example.org
Kate Mattingly: B.A. Architecture, Princeton University; M.F.A. Dance, New York University. As a dance critic and evaluator for New York Times, the Village Voice, the N.E.A. and myriad other publications and honorary committees, Mattingly brings a wealth of experience in the analysis of contemporary dance. Her cross-disciplinary approach to movement includes an ongoing interest in architecture, in flash mobs, and in the social effects of new technologies.
Aparna Nambiar: BSc. Life Sciences, National University of Singapore; M.A. Theatre Studies, University of Amsterdam; M.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: email@example.com
Christian Nagler is a performer, writer and translator. He has performed with Anna Halprin, Isak Immanuel, Yuko Kaseki and Open Experiments Ensemble. His work has recently been presented at the Berkeley Art Museum, Headlands Center for the Arts, Southern Exposure, and the Kadist Foundation. His novel The Capitalist, is forthcoming in 2014. His writing can recently be found in Fillip, Six Lines of Flight (UC Press), Somatic Engagement (Chainlinks Books) Encyclopedia, Aufgabe, and Performance Research. He has translated works by the political economist Alberto Masferrer, as well as writings by the contemporary novelist Horacio Castellanos Moya and psychoanalytic theorist Heriberto Yépez. He currently teaches writing and new genres at the San Francisco Art Institute. firstname.lastname@example.org
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.
Toshi Pau: B.A. Asian & Middle Eastern Studies, the College of William and Mary (2014); M.A. East Asian Studies, Duke University (2015). Scholar, actor, and dancer. Toshi’s critical research interests lie in analyses of race, gender, queer, and trauma theory in performance. His current projects focus on Japanese and Korean avant-garde and experimental theater that became heavily political sites of not only social reflection, but production, activism, and change. Complementing his academic pursuits, Toshi is always seeking opportunities to direct, write, act, choreograph, or dance in performance productions, actively engaging with both the recorded archive and embodied experiential repertoire. email@example.com
Kimberly Richards: B.A. English and Arts and Science Honours Academy, University of Calgary; M.A. English, University of Calgary. Her research interests include performances in places of war, applied theatre, intercultural and transnational performance, theories of cosmopolitanism, globalization and affect, trauma studies, and global Shakespeare.
Takeo Rivera: B.A. Comparative Studies in Race and Ethnicity, M.A. Modern Thought and Literature, Stanford University. Takeo Rivera’s work focuses on masochism, masculinity, and techno-orientalism in Asian American cultural production. He is also a playwright whose work has bene staged in New York City, Los Angeles, and the San Francisco Bay Area.
Tonika Sealy Thompson is a PhD student in Performance Studies who is concerned with Caribbean cultural and political thought, multilingual/hemispheric Black diaspora studies, Gender Womens and Sexuality studies and Afro Asian connections She grew up in Barbados and has been living and working globally as a curator, festival director and cultural consultant on projects in the Caribbean, Europe, Africa, and the Asia Pacific regions. She has served as artistic coordinator of the Africa Caribbean and Pacific Arts Festival, and is the founder of the Fish and Dragon Festival a platform for creative exchange between the Caribbean and China.