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:  juanmaldape@gmail.com  Website: www.juanmaldape.com

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: miyuki.baker@berkeley.edu Website: heymiyuki.wordpress.com

Jennifer McPherson Coluccio: B.A. Philosophy, English Literature, University of California, Los Angeles; M.A. Theatre Arts, California State University, Los Angeles. Jennifer is a performer, writer, and scholar with an interest in the intersections of affect, cognition, and the performance of psychopathology. She is concerned with the implications of a poststructural-empirical binary as it relates to the biological, social, and political transmission of affective dis-ease. Email: jennifer.coluccio@berkeley.edu

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: miko@berkeley.edu

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: l.daley@berkeley.edu

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: belgica@berkeley.edu

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: jessica.dorrance@gmail.com

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: natalia.duong@gmail.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. Email: randimariec@gmail.com

Thea Gold: B.A. Music and Electrical Engineering, UC-Berkeley; M.A. Interdisciplinary Arts, Tel Aviv University; Graduate work, Near Eastern Studies, UC-Berkeley. Ongoing interests in the fields of religion, queer studies, music, and disability studies.
 Email: thea@berkeley.edu

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: jhavard@berkeley.edu

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: herreralassomartha@gmail.com

Megan Hoetger: PhD candidate in the Department of Theater, Dance, and Performance Studies with Designated Emphases in Critical Theory and Film. Hoetger’s dissertation, Rude & Playful Shadows: Kurt Kren and the Performances of Cinema, 1964-1989, tracks the development of transnational distribution networks for and communities of underground and experimental time-based art through the Cold War period. Her research has been supported by the German Academic Exchange Service (DAAD), the Getty Research Institute, and the Max Kade Foundation. In addition to her scholarship, Hoetger also works regularly as an organizer of time-based art events and has organized several screenings on the UC Berkeley campus, as well as performance events at artist run spaces across the Los Angeles area. She has worked as the graduate student coordinator for the Berkeley Center for New Media’s History and Theory of New Media lecture series (2013-15); and has co-organized working groups in contemporary art (2014-16) and sound studies (2015-16) on the UC Berkeley campus. For the 2017-18 academic year Hoetger will be organizing the UC Berkeley Critical Theory Program’s working group, entitled “Collaboration, Co-operatives, and Coalition-building.” Some of her writings on performance, technology, mediatization, and spectatorship have appeared in journal publications including e-misféricaPerformance Research, and X-TRA: Contemporary Art Quarterly. In fall 2017 her writing will also appear in the D.A.P. book Double Issue, which brings together a collection of writings from/on the performance festival that accompanied the Getty Museum’s landmark 2012 Pacific Standard Time initiative. Email: mhoetger@berkeley.edu

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.
pmj2103@gmail.com

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. ctluna@berkeley.edu

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 FillipSix Lines of Flight (UC Press), Somatic Engagement (Chainlinks Books) EncyclopediaAufgabe, 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. Email:  christiannagler@gmail.com

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: aparna.r.nambiar@gmail.com

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: lyndseyogle@gmail.com

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, and queer theory in performance. His current projects focus on histories of sex, Asian and Asian-American sexual cultures and communities, sexual labor, and the education of sex. Through this work, Toshi hopes to destigmatize discussions of sex as social taboo and reimagine possibilities of sex as performative modes of liberation, freedom, and empowerment. Email: toshi.pau@berkeley.edu

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: krichar@berkeley.edu

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:  j_tamayo@berkeley.edu

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. Email: tonika_sealythompson@berkeley.edu