Current Graduate Students
JUAN MANUEL ALDAPE: M.A. in International Performance Research, 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 B.F.A. in Modern Dance and B.A. in Anthropology from the University of Utah (USA).
MIYUKI BAKER: B.A. in 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.
MIYOKO CONLEY: B.F.A. in Theatre, New York University; M.A. in 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.
LASHON DALEY: B.A. in English, University of Miami (2005); M.F.A. in Writing, Sarah Lawrence College (2008); M.A. in Folklore, University of California, Berkeley (2015). Lashon's research focuses on performances of Black cultural expressions in the U.S. She is a 2014 Callaloo Poetry Fellow and a 2015 UC Berkeley Chancellor Fellow. In 2018, she won the Mark Goodson Prize for Distinguished Artistic Talent. As a scholar, dancer, storyteller, choreographer, and published author, Lashon thrives on bridging communities together through movement and storytelling. Lashon has also danced professionally with D’Project, N’Fungola Sibo African Dance and Drum Company, Ballet Hysell, and IrieDance. In recent years, she has trained with Joe Goode Performance Group and at the Katherine Dunham Annual Technique Intensive in St. Louis. In addition, Lashon is the creator of Stories&Slams, a podcast that focuses on everyday stories.
BÉLGICA DEL RÍO: B.A. in Dance and English, University of California, Riverside. Bélgica's current research blends dance studies, Indigenous studies, and new media to witness how Indigenous performativities (such as dancing, singing, sewing, or coding) attend to relationships within and across human and more-than-human bodies. At large Bélgica considers settler colonialism's embodied implications, Indigenous bodies, performance, media, and Indigenous knowledge systems. She writes from the position of a de-Indigenized person whose family comes—to the best of her current knowledge—La Cienega de Chapala, Pajacuarán, and Jiquilpan in Michoacán and Tizapan, Jalisco, amongst other lands and skies. Thanks to her family and many teachers, she dances, sings, writes, and sews. Bélgica earned a B.A. cum laude in Dance and English from UC Riverside on Pechappa, the territory of the Cahuilla People. She is currently a Ph.D. Candidate in Performance Studies with a Designated Emphasis in New Media at UC Berkeley on Xučyun, the territory of the Ohlone People.
JESS DORRANCE: M.A. in Art History, emphasis in Gender and Women’s Studies, McGill University (2014); B.A. in Art History, English Literature, McGill University (2008). Jess 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).
NATALIA DUONG: B.A. in Psychology, Dance, Stanford University; M.A. in Performance Studies, New York University. Natalia 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 is currently a Ph.D. candidate at University of California, Berkeley in Performance Studies with a designated emphasis in Women, Gender, and Sexuality Studies.
LAILA ESPINOZA: B.F.A. in Community Arts, Individualized Minor, California College of the Arts. 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.
RANDI EVANS: B.F.A. in Dance, Cornish College of the Arts; M.A. in Cultural Studies, University of Washington; Certificate in Curatorial Practice in Performance, Wesleyan University. Randi's work and research explores the intersections of dance studies, cultural studies, curatorial practice, and social and community-based practices. 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.
PATRICIA GOMES: B.A. in Art History, Global Gender Studies, University at Buffalo; M.A. in Performance Studies, NYU. Patricia is a first-generation American from a Brazilian family who largely grew-up in upstate New York. Her research explores cultural geographies and performance theory for the interrelationship between identity and place, something she considers 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.
JULIA HAVARD: B.A. in History of Science, minor in Dance, Harvard University. Julia is a Ph.D. candidate at UC Berkeley in the Performance Studies program with a designated emphasis in Gender and Women’s Studies. Her scholarly, activist, and performance work deals with sexual culture as a site of world-building, embedded in intersecting experiences of race, gender, queerness, and disability. She is a disabled white queer femme and practicing performer. Julia has a Bachelor of Arts in History and Science from Harvard University and a background working in healthcare. She is writing her dissertation on queer burlesque practices and pedagogy. She has presented work at Performance Studies international, the National Women’s Studies Association, OCAD University, and the American Society for Theater Research. Her chapter “#WhyIStayed: Virtual Survivor-Centered Spaces for Transformation and Abolishing Partner Violence” was recently published in the anthology #identity: Hashtagging Race, Gender, Sexuality, and Nation (2019). She is co-editing a forthcoming issue of the journal Radical Teacher on anti-oppressive pedagogy in the composition classroom (Fall 2019).
MATTHEW JAMISON: B.A. in Theatre, Women’s & Gender Studies, Ohio Wesleyan University; GEMMA Erasmus Mundus Master’s Degree in Women’s & Gender Studies, Utrecht University (Netherlands), University of Oviedo (Spain). Matthew's 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).
ZIHAN LOO: M.F.A. in Studio Practice, School of the Art Institute of Chicago; M.A. in Performance Studies, NYU's 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.
CALEB LUNA: B.A. in Anthropology, Women’s and Gender Studies, 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 Ph.D. candidate in performance studies. Recent writings can be found in TDR, Performance Research, Art Journal, Art 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.
APARNA NAMBIAR: B.Sc. in Life Sciences, National University of Singapore; M.A. in Theatre Studies, University of Amsterdam; M.A. in 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.
LYNDSEY OGLE: B.F.A. in Acting, Northern Illinois University; M.A. in 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.
VINCENTE PEREZ: B.A. in Anthropology, 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.
CRYSTAL SONG: B.A. in History, Ethnicity & 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.
REBECCA STRUCH: B.A. in Theatre Arts, Gender, Women, and Sexuality Studies, University of Minnesota; M.A. in 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.
JENNIF(F)ER TAMAYO: B.A. in Human Development and Fundamentals: Issues & Texts, University of Chicago (2005); M.F.A. in 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.
JACLYN ZHOU: B.S. in Journalism, Asian Languages and Cultures, Northwestern University (2017). Jaclyn is interested in the ways that speculative design, which criticizes the present via designs for a theoretical future, can comment on queer futurity. Through studying wearable designs created by queer artists, she hopes to explore how artists critically deploy digital technologies—including those used to the harm and detriment of minoritarian communities—to imagine more liberatory functions for digital media.