In my research, I analyze the social, cultural, and historical conditions that affect how people move. I’m fascinated by critical theories of the body, and I tend to think about dance as an arena for experimental relations between self and other. These interests are informed by my experience as a dancer – taking class, rehearsing, and performing (most recently for the choreographers DD Dorvillier and Beth Gill). Persistent shuttling between dance practice and academic work – two worlds that I’ve been trying to bridge for as long as I can remember – has shown me that dance and critical theory inform each other in significant ways, revealing much about embodiment, subjectivity, and notions of identity. I hope to make these relations apparent in my classes.
MA and PhD, Performance Studies, New York University
BA, Philosophy, Stanford University
Congress on Research in Dance, Board of Directors
Movement Research Artist Advisory Council, Member
Society of Dance History Scholars
Performance Studies International
American Studies Association
Books: I Want to be Ready: Improvised Dance as a Practice of Freedom, Ann Arbor: University of Michigan Press, 2010.
“Improvised Dance in the Reconstruction of THEM,” Oxford Handbook of Critical Improvisation Studies, eds. George Lewis and Benjamin Piekut, Oxford University Press. (Online Publication date: February 2015. Print publication forthcoming)
“Deborah Hay’s O,O,” Planes of Composition, eds.André Lepecki and Jenn Joy, Seagull Press, 2010.
Co-editor (with Trajal Harrell), Movement Research Performance Journal #33 (August 2008).
“Sound Gestures: Posing Questions for Music and Dance,” Women & Performance: a journal of feminist theory, Women & Performance: a journal of feminist theory, 17,2 (Summer 2007).
"Turning Toward Trisha Brown: Valiance and Fragility in Beth Gill's New Work for the Desert," TDR: The Drama Review, 59:3 (Fall 2015).
“Deborah Hay: Stepping Aside, With Eyes Askance,” TDR: The Drama Review, 51,2 (Summer 2007): 157-170.
“Introduction: Sound Gestures: Posing Questions for Music and Dance,” Women & Performance: a journal of feminist theory, 17,2 (Summer 2007): 123-138.
“A Conversation with Zeena Parkins,” Women & Performance: a journal of feminist theory, Routledge, Taylor & Francis, 17,2 (Summer 2007): 247-256.
“Bodies on the Line: Contact Improvisation and Techniques of Non-Violent Protest,” Dance Research Journal, 37, 1 (Summer 2007): 60-74.
“Ghostcatching: an Intersection of Technology, Labor, and Race,” Dance Research Journal, Winter 2003 & Summer 2004: 68-87.
Performances and Appearances
Performer, Tournamento by Sarah Michelson, Walker Arts Center, Minneapolis, MN, September 24-27, 2015.
Performer, Electric Midwife, choreographed by Beth Gill. Premiere: The Chocolate Factory, Long Island City, Queens, NY, June 17-July 2, 2011. Additional performances: River to River Festival, Pier 15, New York, NY, June 30-July2, 2012; Nazareth College Arts Center Dance Festival, Rochester, NY, July 14-15, 2012; Dance Umbrella Festival, London, England, October 9-10, 2012; Fusebox Festival, Austin, TX, April 26-28, 2012.
Performer, what it looks like, what it feels like, choreographed by Beth Gill. The Kitchen: New York, NY, November 20-22, 2008.
Performer, Nottthing is Importanttt choreographed by DD Dorvillier. Impulstanz: Vienna International Dance Festival. Kasino am Schwarzenbergplatz: Vienna, Austria, August 7-10, 2008; Playground, STUK: Leuven, Belgium, November 2-3, 2008; The Kitchen, New York City, February 1-10, 2007.
Performer, Eleanor and Eleanor, choreographed by Beth Gill. Dance Theater Workshop, November 29-December 1, 2007
Performer, The Tiger Situation, choreographed by Anna Sperber, Dance Theater Workshop, New York, NY, February 28-March 3, 2007.
Critical Dance Studies
Race, gender, and sexuality
Philosophies of the body