T.J. Anderson IIIT.J. Anderson III has an M.F.A. from the University of Michigan and a Ph.D. from Binghamton University. A former Fulbright Scholar at Cairo University, he is the author of Notes to Make the Sound Come Right: Four Innovators of Jazz Poetry (University of Arkansas Press), River to Cross (Backwaters Press), the Spoken-Word CD, Blood Octave (Flat Five Recordings), and the chapbook At Last Round Up (lift books). He teaches courses in jazz literature, poetry, and performance, and creative writing at Hollins. Anderson is also the cofounder of the improvisational music duo Trancepoetica (www.trancepoetica.com).
LeeRay Costa is the John P. Wheeler Professor of Gender and Women’s Studies. Her research, teaching, and community activism focus on social justice and a desire to understand processes of social change. She has conducted ethnographic fieldwork in Thailand on women’s activism and non-governmental organizations, and on transgender youth, and in Hawai`i on the local food movement. Her research interests include women, activism, and social justice, spiritual activism, food activism, local and global food systems, feminist theory, feminist pedagogy, and contemplative practices.
Irene Dowd is on the dance faculty of the Juilliard School and the Hollins University M.F.A. program in dance. She is the author of Taking Root to Fly, now in the 10th printing of the third edition, she is also choreographer, director, and editor of a video-film series produced by Canada’s National Ballet School entitled: Spirals, Volutes, Warming Up the Hip Joints: Turnout Dance & Orbits, Preparation for Jumping, Preparation for Performance. Dowd has maintained a practice in kinesthetic anatomy and neuromuscular re-education for over 40 years in NYC, and has choreographed for Peggy Baker, Margie Gillis, and other solo dancers. Her work has been taught in schools and dance companies across the U.S., Canada, and Europe. She is the 2014 recipient of the Balasaraswati/Joy Ann Dewey Beinecke Endowed Chair for Distinguished Teaching from the American Dance Festival.
Joe Goode is a choreographer, writer, and director widely known as an innovator in the field of dance for his willingness to collide movement with spoken word, song, and visual imagery. Goode’s signature work, 29 Effeminate Gestures, was produced by PBS and aired nationally. He was awarded a John Simon Guggenheim Fellowship in 2007, and the United States Artists Glover Fellowship in 2008 for his unflagging commitment to innovation and experimentation in dance/theatre. In 2006 Goode directed the opera Transformations for the San Francisco Opera Center, and his play Body Familiar, commissioned by the Magic Theatre in 2003, was met with critical acclaim. Goode’s performance-installation works have been commissioned by the Fowler Museum of Natural History in Los Angeles, the Krannert Art Museum, the Capp Street Project, the M.H. de Young Museum, Yerba Buena Center for the Arts, and Z Space. Pennsylvania Ballet, Zenon Dance Company, AXIS Dance Company, Dance Alloy Theater, and many others have commissioned his dance theatre work. Goode and his work have been recognized with numerous awards including the American Council on the Arts, the New York Dance and Performance Award (Bessie), and the Isadora Duncan Dance Awards (Izzies). Goode is known as a master teacher; his summer workshops in “felt performance” attract participants from around the world, and the company’s teaching residencies on tour are hugely popular. He is a member of the faculty of the University of California, Berkeley in the department of theatre, dance, and performance studies.
K. J. HOlmes
K.J. Holmes is an independent dance artist, singer, poet, actor and director based in Brooklyn, New York. Holmes’ training began as a child with ballet, modern dance and musical theater as well as judo and fencing. This blend of approaches to movement was a basis for her eclectic and non-traditional search for means of expression and art making. Her studies of Ideo-kinesis at the New School for Social Research and then with Andre Bernard in New York City from 1980 – 83 led her to improvisation and new dance techniques that were being explored there at that time. Holmes has helped to define, first as a student and now as a teacher and performer, many contemporary improvisational practices. She continues to push out into new frontiers of dance and theater with her love of research and experience. K.J.’s performance work has been presented in New York City at Danspace Project at St. Mark’s Place, The Kitchen, P.S. 122, Movement Research at the Judson Church, D.T. W., Dixon Place, University Settlement, Warren Street Performance Loft, The Present Company, The Thalia Theater at Symphony Space and the Joyce Soho. She presented her new piece This is where we are (or take arms against a sea of troubles) at The Chocolate Factory Theater in Long Island City, N.Y. in March 2011. K.J. is a graduate of the 2 year Sanford Meisner acting training at the William Esper Studio in New York City (2009), a certified yoga teacher (2007), and a graduate of The School for Body-Mind Centering, BMC tm (1999). As a sought after teacher of contact improvisation, somatic approaches to dance, theater and voice, composition and other improvisational devices, her teaching is also informed by Authentic Movement, Alexander and Feldenkrais techniques, Ideo-kinesis, Tuning Scores of Lisa Nelson, Martial dance, world vocal studies, writing from the body, and contemporary and traditional dance and theater. K.J. has been an adjunct professor at New York Univeristy/Experimental Theatre Wing since 2001 and has been teaching through Movement Research for over 20 years. She has a private practice in Dynamic Alignment and Re-integration and offers private movement tutoring and yoga sessions. She makes solos, duets and ensemble pieces that push the edge of dance and theater. Her commitment to the collaboration between dance and music continues to inform her art making, and she has worked alongside many brilliant dancers, musicians, vocalists, poets including trumpeter Dave Douglas, vocalist Lisa Sokolov, poet Julie Carr and dancer Steve Paxton, as well as being a performer in works of such singular artists as Ann Bogart, Ann Carlson, Allyson Green, Meg Stuart and Cathy Weis, among many others.
Pauline Kaldas is professor of English and creative writing at Hollins. She is the author of The Time Between Places, a collection of short stories; Letters from Cairo, a travel memoir; and Egyptian Compass, a collection of poetry. She also coedited Dinarzad’s Children: An Anthology of Contemporary Arab American Fiction. She was awarded a fellowship in fiction from the Virginia Commission for the Arts, the Silver Award for Dinarzad’s Children from ForeWord Magazine Book of the Year Awards, and the RAWI Creative Prose Award. Her teaching interests include immigrant literature, Arab women writers, multicultural literature, and creative writing. Kaldas was born in Egypt and immigrated with her parents to the United States at the age of eight in 1969.
Orfeas Skutelis is a trained cinematographer, born in Novi Sad, Serbia, and currently based in New York. He has over 20 years’ experience in media and the industry, creating audiovisual content and collaborating with directors on different projects as a cinematographer, working on docudrama, fiction, and documentary films. Skutelis has also authored and produced TV programs, exhibitions, theatre performances, experimental and short films, and music videos. Documentary films he worked on have received international recognition. In addition to his work as a cinematographer and author, he was involved in the New Media Center_kuda.org collective which researched, re-contextualized, and rethought critical artistic and media practices, art and media activism, and implemented those experiences into a local context through different formats: screenings series, actions, exhibitions, workshops, research, conferences, video, and book publishing. Also he was project and program coordinator and program editor (2007-2011) at the Youth Social Center CK13 which he helped in establishing as an independent youth organization. He was a lecturer in digital video production workshops and digital/analogue photography, and he also taught a course in European Contemporary Cinema at the University in Kosovska Mitrovica. Currently Skutelis is part of the media studies program at The New School in New York, where he is focusing on research in contemporary documentary film, media theory, and experimental forms of non-linear narration.
Noémie Solomon works as a writer, teacher, dramaturge, and curator in the field of contemporary choreography. She is currently Andrew W. Mellon Postdoctoral fellow in dance studies at Brown University, and was previously a Postdoctoral fellow in the Faculty of Arts at McGill University, where she researched dance in Québec after 1948 around questions of movement, minority, and belonging. She holds a Ph.D. in performance studies from New York University, where her dissertation, Unworking the Dance Subject, was awarded the Michael Kirby Memorial Prize for Distinguished Doctoral Dissertation in 2012. She edited DANSE: An Anthology and DANSE: A Catalogue, which gather key texts on contemporary choreography across French and English languages (Les Presses du réel, 2014; 2015). Her writing and translations have been published in different journals and anthologies, such as Dance Research Journal, TDR, Movement Research, Planes of Composition, and Perform Repeat Record. She worked as a choreographer and performer on the redoing of Allan Kaprow’s 18 Happenings in 6 parts, directed by André Lepecki (Haus der Kunst, 2006; PERFORMA 2007) which was awarded best performance in 2007 by the Association Internationale des Critiques d’Art. She collaborated on a series of dramaturgical and curatorial initiatives in the dance field internationally, including: Dance on Time with Gurur Ertem (iDANS, Istanbul, 2009); Self-Methodologies with Sandra Noeth (Tanzquartier, Vienna, 2011); the Photomusée de la danse with Tim Etchells (Festival d’Avignon, 2011); Solos and Solitudes with Jenn Joy (Danspace Project, NYC, 2012-13); and Dancing is talking / Talking is dancing with Jenny Schlenzka (MoMA PS1, NYC, 2014).
Elizabeth Zimmer writes about dance, theatre, and books for many publications including Dance Studio Life and The Village Voice. She offers writing workshops for students and professionals across the country. She edited the dance section of The Village Voice from 1992 until 2006, and reviewed ballet for The Philadelphia Inquirer from 1997 through 2005. Holding a B.A. in literature from Bennington College and an M.A. in English from SUNY Stony Brook, she has studied many forms of dance, especially contact improvisation with its founders. She edited Body Against Body: The Dance and other Collaborations of Bill T. Jones and Arnie Zane (Station Hill Press, 1989) and Envisioning Dance for Film and Video (Routledge, 2002).
Stefanie Arndt received her education at the Hamburg Ballet Opera School. In 1983 she won the Prix de Lausanne and joined the company of Hamburg Ballet under the direction of John Neumeier. She became principal dancer and danced the leading roles in the classical repertoire as well as in the contemporary repertoire and worked with many leading choreographers and created several roles. Her work as a dancer has been honored many times. In 1994 she joined Ballet Frankfurt and worked closely with William Forsythe dancing in all his major works. She is staging William Forsythe work all over the world and is working internationally as teacher and coach. She also has been assisting Dawid Dawson and Jacopo Godani in several creations.
Kevin Cregan performed for many years as a soloist with the Dutch National Ballet. He has worked as a freelance dancer, performer, choreographic assistant and teacher with William Forsythe in Ballet Frankfurt, Unterwegstheater (Heidelberg), Introdans (Arnhem) and with Meryl Tankerd in London. Recently he performed the speaking role in Forsythe’s “Artifact” with the Bayerische Staatsballett, Munich. As a Guest Ballet Teacher Kevin has worked for The Forsythe Company, Netherlands Dance Theatre, Culberg Ballet, Skanesdanstheater, Danish Danstheater and Lines Contemporary Ballet. He has taught at most of the contemporary dance companies in Holland and is a regular guest at various academies including Codarts, ArtEZ and the school of Modern Dance in Copenhagen. Last season he was part-time Rehearsal Director and Teacher for Introdans in Arnhem. Kevin is certified in the Feldenkrais Method and his classes focus on Postural Alignment, Force Transmission and the role of Intention and Sensory Awareness in the development and training of dancers. Kevin also uses the Feldenkrais Method to provide private coaching for dancers with injuries that have failed to respond to traditional treatment.
Boyan Manchev is philosopher, Professor at the New Bulgarian University (Sofia) and at the HZT – UdK (Berlin). He is also former Director of Program and Vice-President of the International College of Philosophy in Paris. His actual research, which proposes the perspective of a radical materialism, is focused on the fields of ontology, philosophy of art and political philosophy. Manchev has lectured widely at European, North-American and Japanese universities and cultural institutions. He has organised and/or collaborated to number of projects, congresses and public forums dealing with philosophy, art and politics at the CIPh (Paris), ZKM (Karlsruhe), Tanzquartier (Vienna), Apexart (New York), CND (Paris), BAK (Utrecht), UTCP (Tokyo), Haus der Kulturen der Welt (Berlin), among others. He curated the exhibition Out of Time at the Sofia City Art Gallery (March – April 2011). He has participated as theorist, dramaturge or performer in theater and contemporary dance projects, including Tim Etchells and Adrian Heathfield’s The Frequently Asked, Boris Charmatz’s expo zero and Poster session “Mouvement” for the Festival d’Avignon and Ani Vaseva’s Frankenstein, A Dying Play and S. Manchev is the author of seven books and more than hundred book chapters, catalogues and other publications in various languages. In the last years appeared Logic of the Political (Sofia: Critique&Humanism, 2012), Miracolo (Milano: Lanfranchi, 2011), L’altération du monde: Pour une esthétique radicale (Paris: Lignes, 2009); La Métamorphose et l’Instant – Désorganisation de la vie (Paris: La Phocide, 2009); Rue Descartes 64: La métamorphose, ed. by B. Manchev (Paris: PUF, 2009) ; Rue Descartes 67: Quel sujet du politique?, ed. by G. Basterra, R. Ivekovic and B. Manchev (Paris: PUF, 2010). His book The Body–Metamorphosis (Sofia: Altera, 2007) deals extensively with contemporary art, performance and dance.
Artist Christopher Roman began his formal training with The School of Cleveland Ballet continuing at The School of American Ballet in New York City. He was subsequently invited into the ranks of the Pacific Northwest Ballet and as a soloist and principal with Edward Villella’s Miami City Ballet, Les Grands Ballets Canadiens in Montreal, The Pennsylvania Ballet, Ballett Frankfurt, and The Forsythe Company performing a huge array of important choreographic works, originating over 40 roles and touring every major venue worldwide. He has been a guest artist with Complexions Contemporary Ballet, Sasha Waltz and Guests in Berlin, and the Gala of International Dance Stars. Roman was cofounder, choreographer, and performer for the company 2+ with former Wooster Group video designer Philip Bussmann and has created work with 2+ and independently for The Russian Ballet Theatre, The Pennsylvania Ballet, Philadelphia Fringe Festival, Festival de Danse in Cannes, Les Grands Ballets Canadiens de Montreal, Kuenstlerhaus Mousonturm, Cadance Festival Holland, Skulpturenpark in Graz, and others. William Forsythe’s Bessie Award winning You Made Me a Monster was created with Roman and he is the 2009 recipient of Germany’s highest theatre honor Der Deutsche Theaterpreis DER FAUST for best performance, dance in The Forsythe Company’s I don’t believe in outer space. He is also featured in the Thierry De Mey film of Forsythe’s work One Flat Thing, reproduced. As a ballet master, choreographic assistant, and administrator, Roman has staged the works of William Forsythe internationally, been a teacher of classical ballet and improvisational techniques, a research collaborator for the Ohio State University project, Synchronous Objects, and the score manager and education coordinator for the Motion Bank initiative in association with The Forsythe Company. He is currently the curator for the M.F.A. European studies at Hollins now in affiliation with The Forsythe Company and The University of Music and Performing Arts in Frankfurt and the head of education for The Forsythe Company. Since 2011 Roman has been guest and adjunct faculty and choreographer-in-residence for Butler University, The Juilliard School, Hollins, Princeton University, Harvard University, Palucca Schule in Dresden, The Goethe Institute worldwide, Steps NY, Peridance, NYU Tisch School of the Arts, Movement Invention Project, Springboard Dance Montreal, and Dance Arts Faculty in Rome. Roman was one of the artists selected to be part of the Solo Performance Commissioning Project with Deborah Hay for her work Dynamic and was one of the 20 artists selected to perform in Boris Charmatz’s curation of 20 Dancers for the XX Century at MoMA. He is a choreographic assistant to William Forsythe most recently for the original work Rearray at Sadler’s Wells for Sylvie Guillem and Nicolas LeRiche. He is on the board of trustees for the Foundation Forsythe and director of dance for the ALTANA Cultural Foundation. As of September 2013, Roman assumed the role of associate artistic director of The Forsythe Company.
Tamara Tomic-Vajagic, Ph.D., is a lecturer in Dance Studies at University of Roehampton, London, where she was awarded her doctorate in 2012. Tamara’s background is in visual arts. She holds an undergraduate degree in Fine Arts from the University of Arts Belgrade (Serbia) and an M.A. Dance degree from York University, Toronto (Canada). At Roehampton Tamara teaches postgraduate and undergraduate courses on the topics of dance performance and visual culture, dance analysis, dance history, theory as well as dance in museums and galleries. Her research explores concepts of visual culture in dance and the creative contribution of the performer in the contemporary theatre dance forms, including ballet. Her doctoral study focused on the dancer’s creative contributions in choreography by George Balanchine and William Forsythe. Tamara’s recent publications include the study of leotard costumes and dance performance (published in Scene: Critical Costume, 2014), as well as an investigation of self/portraiture in visual arts and in dance performance (Performance Research, 2014). Most recently, she contributed to the artistic book project You Say Light, I Think Shadow (Stratimirovic A/Praun S, Art and Theory Publishing Stockholm, 2015). Her research extends into public workshops and events, such as The Forsythe Company at Work, a collaborative research event by The Forsythe Company, University of Roehampton, and with support by Sadler’s Wells (London, June 2013), as well as ‘Balanchine’s ballet aesthetics in Ballets Russes’, presented in V&A Museum (London, 2010).