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).
Jeffery N. Bullock, associate professor and chair of Hollins’ dance program, performed with the North Carolina Dance Theater following graduation from the University of North Carolina School of the Arts. He continued his performing career with Pacific Northwest Ballet, Pittsburgh Ballet Theater, Hubbard Street Dance Chicago and Sharir + Bustamante DanceWorks, touring nationally and internationally. Bullock’s repertoire included soloist and principal roles in an eclectic array of works by George Balanchine, Agnes De Mille, Alvin Ailey, Paul Taylor, Twyla Tharp, Daniel Esralow, Nacho Duato, Lucinda Childs, Salvatore Aiello, Yacov Sharir, Glen Tetley and others. He was also a featured performer in the 1986 Paramount Motion Picture The Nutcracker with PNB, and was a featured performer in the 1983 PBS Special Where Dreams Debut: The North Carolina School of the Arts. Bullock’s work “At Midnight” earned him a Dance Magazine’s Best Choreography Nomination at the 1996 American College Dance Festival at the Kennedy Center for the Performing Arts. Bullock has been a faculty member at the American Dance Festival in Durham, NC since 1998, teaching in the ADF Six Week School and Young Dancers School; in ADF/Russia (2000), ADF/Korea (2000 & 2004) and ADF/Mongolia (2004 & 2005). From 2006 – 2010, he served as director of the ADF Four Week School for Young Dancers. Most recent teaching engagement was at the international 2006 and 2008 Korean Dance Festival, Seoul, Korea. Also, Bullock serves as a site visit consultant/panel member for Dance Advance of the Pew Charitable Trust located in Philadelphia, PA. He earned his M.F.A. in choreography from the University of Iowa; taught at the University of Texas at Austin, the University of Iowa and joined the Hollins University dance department in 2004, becoming chair in fall 2009 and director of the HU/ADF M.F.A. program in fall 2010.
Rebekah Chappell is a performer, teaching artist, and dance maker. She received her M.F.A. in dance from The University of Iowa and B.F.A. in dance from Shenandoah University. She has taught throughout the United States, Costa Rica, and Nicaragua working with colleges, public and private schools, studios, and community programs. Highlights include teaching as a guest artist at Old Dominion University and Rice University, serving as adjunct faculty at San Jacinto College South, and facilitating movement classes with young adults at Instituto sobre Alcoholismo y Farmacodependencia in Costa Rica. Chappell’s choreography has been presented by San Jacinto College South, The University of Iowa, Big Range Dance Festival, the Dance Gathering, 12 Minutes Max!, Houston Choreographers X6, Fieldworks Showcases, Venturing Out, and the Englert Theatre. Her choreography considers the relationship between art and efficacy, examining processes that facilitate personal transformation. She investigates performances of experience, dances made in, out of, and from an event rather than about it. www.rebekahchappell.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.
Doug Elkins is a two-time New York Dance and Performance (Bessie) Award-winning choreographer and 2012 John Simon Guggenheim Memorial Foundation Creative Arts Fellow. He began his dance career as a B-Boy, touring the world with break dance groups New York Dance Express and Magnificent Force, among others. Elkins is a recipient of significant choreographic commissions and awards from the NEA, The Yard on Martha’s Vineyard (Paul Taylor Fellowship, 1991, and resident artist, 2011-2013), Jacob’s Pillow Dance Festival, The Joyce Theater Foundation, Arnhold Foundation, Dianne & Daniel Vapnek Family Fund, National Performance Network, Jerome Foundation, Choo-San Goh & H. Robert Magee Foundation, and the Foundation for Contemporary Performance Arts. He has received a Brandeis University Creative Arts Medal, sharing the stage with author Philip Roth and photographer Nan Goldin (1994); the Martha Hill Award for Career Achievement (NYC, 2006); and an Elliot Norton Award for Choreography (Boston, 2010). A graduate of SUNY/Purchase, Elkins received his M.F.A. in dance from Hollins University/ADF in 2007. His tenure at the Beacon School on the upper west side of Manhattan is the subject of Where the Dance Is, a short film by Marta Renzi. In fall 2013, he became a full-time faculty member at Mason Gross School of the Arts at Rutgers University, the State University of New Jersey. For the spring 2015 season at Lincoln Center and subsequent national touring, Elkins was commissioned by Paul Taylor American Modern Dance to create The Weight of Smoke. Most recently, Montclair State University’s office of arts and cultural programming, under the direction of Jedediah Wheeler, commissioned A Hundred Indecisions, a film conceived and directed by Elkins, and O, round desire, an ensemble piece for five dancers. Upon completion of a teaching intensive in China in June and a residency at The Yard in July, he and his company will return to Santa Barbara for a month-long creative residency hosted by DANCEworks and the Lobero Theater.
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.
jumatatu m. poe
Poe is a choreographer, performer, and educator based between Philadelphia and New York City who grew up dancing around the living room and at parties with his siblings and cousins. Poe’s early exposure to concert dance was through African dance and capoeira performances on California college campuses where his parents studied and worked, but he did not start formal dance training until college with Umfundalai, Kariamu Welsh’s contemporary African dance technique. Poe’s work continues to be influenced by various sources, including his foundations in those living rooms and parties, his early technical training in contemporary African dance, his continued study of contemporary dance and performance, and his recent sociological research of and technical training in J-setting with Donte Beacham. Poe produces dance and performance work with idiosynCrazy productions, a company he founded in 2008 and now codirects with Shannon Murphy. Previously, Poe danced with Marianela Boán, Silvana Cardell, Emmanuelle Hunyh, Tania Isaac, Kun- Yang Lin, C. Kemal Nance, Marissa Perel, Leah Stein, Keith Thompson, Kate Watson-Wallace, Reggie Wilson, and Kariamu Welsh (as a member of Kariamu & Company). As a performer, he also collaborates with Merián Soto.
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 teacher, writer, dramaturge, and curator in the field of contemporary choreography. She edited the collections DANSE (an anthology and a catalogue published by Presses du réel, 2014 and 2015) that translate and present key texts on the somatic and linguistic trades between French and North American choreographic cultures. She holds a Ph.D. in performance studies from New York University (2012) and received two Andrew W. Mellon Postdoctoral Fellowships: at McGill University (2012-2014) and Brown University (2014-2016). She collaborated on a series of dramaturgical and curatorial initiatives in the dance and performance field internationally, including: the redoing of Allan Kaprow’s 18 Happenings in 6 parts, directed by André Lepecki (Haus der Kunst, Munich, 2006; PERFORMA, NYC, 2007); Dance on Time with Gurur Ertem (iDANS, Istanbul, 2009); Self-Methodologies with Sandra Noeth (Tanzquartier, Wien, 2011); the Photomusée de la danse with Tim Etchells (Festival d’Avignon, 2011); Solos and Solitudes with Jenn Joy (Danspace Project, NYC, 2012-13); Dancing is talking / Talking is dancing with Jenny Schlenzka (MoMA PS1, NYC, 2014); and Car c’est par la fragilité que la revolution œuvre with Adam Kinner (Tangente, Montréal, 2016). Solomon is currently program director at the Institute for Curatorial Practice in Performance at Wesleyan University.
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).