Matthew Isaac Cohen is Professor of International Theatre at Royal Holloway, University of London. His latest book is Inventing the Performing Arts: Modernity and Tradition in Colonial Indonesia (University of Hawai’i Press, 2016). In the academic year 2018-2019, he is a senior fellow at Yale University’s Institute of Sacred Music researching the history of Indonesian puppetry.
Marion Kant (PhD in musicology) teaches at the Universities of Cambridge and Pennsylvania. Her research focuses on the ideology and aesthetics of Modernism of the 19th and 20th centuries: on the evolution of ballet and modern dance, on theatre and performance in the Weimar Republic and the Third Reich, on anti-fascist exile and on secular Judaism.
Susanne Franco is Assistant Professor at Ca’ Foscari University of Venice. Her main interests are modern dance, Ausdruckstanz, contemporary dance, and research methodologies. She is the coordinator of the Ca’ Foscari unit of the Creative Europe project (2018-2021) “Dancing Museum 2”. As curator she has collaborated with Palazzo Grassi – Foundation Pinault (Venice), Fondazione Querini Stampalia (Venice), and Hangar Bicocca (Milan).
Małgorzata Leyko is a cultural studies scholar and theatrologist. She works at the Department of Drama and Theatre of the University of Łódź. Her research fields include theatre in German-speaking countries in the 19th and 20th centuries, Jewish theatre in Poland, Polish and German theatre relations, theatre as an institution, and dance and movement in theatre. She is the author of pioneer Polish publications on Oskar Schlemmer and his Bauhaus explorations, including Warsztat teatralny i scena Bauhausu [Theatre Technique and the Bauhaus Scene] [in:] W kręgu zagadnień awangardy, t. III [In the Domain of Avant-Garde Problems, vol. III], eds. G. Gazda and R. Kluszczyński (Łódź 1990); Przestrzeń sceniczna jako funkcja formy, barwy i ruchu. „Balet triadyczny” na tle koncepcji teatru Oskara Schlemmera [Stage Space as a Function of Form, Colour, and Movement: Triadic Ballet and Oskar Schlemmer’s Concept of Theatre [in:] W kręgu zagadnień awangardy, t. V [In the Domain of Avant-Garde Problems, vol. V], eds. G. Gazda and M. Leyko (Łódź 1995); I am not a worshiper of Dionysius [in:] Modern Theatre in Different Cultures, ed. E. Udalska (Warszawa 1997); she is also the editor, translator of an anthology of by Oskar Schlemmer titled Eksperymentalna scena Bauhausu [Bauhaus Experimental Scene], to which she also wrote a critical introduction (Gdańsk 2010), and the author of a catalogue accompanying the exhibition presented at the Cricoteca centre, titled Schlemmer|Kantor (Cracow 2016). Her book Teatr w krainie utopii. Monte Verità, Mathildenhöhe, Hellerau, Goetheanum, Bauhaus [Theatre in the Land of Utopia: Monte Verità, Mathildenhöhe, Hellerau, Goetheanum, Bauhaus] (Gdańsk 2012) analyzes the early stage of Rudolf Laban’s research, as well as Émile Jaques-Dalcroze’s collaboration with Adolph Appia in Hellerau, Rudolf Steiner’s eurythmics, and the Bauhaus scene. She is the leader of the team of editors working on the first Polish dictionary of 19th- and 20th-century dance (Słownik tańca XX i XXI wieku).
Susan Manning is an internationally recognized historian of modern dance whose writings have been translated into German, French, Italian, Spanish, and Polish. She is the author of Ecstasy and the Demon: the Dances of Mary Wigman (1993; 2nd ed. 2006) and Modern Dance, Negro Dance: Race in Motion (2004); curator of Danses noires/blanche Amérique (2008); dramaturge for Reggie Wilsons’s Moses(es) (TDR, spring 2015); and co-editor of New German Dance Studies (2012), Routledge Encyclopedia of Modernist Dance (forthcoming), and Futures of Dance Studies (forthcoming). Manning is a Professor of English, Theatre, and Performance Studies at Northwestern University, where she also serves as an affiliate of the Black Arts Initiative, Department of German, and Interdisciplinary Ph.D. Program in Theatre and Drama. Manning received her B.A. from Harvard in 1978, where she pursued a student-designed major in dance studies, and her Ph.D. from Columbia in 1987, where she worked under the auspices of a cross-departmental program between English and Theatre. She has received research and writing grants from the German Academic Exchange Service (DAAD), Whiting Foundation, Mellon Foundation, and the National Endowment for the Humanities. Her books have won awards from the Dance Perspectives Foundation and the Congress on Research in Dance, and she received a Studs Terkel Award in 2006 from the Illinois Humanities Council for her outreach to the local dance and arts community. From 2012 to 2018 Manning served as Principal Investigator for the Mellon-funded initiative “Dance Studies in/and the Humanities.”
Lucia Ruprecht is a Fellow of Emmanuel College and an affiliated Lecturer in the Department of German and Dutch, University of Cambridge, United Kingdom. She is researching and teaching across literature, dance, and film studies. Her Dances of the Self in Heinrich von Kleist, E.T.A. Hoffmann and Heinrich Heine (2006) was awarded Special Citation of the de la Torre Bueno Prize. Her new book Gestural Imaginaries: Dance and Cultural Theory in the Early Twentieth Century is forthcoming with Oxford University Press.
Agata Chałupnik, PhD, graduated Theatre Studies at The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw (1996) and postgraduate studies in Institute of Polish Culture at The University of Warsaw (2001), where she has been working since her PhD. She is co-editor of the readers Anthropology of the performance (Antropologia widowisk, 2005, 2010), Anthropology of the body (Antropologia ciała, 2008) and co-author of the book Polish customs. XXth century in short articles (Obyczaje polskie. Wiek XX w krótkich hasłach, 2008). The author of the books They waved their skirts to become standard-bearers. Zapolska and Nałkowska about female experience of the body (2004) and „Don’t make a drama out of a memory!” Auschwitz in the works by Marian Pankowski (2017). She is a member of the project „HyPaTia. Kobieca Historia Polskiego Teatru. Feministyczny Projekt Badawczy” (HyPaTia. Feminine History of Polish Theatre. A Feminist Research Project). Recent fields of interest are women in history of Polish theatre, theatre as the medium of memory and anthropology of dance. She dances Argentinian tango.
Aleksandra Chmiel is an independent dance scholar based in the Netherlands since 2008, specializing in Sanskrit aesthetics, Indian classical dance, and literary influences in contemporary dance. She conducted several dance research projects, most notably on the application of rasa theory during a six month residency at Darpana Academy in India. Her research was published in Danswtenschap Nederland 9 (academic journal of the Dutch Society for Dance Research – VDO: Vereniging voor Dans Onderzoek). She graduated Cum Laude from Leiden University with her MA dissertation on Literary Influences in Contemporary Dance, as well as holds another MA degree in Contemporary Dance and Theater Studies from Utrecht University. After her internship as a tour manager at Korzo Theater and Production House she continues working as a freelance dramaturge and dance production manager. Her writing and full bio can be found on http://www.aleksandrachmiel.weebly.com
Ann R David is Professor of Dance and Cultural Engagement at the University of Roehampton, London, where she is Head of the Dance Department. She specialises in dance anthropology and South Asian classical and popular dance. Her research work focuses on the dance and ritual practices in UK Indian communities investigating issues of migration, identity and embodiment, and the gestural, narrative and ritual practices of bharatanatyam. She has published widely on this work, as well as on dance in Bollywood, and on the ritual dances of Tibetan Buddhism. Her dance training includes ballet, contemporary, folk dance, as well as bharatanatyam and kathak. She is currently working on a monograph of Indian dancer Ram Gopal.
Claudia Fleischle-Braun, Dr., lecturer in gymnastics and dance in the Institut für Bewegungs- und Sportwissenschaften der Universität Stuttgart (in 1978-2006). She did a doctorate in the history and the pedagogies of modern dance (1999). In addition, she was in the guiding team of Gesellschaft für Tanzforschung (gtf) in Germany (in 2005-2015) and was occupied several times with planing and realising dance-scientific conferences and symposia, at last she organised in March 2018 in Berlin the Workshop Festival „Transnationale Konzepte des modernen Tanzes“. Her publications include: Co-editor (together with Ralf Stabel) of Tanzforschung & Tanzausbildung (2008), Tanzerfahrung und Welterkenntnis (2012, together with Claudia Behrens, Helga Burkhard und Krystyna Obermaier) as well as Zum immateriellen Kulturerbe des Modernen Tanzes (2015, together with Krystyna Obermaier and Denise Temme).
Jadwiga Grabowska-Majewska – a critic, theoretician, curator, dramaturge and lecturer. She holds a degree in religious studies from Jagiellonian University in Kraków, where she has been working as guest lecturer at the Department of Theatre and Drama since 2009 and just opened her PhD dissertation on sources and influences in Polish contemporary dance. She publishes on dance, as well as theatre, and visual arts, gives lectures and runs workshops on dance history and theory, as well as on writing about dance. Since 2009 she collaborates as an expert with the Ministry of Culture and National Heritage. She is frequent member of jury committees for dance contests, dance film contests and other dance platforms. She has published The Body Revolving the Stage. New Dance in New Poland (2011), edited Consciousness of the movement (2013), and We, the Dance. Anthology of Polish dance criticism after 1989 ( 2013), with Artur Grabowski she translated Terpsichore in Sneakers by Sally Banes into Polish. She was awarded two scholarships by the Minister of Culture and National Heritage (2011, 2018) and by the Special Award of the Minister of Culture and National Heritage (2013) for her special contribution to the development of Polish dance. As a curator, Majewska is in charge of a range of Polish and international artistic and educational projects, in 2013 established the Contemporary Dance Festival KRoki in Kraków, in 2015, created (with M. Mikołajczyk) the first scene for the regular presentation of Polish Contemporary Dance, in Studio Theatre in Warsaw. She is co-founder of Open Forum of Dance Communities. She was a member of the , member of Dance Critics Association and Congress of Research in Dance. She is an author and curator of MAKT (Mobile Academy of Dance Criticism).
Andreja Jeličić is a docent at the Dance Department at the Academy of Dramatic Art of the University of Zagreb. She founded the Department and wrote the first Croatian study programmes in the field of dance art which have been conducted since 2013: the BA in Ballet Pedagogy and the BA Contemporary Dance. She teaches Ballet, Dance History, and coordinates and collaborates on a series of methodological courses on both studies, and is a mentor on student projects. She graduated from the Ballet School in Zagreb, danced in the Ballet of the Croatian National Theatre in Rijeka, graduated from Sociology at the Faculty of Humanities and Social Sciences in Zagreb, completed the Ballet pedagogy study at the Vaganova Academy in St. Petersburg and got her MA in Dance Studies at the Laban Centre in London. She taught at Laban for seventeen years on both BA and MA programmes, and from 2004-07 held the position of the Head of Undergraduate Studies. Since moving to Zagreb her main interest is in dance pedagogy, but she also contributes to the research of Croatian dance history led by Maja Đurinović, by providing a broader European context for her findings. She contributed to several conferences on Croatian dance history and published articles in Kretanja and plesnascena.hr website.
Jitka Pavlišová graduated in the field of Theatre Studies at Masaryk University in Brno (2005: Mgr. degree, diploma theses Theatre Poetics by Rudolf Steiner; 2012: Ph.D. degree, dissertation Developmental Tendencies in Contemporary Austrian Drama after 2000). In the years 2010–2013 she underwent the scientific research stays at the Institute of German Studies at University of Vienna and the Institute of Cultural Studies and History at Austrian Academy of Sciences under the patronage of OeAD: Ernst Mach- and Franz Werfel-Programmes. Since 2013 she has worked at the Department of Theatre and Film Studies at Palacký University in Olomouc, first as a research worker within the postdoc-project POST-UP (project “Liechtensteins’ Palace Theatre in Valtice 1790–1805) in the years 2013–2015, and since 2015 as an assistant professor with specialization on the German speaking theatre, contemporary dance/performance and inter- and transculturality in dance. She has also cooperated with the Institute of German Studies at Jan Evangelista Purkyně University in Ústí nad Labem, TanzQuartier Vienna – Centre for Contemporary Dance and Performance and international festivals Divadelní Flora in Olomouc and Tanz im August in Berlin for a long time. She has been a member of the IFTR, the Czech Theatrological Society and Franz Werfel-research group in Vienna. She has also engaged in translation of theoretical articles and drama from the German speaking area.
Hanna Raszewska-Kursa (1982) received Master’s Degree in Polish Literature Studies at the Warsaw University (2006) and a diploma of Postgraduate Studies in Theory of Dance at the Frederic Chopin University of Music (2011). Since 2016 PhD candidate in The Institute of Art of the Polish Academy of Sciences. Lecturer of Theories of Dance and 20th-21st Century Dance History. Dance critic (taniecPOLSKA.pl, teatralny.pl etc.). As a freelancer is involved in various projects. Member of the Polish Forum of Choreology, the Open Forum of Dance Environments, the International Council of Kinetography Laban, co-founder of CID Varsovie section (Conseil International de la Danse), chairperson of the “Thought in the Body” Foundation (main program: Warsaw Laboratory of Kinetography).
Anita Makuszewska is a dancer, ballet master, linguist graduated from the Warsaw Ballet School, the State Conservatory of St. Petersburg, Ballet Department, Russia, the UCSS, Poland with more than twenty years of dance and languages teaching as well as translating experience in Poland and abroad.
Hana Umeda is a PHD student in Theatre and Performance section of the Institute of Polish Culture, University of Warsaw. She specializes in Japanese classical performing arts, especially the Kabuki Theatre, Nihon Buyo and Jiutamai dances and their body techniques. As a performer of half-Polish, half-Japanese background, she specializes in adapting Japanese traditional body techniques such as Nihon Buyo and Jiutamai into her artistic works. Since 2006 she studies Nihon Buyo in The Nishikawa-ryu school in Tokyo and since 2014 she is also a student of Hanasaki Tokijyo in Jiutamai technique. She performed in Berlin and Poland, including Polish National Opera, Polish National Museum, Theatre Institute in Warsaw and Manggha Museum of Japanese Art and Technology in Krakow. In 2018 she was awarded „Młoda Polska” scholarship, granted by the Minister of Culture and National Heritage.
Rok Vevar (born 1973) is a writer covering contemporary scenic arts theory and history and a contemporary dance historian and archivist. He graduated in comparative literature and literary theory at the University of Ljubljana, studied theater directing at the Academy of Theater, Radio, Film, and Television in Ljubljana, and also took courses at the Kodum Theater and Puppetry School in Ljubljana. His texts have been published in numerous Slovene daily newspapers and in several Slovene and international journals of scenic arts and literature. He is the author of the book Rok za oddajo – Izbrane kritike in članki (Litera, 2011). Together with Simona Semenič he has directed three productions/performances: Polna pest praznih rok /A Fistful of Empty Hands (Muzeum, 2001), Solo brez talona / Solo With no Talon (Glej, Maska, 2005), and Kartografija celovečernih slik / Cartography of a Feature-length Slide Show (Maska, 2005). He has also co-created three productions with the dancer, choreographer and director Jana Menger, also appearing in the later two: Gledališče /Theater (Vitkar, 2010), V postopku / In the Process (APT Novo mesto, 2011), Banana Split (AGRFT, 2015). He is the author of the performance-lecture Kako se je moje življenje spremenilo v festival / How My Life Turned into a Festival (2011–13). In 2011 he founded the Temporary Slovene Dance Archive in his apartment in Ljubljana. So far it has been presented in art spaces in Zagreb, Croatia, and Sofia, Bulgaria, and at Harvard, Cambridge Mass. In 2015, the TSDA hosted members of the Eastern European network EEPAP, students of the master’s degree program in choreography at the Institute for Applied Theater Studies in Giessen, Germany, and students of the master’s degree program in dramaturgy at the Academy of Theater, Radio, Film, and Television in Ljubljana.
Roy Waks is an M.A student in The Program of Cultural Studies at the Hebrew University of Jerusalem. His current research, supervised by Dr. Gili Hammer and Dr. Dani Schrire, examines kinesthetics and embodiment of nationality in Zionism. The project case study engages the creation of a dance repertoire in Palestine/Israel in the late first half of the 20th century – focusing on the choreography of Lea Bergstein. Previously, Roy completed his undergraduate studies in Visual Communication at Shenkar College of Design. His final project, Zionist Movement, was a visual research examining the possibility of body language as a product of national ideology – the potential for ideology to systematically form and construct the movements of the human body. Based on analysis of contemporary video clips documenting youth training for the Israeli Defense Force, his visual research defined the body movements in these videos and categorised them into a lexicon and a video art. In the course of his M.A studies, Roy has received the following research grants and fellowships: *Grant from The Program of Cultural Studies, The Hebrew University of Jerusalem. (2017) * I-CORE – Israeli Centers for Research Excellence, “Da’at Hamakom Center for the Study of Cultures of Place in the Modern Jewish World”. (2017) *Israel Science Foundation, “Engaging Disability, Articulating the Senses: Sensory Practices and Disability Embodiments within Integrated Performance Art in Israel”, Supervised by Dr. Gili Hammer. (2018) *Research Grant for outstanding M.A. Proposal, The Hebrew University of Jerusalem, Lafer Center for Women and Gender Studies. (2018).
Iwona Wojnicka is an independent artist, dancer and choreographer who has a special affection for early Ausdruckstanz and is especially interested in the transnational history of movement vocabulary. Iwona Wojnicka is fascinated with the use of human formations and has practiced extensively as an official choreographer for Global Water Dances Poland. She researches the limits of remake and re-composition in choreography and has developed a theory of choreographic response based on Open Form as developed by Oscar Hansen. Her extensive Practice as Research in Dance has resulted in several stage and site-specific productions under the common name of The Warsaw Museum of Dance. Following the ideas of Boris Charmatz and working together with Prof. Roman Woźniak, they developed a language of response to this idea. This has resulted in a comparative study on modernism in Poland and Western Europe. Iwona Wojnicka holds an MA in Sociology from the University of Warsaw, where her main study was the different specifics of qualitative research. She completed her study thesis on Non-formal education in Non-Governmental Organization – a Case of Canada World Youth, under the tutorship of Prof. I. Krzemiński. The study was based on material collected during a year of working for CWY in Canada. Soon after, she started The Format Zero Art Collective and Association, which she has run for the last 15 years. From 2011 – 2015 she completed the EUROLAB Zertifikatsprogramme Laban/Bartenieff Bewegungsstudien in Berlin as well as completed three years of training with Codarts Dance Academy in Rotterdam based on the application of LMA tools to choreography. Her stage dance biography includes three main phases: 2010 – 2016 Laban; 2003 – 2010 Butoh and 1996 – 2001 Physical Mime.