2016 – 2017 Schedule Overview
|Tues. Nov. 1, 2016
5:30pm – 7:00pm
Location: Roble Gym 139
|Adanna Kai Jones, Ph.D.||Visiting Faculty in Dance, Stanford Univ.||Lecture & Movement: “Finding Intimacy at the Borders of Fatalism: When Winin’ Becomes a Crime Scene”|
|Thurs. Dec. 1, 2016
5:30pm – 7:00pm
Location: Prosser Theater / Memorial Auditorium
|Cynthia Ling Lee, M.F.A||Assistant Professor of Dance, UC Santa Cruz||Lecture-Performance: blood run|
|Thurs. Feb. 2, 2017
5:30pm – 7:00pm
Location: Roble Gym 139
|Jade Power Sotomayor, Ph.D.||Assistant Professor of Interdisciplinary Arts, Univ. of Washington, Bothell||Lecture: “The Fandango Fronterizo: Moving Borders and Son Jarocho’s Speaking and Space-Making Bodies”|
|Fri. March 10, 2017
5:30pm – 7:00pm
Location: Roble Gym Studio 113
|Priya Srinivasan, Ph.D.
Natalie Zervou, Ph.D.
Hannah Schwadron, Ph.D.
|Srinivasan: Independent Scholar
Zervou: Lecturer in Dance, Univ. of Wisconsin, Madison
Schwadron: Assistant Professor of Dance History, Florida State Univ.
What’s Left – Stories of Movement and Migration
|Thurs. April 20, 2017
5:30pm – 7:00pm
Location: Roble Gym 139
|Anusha Kedhar, Ph.D.||Assistant Professor of Dance, Colorado College||Lecture: “Dancing the Global Intimate: Transnational Indian Dancers and the Mobility and Immobility of Flexible Labor”|
|Thurs. May 18, 2017
5:30pm – 7:00pm
Location: Roble Gym 139
|Nilgun Bayraktar, Ph.D.||Assistant Professor of Film History, Theory & Criticism, California College of the Arts||Lecture: “Performing Non-belonging and Displacement: Representing Refugee Experiences in Contemporary Screen Art”|
Lecture/Performance Descriptions & Presenter Biographies
TUESDAY, NOVEMBER 1, 2016
Adanna Kai Jones, Ph.D. – Visiting Faculty in Dance, Stanford University
“Finding Intimacy at the Borders of Fatalism: When Winin’ Becomes a Crime Scene”
How does the performing pleasure during this year’s (2016) pre-Carnival, J’Ouvert festivities in Brooklyn, NY complicate how we understand anti-black violence and #BlackLivesMatter? The sweaty labor produced by the very act of rolling one’s hips and winin’ dong di streets fuh J’Ouvert reveal the intimately microscopic ways in which winers navigate the colliding politics of pleasure, gun-violence, and state-policing. As winers take up public space in a foreign place—namely a place that recognizes or presents their winin’ bodies as in but not of that nation—their rolling production of sweat remain rooted to a bodily logic (i.e. winin’) that reads as fatalistic. Dr. Jones argues that “[…] winin’s association with sexual play leaves especially the female winer vulnerable to depictions of fatalism, nihilism, and ultimate tragedy (e.g., beliefs that skilled female winers are prone to prostitution, out-of-wedlock motherhood, or sexual violence).” In effect, this further positions them within and along the interstices and borders of contesting feelings of blackness, contesting uses of pleasure, as well as contesting performances of (trans)nationhood, or rather a sense of belonging. Ultimately, this talk attends to the unsettling link between violence, pleasure, and blackness, as it is navigated by the dancing body.
Adanna Kai Jones received her Ph.D. in Critical Dance Studies at the University of California, Riverside, and her B.F.A. in Dance from Mason Gross School of the Arts—Rutgers University. She has performed in professional dance companies based in NYC, including the Julia Ritter Performance Group and Souloworks with Andrea E. Woods. In general, her research remains focused on Caribbean dance and identity politics within the Diaspora, paying particular focus to the rolling hip dance known as winin’. She has published the chapter “Can Rihanna Have Her Cake And Eat It Too?” in The Oxford Handbook of Screendance Studies, which became the point of discussion for a roundtable conversation hosted by the Oxford Comment podcast series. Her upcoming chapter, “A Waist Full of Winin’ Counter-Tails/Tales,” will appear in The Futures of Dance Studies edited volume next year. In her own creative pursuits, she has choreographed dance theater pieces that were not only based on her research but were also used as tools for generating more research questions. In July 2015, she presented “Wine & Tales” in Port of Spain, Trinidad, which was commissioned by New Waves! 2015 and the Dancing While Black Performance Lab. In May 2016, she presented “Rum & Coke” in New York City at Field Studies 2016. Both performances were rooted in her ethnographic fieldwork on the wine and Caribbean Carnivals within the US. Currently, she is a Lecturer at Stanford University in the Department of Theater and Performance Studies. This quarter, she is teaching two research-driven dance courses: a survey class on folkloric and popular Afro-Caribbean dances and a fusion class that brings together Afro-Caribbean dance techniques with contemporary US-concert dance practices.
THURSDAY, DECEMBER 1, 2016
Cynthia Ling Lee, M.F.A. – Assistant Professor of Dance, University of California, Santa Cruz
Lecture-Performance: blood run
Cynthia Ling Lee will present a lecture-performance on her newest solo show, blood run, a work that asks what hidden histories are contained in the body, while poignantly acknowledging the impossibility of fully reclaiming what has been lost. blood run investigates Lee’s Han Chinese colonizer and Taiwanese plains indigenous heritages within the context of larger political histories, asking: “What is the difference between an immigrant and a colonizer?” “How do the colonizer and colonized live inside the same body?” “When does survival require disappearance?”
Combining critical theorization with performing excerpts of the show, Lee will discuss blood run’s development as part of the Post Natyam Collective’s long-distance process, Reimagining Citizenship. She will also address their newest project, Resurfacing Borders, on borders, migration, and citizenship. The Post Natyam Collective is a transnational, web-based coalition of dance artists whose work triangulates between theory, art-making, and activism.
Cynthia Ling Lee creates choreography and scholarship that instigate postcolonial, queer, and feminist-of-color interventions in the field of experimental body-based performance. Trained in US postmodern dance and North Indian classical kathak, she is committed to intimate collaborative processes and foregrounding marginalized voices and aesthetics. Her interdisciplinary performance work has been presented at venues such as Dance Theater Workshop (New York), REDCAT (Los Angeles), East West Players (Los Angeles), Taman Ismail Marzuki (Jakarta), Kuandu Arts Festival (Taipei), IGNITE! Festival of Contemporary Dance (New Delhi), and Chandra-Mandapa: Spaces (Chennai). Cynthia was the recipient of a Thomas J. Watson Fellowship, an Asia-Pacific Performing Arts Exchange Fellowship, and a Taipei Artist Village Residency. Recent publications include a case study in Dance Education Around the World: Perspectives on Dance, Young People and Change (Routledge) and co-written articles with Sandra Chatterjee in Feminist Media: Participatory Spaces, Networks and Cultural Citizenship (eds. Elke Zobl and Ricarda Drüeke), Studies in South Asian Film and Media, and Meanings and Makings of Queer Dance, ed. Clare Croft (Oxford University Press, anticipated publication date Fall 2017). Influential teachers and mentors include Simone Forti, Eiko & Koma, Judy Mitoma, Pallabi Chakravorty, Bandana Sen, Kumudini Lakhia, Anjani Ambegaokar, and the contact improvisation community. Cynthia is a member of the Post Natyam Collective, a board member of the Network of Ensemble Theaters, and an assistant professor of dance in the Department of Theatre Arts at the University of California at Santa Cruz. www.cynthialinglee.com
THURSDAY, FEBRUARY 2, 2017
Jade Power Sotomayor, Ph.D. – Assistant Professor of Interdisciplinary Arts, Univ. of Washington, Bothell
“The Fandango Fronterizo: Moving Borders and Son Jarocho’s Speaking and Space-Making Bodies”
This presentation examines the politics of movement at the Fandango Fronterizo, an annual bi-national son jarocho event that takes place on both sides of the Tijuana/San Isidro border. Dr. Power Sotomayor engages indigenous scholarship on embodied sovereignty to make sense of this embodied music making as a political gesture that challenges and defies the borders imposed by colonial powers. Furthermore, she examines the way that corporeal blackness circulates both as a contestation to the historical erasure of blackness in discourses about Mexico, as well as a valuable signifier of resistance and liberation that, sometimes troublingly so, relies on the construction of black difference and the further bordering of identities.
Jade Power Sotomayor is an Assistant Professor in Interdisciplinary Arts at the University of Washington, Bothell. As a code-switching, hyphen-jumping, border-crossing, Cali-Rican educator, dancer, actor and scholar of performance, Dr. Power Sotomayor engages embodied practices of remembering and creating community as a lens for theorizing performative constructions of Latinidad. Her research focuses on epistemologies of the body, the intersections between race, gender and language, and on inter-cultural performance in the Latin Caribbean diaspora. Her book project ¡Habla!: Speaking Bodies in Latinx Dance and Performance examines what she calls the “speaking body” in various sites of performance (solo-performance, Puerto Rican bomba, Mexican son jarocho) and its relationship to the politics of race and ethnicity, to bilingualism and to communities of belonging as constituted through doing versus being. She has recently started research on the experiences of women of color who teach Zumba, and the dancing of a Latinidad that variously cites and appropriates brownness and blackness through complex circuits of embodied signification.
FRIDAY, MARCH 10, 2017
Performance: What’s Left – Stories of Movement and Migration
Priya Srinivasan, Ph.D. – Independent Scholar
Natalie Zervou, Ph.D. – Lecturer in Dance, University of Wisconsin, Madison
Hannah Schwadron, Ph.D. – Assistant Professor of Dance History, Florida State University
What’s Left is an international, multimedia collaboration on Skype, phone, and FaceTime zoom to explore the issues around migration, involuntary movement, and what gets left behind in the process. The performance piece involves structured improvisation, playback dance, postmodern storytelling, and audience interaction and involvement in order to pay attention to the crisis of the movement of bodies through borders. Which bodies get to move and when? Whose stories are told and how? What is left? The piece plays with different kinds of time that are imprinted on our bodies: mythological time, historical time, the present and the future.
Priya Srinivasan is a dance scholar and performer who merges dance, immigration law, ethnography, history, critical race theory, performance, and post-colonial studies to investigate the embodied experience of Indian dance. She has lived and performed in Chennai, Melbourne, Los Angeles, Chicago, Shanghai, and more recently in The Hague and Amsterdam. She continues to work as an experimental dance/theatre artist who uses Indian performance practices to understand the effects of migration, history, and power on gendered bodies. She has presented excerpts of her award-winning book Sweating Saris: Indian Dance as Transnational Labor in the hybrid form of “talking dances” at the University of Chicago, University of California, Berkeley, Northwestern University, and Harvard University. She is a Visiting Associate Professor at UC Riverside in Dance, and Fellow at the International Institute of Asian Studies at Leiden University in the Netherlands. Srinivasan has a Ph.D. in Performance Studies from Northwestern University; an M.A. in Dance from UCLA, and a First Class Honors in Ethnomusicology from Monash University. She also received the Gertrude Lippincott Award in 2008, which is given by the Society of Dance History Scholars for the best English-language article published in dance studies.
Natalie Zervou is a Lecturer at the University of Wisconsin, Madison Dance Department. She holds a Ph.D. in Critical Dance Studies from the University of California, Riverside, an MA in Dance Cultures: Histories and Practices from the University of Surrey (UK), a B.A. in Political Science and International Studies from the University of Athens (Greece), and a Diploma in Dance and Dance Pedagogy from the Higher Professional Dance School Morianova Trasta (Greece). Her research focuses on dance practices during the recent sociopolitical and financial crisis in Greece and explores the ways that performances engage with the current European refugee crisis and respond to the shifting social landscape. Her choreographic work revolves around questions of belonging and migration and has been presented in Athens (Greece), Surrey (UK), Riverside, CA (USA), and Amsterdam (Netherlands). Her publications include: “Bodies of Silence and Resilience: Writing Marginality,” Congress on Research in Dance Conference Proceedings, 2015, pp 174-181 and “Appropriations of Hellenism: A Reconsideration of Early Twentieth-Century American Physical Culture Practices,” CHOROS International Dance Journal, 3 (Spring 2014), pp. 50–68. Zervou also has two forthcoming articles: “Fragments of the European Refugee Crisis: Performing Displacement and the Re-Shaping of Greek Identity” that will be included in an upcoming issue of TDR, and “Rethinking Fragile Landscapes during the Greek Crisis: Precarious Aesthetics and Methodologies in Athenian Dance Performances” that is forthcoming in RiDE (Research in Drama Education) in February 2017. http://www.nataliezervou.com
Hannah Schwadron is Assistant Professor of Dance at Florida State University. She holds a Ph.D. in Critical Dance Studies and M.F.A. in Experimental Choreography from the University of California, Riverside. Her research focuses on dance, Jewishness, and gender and she is currently preparing a book for publication, entitled The Case of the Sexy Jewess: Dance, Gender and Jewish Joke-work in US Pop Culture (Oxford University Press, forthcoming). She continues to choreograph and perform on related themes, and has shown work in intimate venues nationally and internationally. She organizes Field Studies, a creative development lab in NYC, that brings together dance artists and scholars to workshop independent and collaborative projects through writing and performance, and extends these intersections into her approach to coursework at the undergraduate and graduate level. http://www.hannahschwadrondance.com
THURSDAY, APRIL 20, 2017
Anusha Kedhar, Ph.D. – Assistant Professor of Dance, Colorado College
“Dancing the Global Intimate: Transnational Indian Dancers and the Mobility and Immobility of Flexible Labor”
Since the beginnings of British South Asian dance in the 1990s, South Asian choreographers have looked to India to fill a gap in the British dance labor market. Drawing on fieldwork in London and Bangalore, this performative lecture examines the intimate lives and experiences of some of these migrant Indian dancers and the way in which they have been mobilized by global political and economic processes. Bodies, however, do not flow as easily as goods and capital. Neoliberal economic ideologies of free trade and the free movement of labor are in tension with anti-immigrant agendas and increasingly narrow notions of British citizenship, particularly since the terrorist attacks in London in 2005. Simultaneously mobilized and blocked, migrant Indian dancers reveal the contradictions of global capitalism as well as the new imaginative practices and new transnational subjectivities that are emerging at these sites of friction. Through dancerly tactics – de-centering, re-routing, stretching – they navigate uncertain economic times and increasingly precarious and temporary work regimes, negotiate personal relationships and family obligations, secure financial independence, and sustain dynamic careers. In doing so, they have found ways to circulate within a racialized and uneven global political economy that seeks to restrict and regulate their movements at every step.
Anusha Kedhar is an Assistant Professor of Dance at Colorado College. Her current book project, Flexible Bodies: British South Asian Dancers in an Age of Neoliberal Precarity, examines the intersection of neoliberalism, race, dance, and labor. Her writing on dance has been published by Dance Research Journal, The Feminist Wire, and The New York Times. Kedhar is also an established bharata natyam dancer and choreographer, and has worked with various contemporary South Asian dance artists in the US and Europe. Her choreography has been presented in Los Angeles, London, Malta, Colorado, and New York. She currently serves on the Board of Directors as Recording Secretary for the Congress on Research in Dance (CORD).
THURSDAY, MAY 18, 2017
Nilgun Bayraktar, Ph.D. – Assistant Professor of Film History, Theory & Criticism, California College of the Arts
“Performing Non-belonging and Displacement: Representing Refugee Experiences in Contemporary Screen Art.”
In this presentation, Dr. Nilgun Bayraktar will explore representations of refugee narratives, experiences, and bodies in two video-art works: British artist and filmmaker Isaac Julien’s Western Union: Small Boats (2007) and Turkish artist Halil Altindere’s Homeland (2015). Through close-readings of these videos, Bayraktar will show how contemporary dance and music video aesthetics can shed a critical light on the plight of undocumented migrants and refugees—figures often portrayed in the media and mainstream political discourses as “invaders,” “criminals,” or “victims.”
Julien’s film Western Union, made in collaboration with British choreographer Russell Maliphant, focuses on the perilous journeys of migrants and refugees across the Mediterranean from the North African coast to Lampedusa and Sicily. Integrating the traditions of political documentary filmmaking and modern dance, Western Union examines the multilayered history of post/neo-colonial power relations within the context of contemporary forced im/mobilities. Altindere’s Homeland is a collaboration with Mohammed Abu Hajar, a Syrian rapper now based in Berlin. Abu Hajar’s vibrant rap performance in the video provides rhymes that describe refugee border crossings from Syria to Turkey, then onto Europe. Blurring the boundaries between reality and fiction, Altindere’s images depict the obstacles faced by refugees — barbed wire fences, drones, surveillance cameras, etc.
Nilgun Bayraktar is an Assistant Professor of Film History, Theory & Criticism in the Visual Studies Program at California College of the Arts. Her work focuses on migrant and diasporic cinema in Europe, transnational cinema, experimental and avant-garde cinema, screen-based art, site-specific art, and performance. She received a B.A. in Cultural Studies from Sabanci University, Istanbul and a Ph.D. in Performance Studies with a Designated Emphasis in Film & Media Studies from the University of California, Berkeley. Her book, Mobility and Migration in Film and Moving Image Art: Cinema Beyond Europe (Routledge 2016), examines cinematic and artistic representations of migration and mobility in Europe since the 1990s. Bayraktar’s most recent research project explores the intersections between artistic practice and global environmental and social issues such as climate change and mass displacement resulting from neoliberal capitalist practices around the world.