|Zelma Badu-Younge earned a B.F.A. degree in Dance Choreography from Concordia University, Montreal, a M.F.A. degree in Dance Ethnology from York University, Toronto, and a doctorate degree in Education, from McGill University, Montreal. Previously, she served as a guest Assistant Professor of Dance at Denison University.|
Henrietta Bannerman trained at the Martha Graham School from 1964-65 and then at the London School of Contemporary Dance where she subsequently taught and choreographed. In 1998 she gained a doctorate for her work on Martha Graham and currently lectures and supervises on the undergraduate, post graduate and research programmes at Laban.
Karen Barbour is a Dance Lecturer in the School of Education at The University of Waikato. Karen trained in contemporary dance, worked as a professional dancer, and now teaches dance education and choreography. Her Ph.D. research was titled “Embodied ways of knowing: Women’s solo contemporary dance in Aotearoa, New Zealand.”
^ After activities as a notator and notation teacher she pursued multimedia studies in 1997. She has worked since then as project manager in companies, or as a free-lance web designer. She recently joined the Department for development of choreographic culture at Centre national de la danse, She is a French Member of the European Seminar for Kinetography (1985-1994), ICKL fellow, ICKL Secretary (1995-2001).
Julie Brodie earned her B.F.A. and M.F.A. from the University of Illinois and studied Labanotation at Ohio State University. She danced professionally in Chicago and taught at Franklin and Marshall College before joining Kenyon College as an Assistant Professor of Dance. Brodie teaches modern, ballet, dance kinesiology, Labanotation and choreography.
Nicole Bradley Browning is an Assistant Professor of Dance at the University of Montana, USA. Browning specializes in modern, contact improvisation, composition and dance in elementary education. As a distinguished graduate, she received her M.F.A. from Arizona State University. Browning has performed and presented choreography professionally throughout Washington, DC, USA.
^ is a dance educator, Arts IMPACT Middle School, in Columbus, Ohio, USA; independent scholar in K-12 and higher education; graduate faculty, University of Rio Grande; Program evaluator, Ohio State University’s Advanced Computing Center for Art and Design; National Dance Education Organization board of directors; and co-author of National Agenda for Dance Education Research.
Stephanie Burridge Tasmanian born Stephanie Burridge trained at the Laban Center, holds a BA in Anthropology/Arts History, a Graduate Diploma in Education and a PhD in Contemporary Dance. For 21 years she was the Artistic Director of Canberra Dance Theatre. She has presented conference papers at WDA in Hong Kong (1997), Tokyo (2000), Singapore (2001), World Arts Educators Brisbane (1999), New York (2002) and the Australian Academy of the Humanities (1996).
^ Dr. Tom Calvert is Professor and Acting Director of the School of Interactive Arts and Technology at Simon Fraser University, Surrey. His research interests focus on human figure animation, e-learning, and user interaction with multimedia systems. His work on computer animation has
resulted in the Life Forms system for choreography and animation.
^ choreographer and writer, directs the Dance program at LASALLE-SIA College of the Arts, Singapore. With an MFA (Dance) from the University of Hawaii, she is currently pursuing her PhD at the National University of Singapore - “Expressing Cultural Identity Through Contemporary Dance: The Singapore Experience.” A former member of Ririe-Woodbury Dance Company (USA), Ms Carino chairs Dance Association/World Dance Alliance – Singapore and organized the successful Asia –Pacific Dance Bridge (2001).
^ obtained an Ed.D. at Teachers College of Columbia University in 1991 with her research focus on children’s creative dance. She is a Professor of Dance Department at Taipei National University of the Arts. Specializing in dance pedagogy, her scholarly papers have been presented in many conferences and also published in diverse journals.
Ting-Ting Chang is a choreographer, dancer and Ph.D. student in Dance History and Theory at the University of California Riverside. She holds a M.F.A in dance from UC Irvine. A rehearsal assistant for Donald McKayle’s “Ash” she was honored as National Dance Association Outstanding Graduate Student of the Year 2002. She has danced for Taipei Folk Dance Theater, Chinese Youth Goodwill Mission, APPEX project and American Dance Festival, and founded DreamDances Performing Artists to promote intercultural communication.
Chi-fang Chao (Plenary Speaker) is currently an Assistant Professor in the Department of Culture of Indigenous Peoples, National Dong-hwa University, Hualien, Taiwan, got her Master’s degree of Anthropology from National Taiwan University and Ph.D. degree of Dance Studies from the University of Surrey, UK. Her main interest is on dance and ritual in Southern Okinawa.
^ Assistant Professor at the Graduate School of Performing Arts, National Taiwan University of Arts, holds a Ph.D. in Dance Studies from Laban Centre, London. Her writings include dance reviews and criticism. Dr. Chao is a co-author of Appreciating Dance (1999), Dance Studies and Taiwan: The Prospect of a New Generation (2001).
^ is an Assistant Professor in the Department of Theatre Arts and Dance at the University of Minnesota, Twin Cities. She received her Master’s in Dance Education from Teachers College, Columbia University; Ph.D. in Dance from Temple University. Her research is in Indian classical and folk dance forms, modern and other Asian and Africanist dance forms.
^ , Associate Professor in Dance at Taipei National University of the Arts, received her M.F.A. from Texas Christian University and was a founding dancer of Cloud Gate Dance Theater and the co-founder of the Crossover Dance Company. She has performed internationally in USA, Germany, England, Malaysia, Hong Kong, and China.
^ holds a Ph.D. in Performance Studies from New York University. She is the co-curator of “Body, Kinesics and Culture,” an exhibition opened in early August 2003 in Taiwan, and teaches as an Assistant Professor at the Chinese Culture University. Her research is in Taiwan’s contemporary dance and the cultural-social-political study of the dancing body.
Ying-Chu Chen, a Ph.D. student in Dance at Temple University, is currently writing her dissertation on the development of the Taiwanese ballet. She received her M.A. in Dance from the University of Hawaii and M.A. in Media Studies from Queens College of the City University of New York.
Shu-Gi Tung Chen is Associate Professor in Dance at Taipei National University of the Arts. Shu-gi received an MFA from Texas Christian University and was a founding dancer of Cloud Gate Dance Theater. The co-founder of Crossover Dance Company, she has performed internationally at Jacob’s Pillow and elsewhere in the United States, and in Germany, England, Malaysia and China. She was the rehearsal director for Cloud Gate’s “Legacy” performed at the 2002 Global Dance in Düsseldorf, Germany.
Kuang-Yu Cheng is a third-year Ph.D. student at Dance Department of University of California, Riverside. He is interested in exploring political influences exerted on dance, which may not only change the prevailing dance forms but the way people perceive and understand the significance of race, class, and gender exhibited through the moving bodies.
Yang Sook Cho, trained in Korea, the UK and the USA, holds an M.F.A. in Dance from New York University and is undertaking doctoral studies in Dance and Technology at the University College Chichester, U.K. Ms. Cho specialises in interactive performance and choreography and is currently professor in Dance at SeoKyeong University, Seoul.
Won-sun Choi, a Ph.D. student in Dance, University of California, Riverside, USA. M.A. and B. A. in Dance, Ewha Womans University, Seoul, Korea. A successor of National Important Intangible Cultural Asset No.27 Seung-mu, (Buddhist Monk Dance) and of Jenla-do Provincial Important Intangible Cultural Asset, Jin-do Buk-chum (Drum Dance).
Suling Chou has been the Director of Taiwan’s Tsoying High School’s Dance Division since 1983. She developed an international summer guest artist program through which forty artists have worked with Tsoying students. Each summer, Chou takes the Tsyoing Dance Group to perform at International Dance Festivals, including Korea, Hong Kong, Indonesia, Japan and USA.
^ , dancer of RiverGrass Dance Theatre graduated from RiverGrass Dance Academy. One of the most sort after dancers in Malaysia, Chua trains mainly under Mew. Began with Contemporary Dance training but recently found solace in Thai and Burmese dance movements. Not full time dancer but live to dance.
Roger Copeland is Professor of Theater and Dance at Oberlin College and the recipient of the Stagebill Award in l999. He has published well over one hundred and fifty articles about dance, theater, and film. His books include What Is Dance? and the forthcoming Merce Cunningham and The Modernizing of Modern Dance.
^ holds an M.A. in Dance from the University of Illinois and a Ph.D. in Japanese Literature and Theatre from Columbia University. She is the Coordinator of the Dance Program at Washington University (St. Louis). Her essays on Michio Ito have appeared in the Dance Research Journal and Dance Chronicle.
Tina Curran (Plenary Speaker) M.F.A., Director, Language of Dance® Center, USA. Tina teaches nationally and internationally in both academic and professional venues and conducts training courses in the Language of Dance approach. She is Labanotation certified and has reconstructed a number of works from Labanotation score for dance companies and universities.
Elizabeth Cameron Dalman OAM, is Director of Mirramu Creative Arts Centre and Artistic Director of Mirramu Dance Company. She has a Masters in Creative Arts, and is taking a PhD at the University of Western Sydney. She is a recipient of an Australian Artists Creative Fellowship, and the Order of Australian Merit. She is the founder of the Australian Dance Theatre, Australia’s first professional modern dance company, and has received a National Dance Award for a Lifetime Achievement in Dance and a Sacred Dance Guild International Award.
Pornrat Damrhung is Associate Professor in Chulalongkorn University and teaches movements and theatre, and engages in research in new traditional dance-drama.
Emily E. Daughtridge is a performer, choreographer and arts educator currently pursuing her M.F.A. in Dance at The Ohio State University. She received her B.F.A. in Choreography and Performance and B.A. in Studio Art from the University of North Carolina at Greensboro. Emily has worked with many populations throughout communities.
^ , Assistant Professor, Costume Design/History, Bucknell University, specializes in collaborative and cross-cultural works for dance and theatre. She previously served as costume designer/lecturer in the Department of Dance at Arizona State University. Paula trained at California Institute of the Arts in Costume Design and Arizona State University in Scenography.
Kent De Spain is a dance/multimedia artist who has taught and toured throughout the United States and has been the recipient of several awards, including a Pew Fellowship in the Arts. Currently at the University of Texas at Austin, De Spain has published and presented his research in numerous international venues.
Alex Dea is an American-born Chinese composer who holds a Ph. D. in Ethnomusicology from Wesleyan University, with a specialty in Javanese gamelan music. In Central Java, he documents and studies with the last remaining classical Javanese masters resulting in over 1,000 hours of video and audio recordings. He has special permission to record in the Jogja Palace, and is the only foreigner to sing in the palace of Surakarta.
Kathie Debenham (M.A., BYU) is a CLMA and Assistant Professor of Dance and Director of Institutional Effectiveness at Utah Valley State College. Her work as a teacher, choreographer, administrator, and researcher is grounded in the principles of LMA and has been presented at regional, national, and international conferences and workshops.
^ (M.A., UCLA) is a CLMA and is a Professor of Modern Dance and Music Theatre at BYU. His workshops, presentations and published papers - regionally, nationally and internationally – demonstrate how Laban principles can be woven into and through dance curriculums that focus on teaching, performing, composition and research.
Thomas DeFrantz earned degrees from Yale, the City University of New York, and the department of Performance Studies at New York University. His scholarly area of specialization is the performed African American arts. He teaches dance history at the Alvin Ailey School and is Associate Professor of Theater Arts at the Massachusetts Institute of Technology.
Elizabeth Dempster lectures in Performance Studies at Victoria University, Melbourne. Her research and writing on contemporary dance practice has been published in various journals and books including Bodies of the Text: Dance as Theory, Literature as Dance and Imagining Australian Space: Cultural Studies and Spatial Inquiry. She is the founding and continuing co-editor of the journal Writings on Dance.
I Wayan Dibia (Plenary Speaker) born in Singapadu village of Gianyar, is recognized as one of the most important Indonesian artists and scholars specializing in Balinese performing arts. From a family of artists, he has studied various forms of classical Balinese dances and has choreographed numerous new dances and dramas, featured in many important events and festivals in Indonesia as well as overseas. He has written a number of books and articles. He joined the faculty of dance at the State College of Indonesian Arts (STSI) Denpasar in 1974, received grants to do an MA in Dance, and his Ph.D. in Southeast Asian Performing Arts, at the University of California, Los Angeles. He is currently a member of The Bali’s Art Council and The Artistic Board of the Annual Bali Arts Festival.
Donnalee Dox is an assistant professor of Performance Studies at Texas A&M University. Her research examines the role of religious belief in contemporary performance practices. She also works on theatrical performance in medieval Europe.
^ CMA, Ed.D., is a founding co-director of Moving On Center -- The School of Participatory Arts and Research which opened in September 1995 at the Alice Arts Cultural Center in Oakland. The school's mission is to train movers to be leaders who use mindful physical activity together with somatic approaches to health, education and performance in their communities around the world. The curriculum has a strong base in community building through the use of body-mind theory and practice, especially as applied to dance. Practitioners specialize in approaching stress, trauma, injury, personal challenges, and performance enhancement through embodiment and creativity.
Mary E. Edsall (Plenary Speaker) is Past-President of the Congress on Research in Dance and a principal organizer of this conference. She is Curator of the Philadelphia Dance Collection at Temple University. She was the assistant Curator at the Harvard Theatre Collection at Harvard University and has published in Dance Research Journal, American National Biography, and Frames of Reference. She has served as a selector for the for the Dance Heritage Coalition, and is consulting librarian for the National Dance Education Organization, Jacob’s Pillow Dance Festival, and the American College Dance Festival Association. She holds a PhD from Temple University and is on the faculty of the Palmer School of Library and Information Science at New York University.
Tara Eyre (M.A., BYU) is an instructor in the Folk Dance Division at BYU. As a graduate student she successfully applied Laban and Bartenieff movement principles into her world dance curriculum and found that students performed with greater movement understanding and clarity. Her research has influenced current teaching techniques within the Division.
^ is a first-year graduate student of the Graduate School of Performing Arts at the National Taiwan University of Arts. She was advisor of the drama association of Kuang-Jen senior high school in 2000. She was also the campaign leader of the 8th advertising graduation exhibition of Shih-Shin University.
Susan Leigh Foster (Plenary Speaker) choreographer, dancer, writer, began presenting concerts of her own work in 1977 touring throughout the United States, Europe and Canada. Her work comments, often humorously, upon the art of making dances. She has served as a member of the faculty of the Department of Dance at Wesleyan University, accepting a position as Chair of the Dance Department at UC/Riverside in 1990 with an invitation to build the first doctoral level program in Dance History and Theory in the United States. She assisted with the development of an MFA in experimental choreography that admitted its first class this past year. She is the author of Reading Dancing: Bodies and Subjects in Contemporary American Dance, Choreography and Narrative: Ballet's Staging of Story and Desire, and the editor of two anthologies: Choreographing History and Corporealities. She has just completed work on a book entitled Dances that Describe Themselves: The Improvised Choreography of Richard Bull.
^ is the Executive Director of the Dance Notation Bureau, New York (1991-present). She is a Certified Professional Notator (1980), Teacher of Labanotation (1979) and Certified Movement Analyst (1983). She has a BA in Dance Education from the University of Illinois (1976). She has worked as a staff notator at the DNB since 1980. Among the choreographers whose works she has notated are Anastos, Balanchine, Holm, Joffrey, Limón, Louis, Shawn and Sokolow. She notated the Chinese Classical Dance Syllabus for the Hong Kong Academy for Performing Arts. Ms. Fox is a Fellow of the International Council of Kinetography Laban; on the Advisory Board of the Laban Institute for Movement Studies, Board Member and co-chair of the Research and Documentation Network, Americas Center of the World Dance Alliance and on the Executive Council for the World Dance Alliance Global Secretariat. She has taught notation internationally, including in England, Israel, China, and Thailand as well as in the United States. She is currently the Project Director of the DNB's project to create a program to translate notation into computer animation.
Jeff Friedman received his Ph.D. in Dance History and Theory from University of California, Riverside in 2003. He is a dancer and choreographer based in San Francisco since 1979, certified as a Laban/Barntenieff Movement Analyst, and founder/director of LEGACY, an oral history project for the performing arts.
Tsan-Hsia Fu, M.A. in Pedagogy of Dance and Music, Ochanomizu University, where she also attended doctoral courses in comparative culture. The title of her theses are “Dance Education in Taiwan” and “Expression of Xie-Yi of dance movement techniques in Peking Opera: Focusing on Head & Hand Expression.”
Cara Gargano (Plenary Speaker) A former dancer and choreographer, she taught for several years at the New York School of Ballet in New York City before becoming Chairperson of the Department of Theatre, Film and Dance at the C.W. Post Campus of Long Island University She holds a PhD in French Literature and Language and publishes on interdisciplinary subjects such as the intersection of dance and changing scientific world views, feminism and dance/theatre, and myth and the arts. She is currently President of the Congress on Research in Dance.
^ , former artistic director and founder of Philadelphia’s Sybil Dance Company, is an internationally recognized dancer, choreographer and educator. Her choreography fuses a base in such concert idioms as classical ballet and Cunningham technique with the movement expressions of black America. She earned her M.F.A. from Sarah Lawrence College and has taught for over twenty years at Temple University.
Chard Gonzalez, BFA, MA, is currently working toward a PhD in Choreography at Laban. He has performed with Douglas Dunn and Dancers (NYC), Nai-Ni Chen Dance Company (NYC), Compagnia Virgilio Sieni Danza (Florence, ITALY), and others. While Chard teaches Cunningham-based technique and dance composition at Roehampton (University of Surrey) and Laban, he continues to choreograph and perform internationally.
^ led development and implementation of New Zealand’s first Bachelor of Dance programme and initiated New Zealand’s first Dance Research Forums. In the past she has chaired the NZ Qualification Authority Dance Advisory Group and gained scholarships from UNESCO and other bodies to support her dance and education related research. With international colleagues Susan founded the Australia New Zealand Dance Research Society in 1999 and this organization launched its first journal issue in October 2000. Susan works as Curriculum Adviser (Degrees) for New Zealand’s largest tertiary education institution, the indigenously based Te Wananaga o Aotearoa.
Jill Green (Plenary Speaker) conducts research and teaches at the University of North Carolina at Greensboro. She has written chapters and articles for a number of publications including Dance Research Journal, Journal of Dance Education, Arts & Learning Research Journal, Research in Dance Education, Frontiers: A Journal of Women’s Studies, Impulse, Journal of Physical Education, Recreation, and Dance, and Journal of Interdisciplinary Research in Physical Education. Dr. Green recently travelled to Finland as Fulbright Scholar. She is currently co-editor of Dance Research Journal.
Ann Hutchinson Guest, Ph.D., is an author, teacher, researcher into movement analysis and systems of dance notation. She has received two honorary doctorates for her contributions to dance literacy and dance education. She has revived important choreographic works from the past for performance and study and also developed the Language of Dance® Teaching Approach.
^ is an Associate Professor of Dance at Southern Methodist University. She is one of 38 Professional Certified Notators in the world and also holds Teacher's Certification in Labanotation/Motif Writing. Her Labanotation scores include José Limón's La Malinche and Leni Wylliam’s Sweet in the Morning. She is currently creating the score of Alraune, a work by Pilobolus. Her interactive, educational DVD on La Malinche won a silver award this year at the Houston International Film Festival. Ms. Delaney teaches composition, Labanotation, jazz and musical theater history. Her choreographic credits include numerous musical productions, television commercials, corporate industrials and concert works. She was a member of the regional modern dance company, Dancers Unlimited, where she performed the works of such renowned artists as Bill Evans and Moses Pendleton.
^ , dancer, dancer teacher, choreographer, received her M.A. at the
Laban Centre, London. She is writing her Ph.D. dissertation at the Theatre Academy of Helsinki, Finland. Under recent years she has been working as a dance artist at the social services at the Deaconess Institute in Helsinki.
Hsiao-mei Ho currently teaches at the Department of Dance, Taipei National University of the Arts and is the consultant general of the Cloud Gate Studios training program. She received her Masters of Fine Arts degree in Dance from the Tisch School of the Arts, New York University, USA. Her choreography has been performed in many countries and gained international recognition.
^ is a Taiwanese choreographer, researcher and critic. She holds a Ph.D. in Dance from Temple University and a M.A. in Performance Studies from New York University. She was the editor of Performing Arts Review, and her writing has appeared on Dance Research Journal and various major Taiwanese newspapers.
Naomi Jackson received her Ph.D. in performance studies from New York University. She is currently an associate professor at Arizona State University. Her articles appear in ^ , Dance Chronicle, and Dance Research, and her recent book is entitled Converging Movements: Modern Dance and Jewish Culture at the 92nd Street Y.
Deborah Jowitt (Plenary Speaker) teaches at New York University’s Tisch School of the Arts and has been principal dance critic for New York's ^ since 1967. Her books include Dance Beat: Selected Views and Reviews 1967-1976 (1977), The Dance in Mind: Profiles and Reviews 1976-1983 (1985), and Time and the Dancing Image (1988). She has also contributed to a number of publications and scholarly forums. Her critical biography of Jerome Robbins has just been published by Simon & Schuster.
Jowitt received CORD's 2001 Award for Outstanding Contributions to Research in Dance.
Hyunjung Kim is a Ph.D. Candidate in Dance History and Theory at UC, Riverside. She holds a B.A. and M.A. in Dance at Ewha Women's University in South Korea. She was a lecturer in the Department of Dance at Seowon University. She has received UCR Humanities Graduate Student Research Grant, Gluck Fellowships, and Dance Department Research Grant. Her fields of specialization include contemporary Korean dance, colonial and postcolonial discourse, nationalism, gender studies, cultural studies, and globalization.
^ is the Interim Director of the Fine Arts Library at the University of New Mexico. She also serves as the library subject specialist for the Theatre and Dance Department. Her research interests include Native American and Alaska Native dance and oral history in dance.
Pei-yi Ko M.F.A., University of California, Irvine; B.S., National Tsing Hua University, Taiwan. While at Irvine, she performed in works by Lisa Naugle and Loretta Livingston and choreographed several modern dances including a 30-minute environmental multimedia production, Foodosophy. She led a workshop in the LIMS 2004 Biennial Conference in Long Beach.
Sunil Kothari, Vice President of WDA Asia Pacific, is Sanskritist, scholar and leading authority on Indian classical dance forms. He has to his credit books on Bharata Natyam, Kathak, Kuchipudi, Odissi, Chhau, dances of India and several edited publications on dance. His presentations on Concept of Indian dance as a visual poetry are well acclaimed.
Ming-Shen Ku, an active dance teacher, choreographer and dancer, received her M.F.A. from the University of Illinois. For the past ten years, Ms. Ku has also been invited as a guest artist to perform and to teach in many universities and dance companies around the world. Currently, Ms. Ku teaches in the Dance Department of TNUA as associated professor.
^ B.F.A., M.A. and M.F.A., is Associate Professor of Dance, State University of New York, Geneseo. She received the Chancellor’s Award for Excellence in Teaching. She worked in the Humphrey-Weidman dance styles/techniques with Nona Schurman, Deborah Carr, and Janet Towner and completed M.A. thesis, “The Movement Style and Technique of Charles Weidman.”
^ received a Ford Foundation, AAUW, & UCR award to undertake her PhD in dance at University of California, Riverside. She received an Asian Scholarship for research in Cambodia (2000) and was awarded an ACC /Rockefeller Brothers & Fund residency at UC (1997, 1998-2000) to undertake an MA in Dance. A World Bank grantee (URGE) scholarship enabled her to graduate with an MA (Suma Cumlaude) in Performing Arts from Gadjah Mada University, Yogyakarta.
Hung-fu Lee holds a PhD in Dance Anthropology at University of Surrey, England. He also received his movement certification from Laban Movement Analysis Institution, Seattle. His research area focuses on both Amis harvest ritual dance and Amis shamanic ritual dance of Taiwan. He taught in the Dept. of Indigenous Culture, College of Indigenous Studies, National Dong Hwa University and Dance Dept. of Tainan Woman’s College of Arts & Technology. At present he teaches indigenous dances at Yu Shan Theological College and Seminary.
Chia-Pin Li, born in Taiwan, received her M.A. from Beijing Dance Academy and B.A. from Taipei National University of the Arts. She specializes in Shen-Duan (dancer’s posture) and taught in an elementary school before studying for her master’s degree in Beijing.
Wei Li is a dancer, teacher, and choreographer who has worked and studied in Beijing Dance Institute. He has served as deputy president, dance teacher and choreographer of Panzhihua Dance and Sing Troupe in Sichuan Province; president and choreographer of Panzhihua Dance and Sing Troupe in Sichuan Province; national second-grade choreographer; deputy director of Bureau of Art and Culture in Panzhihua in Sichuan, and deputy director of Dance Department of Sichuan Conservatory of Music. He has won many awards for choreography and is the author of several articles.
^ , M.F.A. of York University and Ph.D. candidate at the University of California Riverside’s Dance History and Theory Program, is working on her dissertation on Taiwan’s contemporary dance and issues of identity politics. Former editor of the Performing Arts Review in Taiwan, Yatin has presented at various dance conferences and written for different publications.
^ received her Ph.D. in Somatics from the Ohio State University and finished her certification program of Body-Mind Centering, Massachusetts in 1988. She is an associate professor in the Department of Physical Education, National Taitung University and focuses her research on dance education and the integration of eastern and western somatic approaches for movement training and somatic fitness.
Man-fei Lo holds an MA in Dance from New York University. She joined Cloud Gate Dance Theatre of Taiwan as a dancer in 1979 and was appointed Artistic Director of Cloud Gate 2 in 1999. She currently serves as an Associate Professor at the Taipei National University of the Arts and is a dancer, choreographer, and director of the Taipei Crossover Dance Company.
Yu-Shan Lu teaches at the Graduate Institute of Sport Coaching Science, Chinese Culture University. He was the Champion of 1996 Chinese Martial Arts Championship, National Chung-Cheng Cup, Taiwan and was assistant instructor of Fu-Hsing Chinese Opera school (1997-1999). He received his B.A. from the Department of Chinese Martial Arts, Chinese Culture University.
Yuh-jen Lu formerly the Chairperson of Tourism Management Department at Shih Chien University, and is currently an Assistant Professor in the Department of Dance at National Taiwan College of Physical Education. She is also the recipient of Cynthia Jean Cohen Bull Memorial Award for her PhD dissertation – “Wrestling with the Angels: Choreographing Chinese Diaspora in the United States (1930s-1990s)”.
^ , well-known exponent of Bharatanatyam and Odissi, is also a scholar of Indian languages, philosophy and aesthetics. Her honours include the President of India’s national civil award of Padmabhushan and the Sangeet Natak Akademi Award. Currently she serves as a trustee for the prestigious Indira Gandhi National Centre for the Arts and for the Kalakshetra Foundation.
Diego Silang S. Maranan, B.S. in Computing Science, is a B.F.A. candidate for Dance at Simon Fraser University, Canada. His research interests include immersive environments and digital performance interfaces.
Natalie Marrone received her M.F.A. from The Ohio State University in 1998 where she began researching southern Italian folk dances. That same year Marrone founded The Dance Cure, a contemporary/folk fusion dance company in Columbus Ohio. In addition, Marrone has headed the dance program at Ohio’s Wesleyan University since 1999.
Christian Matjias is Assistant Professor of Dance and Music at the University of Michigan, and Director and Editor of The George Balanchine Critical Editions. A versatile performer on piano, harpsichord, and organ, he earned B.A. and M.M. degrees in Harpsichord and Early Music Performance at the University of Southern California.
Ph.D., is Professor of Ethnochoreology and Ethnomusicology at the University of Malaya in Kuala Lumpur, Malaysia. He has pioneered the study of Zapin dance and music in Southeast Asia and has published widely on the said topic. Although his foremost research area deals with Malay dance and music in Southeast Asia, his current studies are on the interfacing of dance traditions among the Malayo-Polynesian societies in Southeast Asia and Polynesia and the making of new traditions through contemporary performances.
Avanthi Meduri is a dancer, scholar, playwright, and professor of South Asian culture, history and the performing arts. She received her Ph.D. from the Department of Performance Studies, Tisch School of the Arts, New York University. She is a Ford Scholar and the Academic and Artistic Director of The Center for Contemporary Culture, New Delhi.
^ , AdvDip (HKAPA), M.A. in Dance Studies (Surrey, UK), is a renowned dance exponent in Malaysia. She is the Founder and Artistic Director of RiverGrass Dance Theatre/Academy and lecturer at Malaysia’s National Arts Academy. As an artist and a person, she works towards establishing an identity in Malaysia’s intercultural environment.
Shanta Rati Mishra, leading exponent of Kuchipudi, has performed in International Dance Festivals at Singapore, Sydney, Adelaide, New York and India. Shanta produced, authored and directed a film on Kathakali and Kabuki, which has won special mention in the Documentary Film Festival for Government of India. She is based in Mumbai
^ Ph.D. in Social Anthropology on Socio-cultural context of tribal and folk dance, Calcutta University, is Senior Research Associate at the Department of Anthropology, Calcutta University and Assistant Director and senior teacher and member of the performing troupe of Uday Shankar Style of dance at Uday Shankar India Culture Centre, Calcutta.
Sal Murgiyanto, Ph.D. (New York University), is currently Dean of Performing Arts at the Jakarta Institute for the Arts, visiting lecturer at the Taipei National University of the Arts, Chair of the Indonesian Chapter of World Dance Alliance, and Founding Director of the Indonesian Dance Festival. Dr. Murgiyanto is a highly respected dance author and critic.
^ , Lecturer of the Department of Performing Arts, Ochanomizu University, finished the doctoral course of Ochanomizu University in 1997 (Ph.D. candidate). She was an associate researcher at Institute for the Study of Language and Cultures of Asia and Africa during 1997-2000, and a researcher at Art Research Center of Ritsumeikan University during 2001-2002.
Tamah L. Nakamura, M.Ed. and M.A. in Human Development, teaches intercultural communication and gender studies in Japan. Her community work includes gender discussion groups, and Movement Workshops. As a doctoral candidate in Human and Organizational Systems at Fielding Graduate Institute, her research is on social identity and community creation through somatic movement.
Shu-lan Miranda Ni earned her doctoral degree in Interdisciplinary Studies in Fine Arts from Texas Tech University in America. She is full-time assistant professor at the Graduate School of Performing Arts of National Taiwan University of Arts in Taipei, Taiwan. Her specialties include German dance theatre and postmodern performing arts.
^ has pursued intensive training in Bharata Natyam in Chennai, India in 1989, 1995 to 1996, and in 1999. She holds a Ph.D. in Dance History and Theory from UC-Riverside and an M.A. in Tamil from UC-Berkeley. She is a Lecturer in Dance Studies at the University of Surrey, UK.
Lata Pada is the Artistic Director of Toronto based Sampradaya Dance Creations, acclaimed for its exciting range of classical and contemporary bharatanatyam. Lata holds a M.F.A. in Dance from York University. She is the recipient of several prestigious honours, awards and grants in recognition of her contribution to dance in Canada.
Teresa Pee holds a Master of Arts in Dance for her in-depth research into the history of ethic dance in Singapore. She has written dance education programmes for primary and secondary school level, and study materials for tertiary education. She was the Acting Head of the Dance Department, Nanyang Academy of Fine Arts (NAFA) in Singapore, where she also lectured.
Maggi Phillips currently lectures in Dance History and Performance Studies at the Western Australian Academy of Performing Arts, Edith Cowan University. Her research interests focus on the many issues arising from cultural specificity in embodiment and symbolic contexts through case studies from the Asian region.
^ holds an M.A. in Dance from New York University and is a certified Labanotation teacher. She teaches in the Dance Department of TNUA. She has been recognized for encouraging cross-fields and international exchanges and collaborative projects and received reward from National Foundation of the Arts. She founded Taipei Dance Workshop in 1984 and Dance Forum Taipei Dance Company in 1989.
Nicole Pouliot is a dance artist, teacher, and administrator working in both the Honolulu and DC communities. In DC, Nicole has worked with companies and organizations such as The Liz Lerman Dance Exchange, Jane Franklin Dance, Word/Dance/Theater, Dance Place, World Arts Focus, and the DC Public School System. Nicole did her undergraduate work in Dance and Women’s Studies at the University of Minnesota, and is currently pursuing an MFA at the University of Hawai‘i at Manoa.
^ is Bharata Natyam exponents of India. . Some of her achievements include extensive dance presentation of the Sanskrit text, 'Abhinaya Darparnam', attainment of Doctorate in "Aangikabhinaya in Natya Shastra". Also under her guidance, presentation of Sarfojiraje Bhosale's marathi nirupan from Tanjavur Nritya Prabandha. She is a trustee & managing director of Shri Sarfojiraje Bhosale Bharata Natyam Centre which is going start Fine Arts College affiliated to KavikulguruKalidas University, Nagpur.
^ is a Ph. D. Candidate in Dance History and Theory at UC Riverside. She received her M.A. in dance from Ewha Womans University in Seoul, Korea. She was awarded UCR Humanities Graduate Student Research Grant and Gluck Fellowship. She has worked extensively as a ballet dancer, choreographer, lecturer and instructor. Using feminist and post-colonial theory, her dissertation research focuses on the relationship between nation and gender within Korean ballet culture.
Leena Rouhiainen (M.A. in dance) is a contemporary dance artist. She has performed and taught dance as well as related subjects for more than ten years. Her Ph.D. dissertation will be published in May 2003. In it she contemplates the nature of being a freelance dance artists through interviews with Finnish dance artists and the framework of Maurice Merleau-Ponty’s phenomenology.
^ is an Associate Professor at University of Waterloo, Canada. Her recent publications include The Progressions of Classical Ballet Technique, Ryman’s Dictionary of Classical Ballet Terms: Cecchetti, and Reading Southeast Asian Dance: Selected Labanotation Scores. Her current research focuses on computer animation of ballet vocabulary and dance repertoire.
^ holds a B.A. and an M.A. from Seoul National University, and Ed.D. from Temple University. She is an artistic director of SoriMori Philadelphia Korean Cultural Troupe. She won the Graduate Research Award at the 1998 Congress of Research in Dance conference. She draws from Shamanist ritual dance form to explore current socio-political issues in her choreography. She is a recipient of the Independence Foundation Arts Fellowship in 2004.
^ is an assistant professor in the Department of Dance at Barnard College and a company member of bopi’s black sheep/Dances by Kraig Patterson. He holds a Ph.D. in performance studies from New York University and is currently pursuing his certification in Laban Movement Analysis.
Barbara Sellers-Young is Professor and Chair of Theatre and Dance Department at the University of California/Davis. Her research on movement, dance and its relationship to identity has appeared in Asian Theatre Journal, Women and Performance, Theatre Topics, and Theatre Research International.
Susan Sentler, Technique Coordinator and instructor of Martha Graham technique at Laban, began her dance studies at Florida State University starting an M.A. in Dance in 1977. In 1979 she continued her training with the Martha Graham School of Contemporary Dance, becoming a dancer with the second company, the Martha Graham Ensemble, and then later on faculty.
Arshiya Sethi A practitioner and scholar of Indian dance she deals with the dynamics surrounding traditional dance and dancers during times of social transformation, issues of preservation, presentation, and the progression of art forms. She serves as the Creative Head of Programmes, at New Delhi’s prestigious India Habitat Center, and is one of the foremost contemporary scholars of Sattriya, a dance form that has flourished for five centuries in the Vaishnav monasteries in eastern India. Sethi is the dance critic for the Times of India, and has hosted and narrated a program on national television showing archival value recordings of the greatest Indian dance and musical performers. She recently concluded her Fulbright attachment with New York's Lincoln Center for the Performing Arts.
Toni Shapiro-Phim is a dance ethnologist whose research interests include the relationship between dance and war, and between dance and political/ social upheaval; dance of Southeast Asia (in particular, Cambodia); and dance documentation/archives. A co-author of Dance in Cambodia (Oxford 1999), she holds a Ph.D. in anthropology from Cornell University.
Yuzu Shi is Academician of the China Association of Dance and Chief Professor and former Dean of the Department of Nationalities’ Art, Yunnan Institute of Nationalities. Shi has engaged in field investigates and researches, conservation and inheriting of the minorities’ original dance for more than 40 years and has published over 150 papers.
Allison Singer is currently completing her doctoral research in Dance Ethnography at De Montfort University, Leicester, England. She has worked as a dance movement therapist since 1990 and as a community artist since 1984, with people of all ages and abilities including refugee children and adults and children with special needs.
^ is a writer and arts consultant in New York City. As an associate editor of Attitude—The Dancers’ Magazine, she has written extensively about modern, postmodern, and many forms of world dance. She is the editor of Caribbean Dance from Abakuá to Zouk: How Movement Shapes Identity (University Press of Florida, 2002).
G. Alex Smith received his B.F.A. degree in Dance Performance and Choreography from the University of North Carolina at Greensboro. He has danced professionally for both classical ballet and modern dance companies. Alex has worked extensively with people of all ages and backgrounds in various community settings.
Phylise Smith has taught and performed West African and other dances throughout Southern California and in South Africa, with numerous dance groups and as artistic director of her own group, the Serakumbili Project. Phylise Smith currently teaches dance at Scripps College in Claremont, California and is dance chair at College of the Canyons in Santa Clarita, California.
^ is founder of Mexico’s National Center for Dance Research (1983), performer, choreographer and teacher. She specializes in Dancing in Community programs for Indian and feminist organizations, street performances, interactive events and creative political animation. Publishes in journals and research anthologies. She studies anthropology and movement analysis and is a doctoral candidate at Temple University.
^ , a second year M.F.A. student in Dance and Technology at The Ohio State University, is a Venezuelan dance and digital artist/researcher based in
USA. His work explores dance improvisation, embodiment, cognition and digital interactive technologies. He danced with choreographers Susan Marshall, Lynn Shapiro, among others, and with the musicians Philip Glass, John Zorn and Eric Friedlander.
Gregory Sporton is the Head of Research for the Department of Visual Communication at the Birmingham Institute of Art and Design, University of Central England.Dr. Sporton studied at the Victorian College of the Arts in Melbourne, Australia, prior to a career dancing for various small contemporary dance companies around the world. He has an MA from the University of Warwick and a PhD from the University of Sheffield. His interests focus mainly on the cultural positioning of dance, and he has recently returned from fieldwork in Russia.
^ choreographer, teacher, advocate and writer is Head of Dance, Queensland University of Technology and Vice-President (Pacific) of World Dance Alliance - Asia Pacific. Dr. Stock was founding Director of the contemporary company Dance North (1984-1995) and has undertaken 16 cultural exchange programs in Asia. Her doctoral thesis was entitled Making Intercultural Dance in Vietnam.
Suzi Tortora, Ed.D., ADTR, CMA, KMP, has a private dance movement therapy practice in New York and teaches creative dance to all ages. She has developed a dance therapy program on the pediatrics ward of Sloan-Kettering Cancer Hospital. She trains allied professionals and lectures about her dance therapy work with infants and families, at professional meetings and in universities.
^ graduated from the Dance Program at University of Calgary in 2003. She is currently doing her MA at York University, focusing on relationships between Chinese literature/philosophy and modern dance. Originally from Taiwan she has a background in Chinese dance, modern and ballet and has begun to explore her own interest in choreography since 1998. Su-Lin has performed both in Canada and Europe, and now she is working with Kaeja d'Dance in Toronto, Canada. Recently, she has developed a Teaching Method for teaching Chinese dance to non-Chinese, and has presented at the PCA/ACA Conference in San Antonio, Texas.
^ is Professor of Dance at the University of Hawaii at
Manoa. Specializing in movement analysis (particularly using the Labanotation system) and dance ethnology (with emphasis on Asian dance forms, particularly Korean), her scholarship has been published in diverse journals, encyclopedias, and books emanating from the United States and countries throughout the world. She is a frequent presenter at international conferences, has taught in many countries in Europe and Asia, and has served as a consultant for dance projects in Cambodia, China, Korea, France, Malaysia, and the United States. She served as editor of the Dance Research Journal. A Fellow of the International Council for Kinetography Laban, in 1997 she was designated one of the University of Hawaii's Ninety Fabulous Faculty, and in 1999 received the Congress on Research in Dance's award for Outstanding Service to Dance Research. Her most recent publication, Perspectives on Korean Dance (Wesleyan University Press, 2001), has been described as "much needed in the field of dance studies, . . . well-researched and well-written," and as a"well-rounded study . . .[that] combines the best of objective and qualitative scholarship."
Holds an MA in Art History, with a specialization in "Ethnic Art" from the University of Ghent, Belgium and an MA in the Arts in Africa, Oceania and the Americas, University of East Anglia, Norwich, UK. She is currently a PhD student University of Ghent, Belgium,Department of Comparative Sciences of Culture. She has served as Guide at the Ethnographic museum Antwerp, Belgium and been archive assistant in Van Rijn files at Yale Archive, Brussels. She studied ballet at Dance School Mimesis in Ghent where she later taught. She has studied African dance for over two years. In 1994, she started Bharata Natyam courses. She has been performing for over seven years ; since 2002 she has been attending courses of Rajasthanin gypsy dance. Together with Miet Bleyen and Eva De Clercq she founded Dance Group Apsara. In March 2003 she went to Chennai (South India) to attend dance classes in Bharata Natyam and Kuchipudi.
^ is a choreographer, choreologist and critic. Now professor of dance at the University of the Philippines, he directs the University of the Philippines Dance Company and is President of World Dance Alliance-Asia Pacific/Philippines. Earlier a dancer and literature/English teacher, he now espouses new approaches in researching and reading dance in the Philippines. He is a member of the Board of Trustees of Alun-Alun Dance Circle, on the Advisory Council, Philippine High School for the Arts, a member, National Research Council of the Philippines, serves on the Board of Trustees, Martha Hill Foundation, and is Former Vice-Head, National Dance Committee, National Commission for Culture and the Arts. He is the former Artistic Director, Dance Theatre Philippines, former dancer/choreographer, Ballet Philippines, Dance Theatre Philippines.He has served as a critic for Manila Time, Manila Bulletin, Manila Chronicle, Manila Standard, and a Correspondent for Dance Magazine. He has contributed to the Oxford Concise Dictionary of Ballet, Ballett International (Germany); Korean Dance Research; Performing Arts (Singapore); Artension (Hong Kong); Impulse (USA); National Commission for Culture and the Arts Cybespace.
Yunyu Wang (Plenary Speaker) is Professor at Colorado College, USA, and a guest faculty at the Taipei National University of the Arts in Taiwan. She is a founding member of Taiwan’s Cloud Gate Dance Theater. A Certified Movement Analyst, Reconstructor, and teacher, she teaches Labanotation and stages dances in the USA and throughout Asia. Wang presents research at international conferences, and is Chair of the 2004 CORD/WDA/ICKL/DNB/PPE International Dance Conferences in Taiwan.
Lars Wilke is Director of Development at Credo Interactive Inc. He has worked for the past six years developing tools and techniques for computer and character animation, and has 15 years of software development experience. His research interests include procedural animation, autonomous 3D characters and motion capture techniques.
^ received her Ph.D. in Dance History and Theory from the University of California, Riverside and is currently the Andrew W. Mellon Postdoctoral Fellow in Arts and Feminist/Gender Studies at Bryn Mawr College. She is the author of “Towards a New Asian American Dance Theory: Locating the Dancing Asian American Body” published in Discourses in Dance.
Wen-chi Wu, a graduate of TNUA, received her M.F.A. in Dance from the University of Illinois at Urbana-Champaign with recognition by the National Dance Association. She is currently completing her doctorate in Dance at Temple University. Reviews of her performances include, “A difficult solo…conveyed a sparkling sense of awakening” as reported by the Philadelphia Inquirer.
Jun Yang, Academician of the China Association of Dance and Associate Professor and Director of Staff Room of the Department of Dance, Yunnan Institute of Art, graduated from the Beijing Institute of Dance. Yang has been teaching and researching dance history and theory and has published many papers.
^ graduated with her Masters in Dance and Choreography from “Die Etage,” a Performing Arts Academy in Berlin, Germany. She is currently based in Washington, D.C., pursuing her solo career: dancing, choreographing and giving workshops at international and national festivals. She has also been a Professor of Dance at the University of Maryland—College Park since 2001.
Yukihiko Yoshida, is a dance re4searcher and dance critic. A Ph.D. student at the Graduate School for Media and Governance at Keio University, she is a member of WDA Asia Pacific, and the webmaster of the Japanese Society for Dance and the Japan Art Documentation society. Research WDA Asia Pacific: Research Documentation and Network Administrator Assistant of Ted Nelson and Project Xanadu. Her website address is http://web.sfc.keio.ac.jp/~yukihiko.
Yaming Yue is Academician of the China Association of Dance and Associate Professor and former Dean of the Department of Dance, Yunnan Institute of Art. Having been engaging in teaching, research and management of dance for more than 40 years, Yue composed Course in Dai’s Dance and participated in directing the dance drama She Came from the Painting.
Hong Zhu is Academician of the China Association of Dance and Associate Professor and Dean of the Department of Dance, Yunnan Institute of Art. Having been teaching, researching and directing dance for more than 30 years, Zhu participated in directing the dance dramas Tibet’s Light, Road to Wumeng and She came from the Painting.