Contributors

Our contributors—the talented people who research and write about dance—their work champions innovation, creativity and diversity in dance.

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Linda Caldwell View Full Bio

Dr Linda Caldwell teaches in the doctoral dance program at Texas Women’s University and is an editor of The Journal of Laban Movement Studies. She is exploring alternative formats for doctoral dissertations in the performing arts and presenting workshops on interactive distance learning in dance through Laban Movement Analysis.

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Beatriz Calvo-Merino View Full Bio

Beatriz Calvo-Merino is a cognitive neuroscientist trained at University College London (UK) and Universidad Complutense de Madrid (Spain). She currently works at City University London as a Research Fellow in her project ‘Ways of seeing: Neurocognitive mechanism for seeing movements’.  Her PhD work with Prof Patrick Haggard investigated neurocognitive mechanisms involved in action observation, expertise and dance, using neuroimaging methods. Her latest research focuses on sensorimotor mechanism for aesthetic perception of dance. She has established collaborations with the dance community (Royal Opera House, Laban Dance Centre). Her work has been published and disseminated in high impact factor peer-review journals as well as artistic meetings and public engagement activities.

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Elizabeth Cameron Dalman View Full Bio

Dr Elizabeth Cameron Dalman OAM is director of Mirramu Creative Arts Centre and artistic director of Mirramu Dance Company. She founded Australian Dance Theatre in Adelaide and was its artistic director from 1965–75. She has had many teaching positions in Australian universities, and as a performer, choreographer, teacher and researcher, Elizabeth travels internationally on a regular basis, particularly in recent years to Taiwan, Japan and West Africa. She has received numerous awards for her work, including an Australian Artists Creative Fellowship (1994) and the Medal of the Order of Australia for her contribution to contemporary dance in Australia (1995). Elizabeth recently completed a PhD at the University of Western Sydney.

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Amanda Card View Full Bio

Amanda Card lectures with the Department of Performance Studies at the University of Sydney in the area of movement and dance studies - particularly the history of social & theatrical dance in Australia, intercultural performance, and theories of embodiment as they apply to performance. Her most recent publications include: ‘Do try this at home: dance manuals, myopia and misrecognition’, in A World of Popular Entertainments, an edited volume of critical essays, edited by Gillian Arrighi (2012); ‘Feeling for dancing in the archives of the dead’, in Scrapbooks, Snapshots and Memorabilia, edited by Glen McGillivray (2011); ‘Tethering the Flow: dialogues between dance, physical culture and antiquity in Interwar Australia’, in Dancing naturally: nature, neo-classicism and modernity in early twentieth century dance, edited by Rachel Fensham and Alexandra Carter (2011); and ‘Together in Isolation: new moves across time and place’, in Shaping the Landscape: Celebrating Dance in Australia, edited by Julie Dyson and Stephanie Burridge (2011).

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Annette Carmichael View Full Bio

Annette Carmichael Annette is an Australian dance artist and creative producer who specialises in regional cultural development. From 2009 to 2013 Annette was the state’s Regional Contemporary Dance Facilitator for Ausdance WA creating the ground-breaking ‘Future Landings’ model for animating regional communities through dance. Annette won the 2011 West Australian Dance Award for Outstanding Achievement in Community/Regional Dance and was shortlisted twice in 2013. In 2012 Annette was short-­listed for an Australian Dance Award. Annette has created numerous multi-­art performance works that use contemporary dance at their core but also include theatre, writing, textiles and installation. She is known for working with regional communities to create works that investigate contemporary people’s connections with Australian history particularly in the areas of solastalgia, settler guilt and ‘unspoken’ stories. In 2014 Annette performed her solo show Solace+Yearning at the Regional Arts Australia national summit. In January 2015 Annette will premiere her latest work My War? created with young people for the Centenary of Anzac. As an Arts Manager/Consultant, Annette has worked with West Australian Ballet, STEPS Youth Dance Company, Buzz Dance Theatre, STRUT Dance Inc., Festival of Perth, Women’s Art Library (London) and Denmark Arts. Annette is a graduate of West Australian Academy of Performance Arts (BA Arts Man. 1996) and is a member of Virtual Dust, an online choreographic project.

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Mark Carroll View Full Bio

Dr Mark Carroll is a lecturer and researcher at the Elder Conservatorium, and is Co-Director of the J.M. Coetzee Centre for Creative Practice. Mark has extensive experience as both a scholar and classical and pop music performer. His research activities range from music and politics (Music and Ideology in Cold War Europe [Cambridge: CUP, 2003]) to Percy Grainger (Self-Portrait of Percy Grainger, with Malcolm Gillies and David Pear [New York: OUP, 2006), and studies in contemporary popular music. Carroll works closely with The Australian Ballet, and was Chief Investigator for a large Australian Research Council Linkage project that brought together the Elder Conservatorium, The Australian Ballet and the National Library, in order to trace the profound impact of tours to Australia by the acclaimed Ballets Russes (Russian Ballet) dance companies during the 1930s. Mark is series editor of the Ashgate Library of Essays on Music, Politics and Society.

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Kristina Chan View Full Bio

Kristina Chan has performed throughout Australia, Canada, UK, USA, Asia, Israel and Europe over the past 12 years. She has worked with Australian Dance Theatre, Chunky Move, Sydney Theatre Company, Theatre of Image, West Australian Opera, Opera Queensland, State Opera South Australia, Tasdance, Stalker Theatre Company, Michelle Mahrer, Stephanie Lake, Bernadette Walong, Tanja Liedtke; and Deborah Hay (Solo Commissioning Laboratory 2010 in Bundanon). Kristina has taught for Australian and international dance companies, universities, dance institutions and secondary schools around Australia and in Germany for Hochschule für Musik und Darstellende Kunst Frankfurt. Kristina has been working with Narelle Benjamin since 2003 and has performed in her works Inside out, Out of Water and In Glass which premiering at Spring Dance Festival 2010 in Sydney. Kristina has been awarded two Australian Dance Awards for Outstanding Performance by a Female Dancer for both of Tanja Liedtke’s full length works: 2006 for Twelfth Floor and 2008 for construct.

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Chey Chankethya View Full Bio

Chey Chankethya graduated with a BA at the Royal University of Fine Arts in 2005. She has performed nationally and internationally for the Cambodian Ministry of Culture and Fine Arts, such as ‘Millennium 2000’, and Angkor Wat Exposition in 2006. Her choreographic works, both classical and contemporary, include Dilemma (2002), Falling in Love (2003), Golden Deer (2004), Preah Khan Reach (2005) and Water and Thunder (2006). In 2006, she was awarded a Choreography Arts Management Fellowship at the University of California (UCLA). She teaches classical dance at the Secondary School of Fine Arts and is the leader of Trey Visay (Compass), a dance ensemble consisting of nine young Cambodian dancers.

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Philip Channells View Full Bio

Philip Channells began his dance training in 1998 at The Northern Rivers Conservatorium of Arts in Lismore before joining the CPA (Adelaide College of the Arts) and Link Dance Company (2003) at the Western Australia Academy of Performing Arts. Enmeshed in this training has been a commitment to developing disability arts, which he’s dedicated 15 years. He spent the first eight years of his career in Australia, gaining an understanding of contemporary dance, community cultural development and disability cultural practices, before moving to the UK in 2007. Philip worked with Candoco, StopGAP and Corali dance companies, Scottish Dance Theatre, East London Dance and Adam Benjamin (co-founder of Candoco Dance Company). In Australia Channells has worked with Elizabeth Cameron-Dalman (The Universal Lake), Kay Armstrong (Leda), Dean Walsh (Back from Front – 1st stage development), Phillip Adams (Amplification and Self-encasing Trilogy #1: Endling) Michael Whaites, Ingrid Voorendt (Trees I’m Climbing) and Marc Brew, No Strings Attached Theatre of Disability, Tutti Arts and dFaces of Youth. He spent 10 years working with Restless Dance Theatre where he was Artistic Director (2009 – 2012). He directed Next of Kin – no ordinary status family (2010) for the Youth Ensemble and mentored Andrew Pandos in Debut 3 – the dancers direct. He was one of eight choreographers at the Australian Youth Dance Festival (2012) and showed inPerspective #1 at Australian Dance Theatre’s ‘Rough Draft’ and Ausdance SA’s ‘Choreolab’ (2012). Commissioned by DansiT in Norway, Philip choreographed and directed PERFECT (im)PERFECTIONS – stories untold for the Multiplié Dansefestival (2014) and the Sum of Us All at Zodiak – Centre for New Dance (2014). He has acted as a Peer Advisor for the Australia Council for the Arts, sat on a selection panel for the Dancehouse (Melbourne) residency program ‘Housemate’ and was a dance judge at the Adelaide Fringe Festival in 2010 & 2013. Philip is the first dancer to be appointed by Bundanon Trust as Ambassador for the Artist in Residence program and with Gavin Webber (Animal Farm Collective) co-founded The Corner Dance Lab, a week-long dance residency program in Federal NSW. Philip has presented his work at the Bundanon Trust, Sydney Opera House, Judith Wright Centre for Contemporary Art, National Dance Forum, Dance Your Heart Out, Arts Activated Conference, Don’t DIS my ABILITY, Dance Symposium NSW, Goldsmiths University of London, Global Dance and the Child International/World Dance Alliance Dance Summit Taipei, World Alliance for Arts Education Global Summit (Finland), Zodiak – Centre for New Dance (Helsinki) and ITAK – Regional Dance Center of Eastern Finland, and the Australia Week Celebrations in Port Moresby. Through the JUMP National Mentoring program 2013 he worked closely with emerging artist Matt Shilcock for the first stage development of O s t e o g e n u i n e and was a personal assistant to Jianna Georgiou, Associate Artist of Dance Integrated Australia. In 2014 he will mentor Katina Olsen on the Perfect (im)Perfections project in Trondheim, Norway. He continues to act as a mentor for the DirtyFeet ‘Right Foot Project’ in Sydney and Studio Aperio in northern NSW. Philip is fiercely committed to developing disability arts through redefining an artistic practice that integrates people from diverse backgrounds and life experience.

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Ananya Chatterjea View Full Bio

Ananya Chatterjea is a dancer, choreographer, dance scholar, and dance educator. She is Artistic Director of Ananya Dance Theatre and Director of Dance and Professor in the Department of Theater Arts and Dance at the University of Minnesota. She works at the intersection of artistic excellence and social justice and is the recipient of a 2011 Guggenheim Artist Fellowship in Choreography.

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Sue Cheesman View Full Bio

Sue Cheesman MA works as a senior lecturer in dance education in the Faculty of Education at the University of Waikato, Hamilton, New Zealand within teacher education. She has been for many years a choreographer, teacher and researcher both in New Zealand and the United Kingdom. Her research has centred on choreographic practice particularly in relation to site-specific work, dance education, and dance and disability. She has a long association with Touch Compass Dance Company who have provided a base for some of her research interests. Her recent publications are to be found in Research in Dance Education, The Arts in Society and Dance Research Aotearoa.

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Lee Christofis View Full Bio

Lee Christofis has been a leading dance critic and arts commentator in Australia for more than 25 years. He is a long-time advocate for dance, has served eight years as Ausdance National Vice President and is an Honorary Life Member of Ausdance. Lee is a recipient of a Victorian Award for Excellence in Multicultural Affairs for MAMAS, the Multicultural Arts Marketing Ambassadors Strategy which he designed and delivered in conjunction with the Australia Council. After twelve years in early childhood education and welfare, Lee joined the School of Creative Arts at the University of Melbourne where he taught twentieth century dance history, arts criticism and arts management. He has been the Curator of Dance at the National Library of Australia since 2006 and received an Australian Dance Award for Services to Dance in 2009.

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Haya Cohen View Full Bio

Haya Cohen is an arts practitioner whose practice-led research is undertaken through a multi-disciplinary approach that includes creative arts practice, anthropology, biology, social sciences and philosophy. Presently, Haya is completing her PhD and is teaching at Griffith University. Her body of work ties notions of embodiment, communication and subjectivity to the processes of making fibres and textile. Making yarns and fabric become a methodology for both correlating academic research and producing experiential-based research that increase bodily possibility. Haya has exhibited across Australia and overseas. She has promoted contemporary art and community through her involvement in community art projects and performance.

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Ray Cook View Full Bio

Ray Cook, who began his career as a dancer in Australia, is one of USA's foremost dance notator. He recently retired from Vassar College, now devotes his time to recording as many masterworks as he can and to staging those already recorded. He is currently recording Alvin Ailey's Revelations and in September goes to Taiwan to record Lin Hwai-min's evening-length work Legacy. He has also written a book on the history of choreography.

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Roger Copeland View Full Bio

Professor Roger Copeland holds a chair in Theatre and Dance at Oberlin College. His books include the widely used anthology, 'What Is Dance?' (Oxford University Press, l983) and 'Merce Cunningham: The Modernizing of Modern Dance' (Routledge, 2004). He has just finished writing and directing his first feature length film 'The Unrecovered', a fictional narrative about the psychological aftermath of 9/11.

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Julia Cotton View Full Bio

Julia is a dancer choreographer and director. She danced with The Australian Ballet, Australian Dance Theatre and was a founding member and co-director of Etcetera, a visual performing group. Her choreographic credits include productions for Belvoir Street, Sydney Theatre Company, The Australian Ballet, Australian Dance Theatre, Etcetera, Tasdance, State Opera of South Australia and SA Youth Opera, Sidetrack Performance Group, Freewheels, Death Defying Theatre and Flying Fruit Fly Circus. Julia worked at NIDA for 15 years with esteemed movement teacher Keith Bain OAM and then on his retirement she became Head of Movement for the Acting Department and Head of the post-graduate Movement Studies course. Since leaving NIDA in 2009 Julia has worked as a freelance writer, director & choreographer. She was instrumental in the editing, publishing and launch of the book Keith Bain on Movement (2010) and is currently acting Head of Movement at WAAPA.

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Hilary Crampton View Full Bio

1943—2009. Hilary Crampton was a dance performer, critic, advocate and educator. She was in the inaugural graduating year of the Bachelor program at the Laban Centre in London, and she also attended each of the four Armidale choreographic seminars from 1969 to 1976. She was closely involved in the subsequent founding conference of the Australian Association for Dance Education (now Ausdance) in 1977. Hilary was on the board of the Green Mill Dance Project in the 1990s and dance critic for The Age newspaper until 2009. She was forthright in her advocacy for dance and dance education, and received the Australian Dance Award for Services to Dance in 2006.

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Debra Crookshanks View Full Bio

Debra is an Australian-trained manipulative physiotherapist with many years of experience in dance education and the assessment and treatment of dance related injuries. She has a private practice in Sydney, lectures at both secondary and tertiary levels and has presented papers at numerous conferences. Debra was the convenor of the Safe Dance sub-committee for Ausdance NSW.

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Ojeya Cruz Banks View Full Bio

Ojeya Cruz Banks works as a lecturer and choreographer for the Dance Studies program at the University of Otago in Aotearoa/New Zealand. Her research includes dance anthropology, pedagogy, postcolonial studies, and contemporary indigenous choreography. She was selected for the 2008 Professional Choreographer’s Lab at the Jacob’s Pillow School of Dance and the 2011 Pacific Dance Choreographic Laboratory.

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Li Cunxin View Full Bio

Li was born into utter poverty in Mao’s communist China and at the age of 11 he was selected to train in Madame Mao's Beijing Dance Academy. The 7 years of harsh training regime at the Beijing Dance Academy taught him discipline, resilience, determination and perseverance. Li’s astounding drive and relentless hard work made him one of the best dancers China has produced. When he was 18, Li was awarded one of the first cultural scholarships to go to America, and subsequently been offered a soloist contract with the Houston Ballet. Two years later, Li defected to the West where would soon be acknowledged as one of the best dancers in the world. In 1995, Li and his family moved to Australia where Li danced his last three and half years as a principal dancer with the Australian Ballet. Li made a successful career transition from ballet to finance in 1999. He is a senior manager at one of the largest stockbroking firms in Australia.

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