Scott deLahunta
Scott deLahunta is Professor of Dance, Centre for Dance Research, Coventry University and co-Director of Motion Bank, now hosted by Hochschule Mainz University of Applied Sciences. His research seeks to deepen and apply the understanding of dance as a form of embodied knowledge and choreography as skillful bodily practice. This builds on over a decade of working within contemporary dance companies as research director and facilitator. Since 2010, he has held a research position at Coventry University and assisted in setting up the Centre for Dance Research in 2015.
Anne-Lise Brévers
Anne-Lise Brevers Kuhn (°1981, BE/USA) is a dance artist, researcher, and choreographer. Trained in classical ballet by Menia Martinez, she holds a MA in Dance SCL from the Royal Conservatoire of Antwerp, her master’s project received the PlayRight Prize. She worked as a freelance dancer for several choreographers before meeting Cindy Van Acker in 2010 while dancing for the Parsifal of Romeo Castellucci at La Monnaie. She then joined the Cie Greffe in Geneva for the creation and touring of Diffraction until 2015. In 2016/2017, she collaborated to Damien Jalet’s choreography of Suspiria by Luca Guadagnino while coaching Mia Goth and Tilda Swinton for their dancing parts in the movie. In 2017, she started working closely with Jan Martens as a rehearsal director and artistic assistant (Rule of Three and Any attempt will end in crushed bodies and shattered bones). In 2021, her immersive work Shy Works performed at deSingel in Antwerp as part of the Bouge B festival and she choreographed Olga Neuwirth’s Bählamms Fest under the direction of Dead Centre, for the Ruhrtriennale. Since 2021, she teaches the class Embodied theory to the second-year students of the Master Dance, as well as mentoring their journey towards the final master’s project.
Kopano Maroga
Kopano Maroga (they/them) is a performance artist, writer and cultural worker currently living and working as a curator and dramaturg at Kunstencentrum Vooruit in Ghent, Belgium. Their written work can be found in publications such as the Mail & Guardian, ArtThrob, rekto:verso, Indent, Contemporary&, 20:35 Africa and Bubblegum Club. They have worked as a dancer and performer for Underground Dance Theatre, Nicola Elliott, Kristina Johnstone and Neil Coppen and is the recipient of multiple awards for their performance in Coppen’s Buitenland/Newfoundland. They are currently working on their own performance, written and spoken word based works. Their debut poetry anthology, Jesus Thesis and Other Critical Fabulations, was released in 2020 through uHlanga Press. They very much believe in the power of love as a weapon of mass construction.
Sérgio P. Andrade
Sérgio Andrade is an artist, professor and researcher in dance, performance and philosophy. Since 2012, he has been a Professor at the Federal University of Rio de Janeiro, in the Department of Bodily Art, teaching at the Undergraduate and Graduate Dance Programs. He coordinates the Laboratório de Crítica (the "LabCrítica") at UFRJ, in which he develops several collaborative research-creation activities, training, publication, curatorship and exchange among artists, scholars and activists. Sérgio is an Ecologies Lead & Co-Investigator in the Hemispheric Encounters partnership (SSHRC/ Canada).
Igor Koruga
Igor Koruga is a freelance artist, pedagogue, and researcher working within contemporary dance and choreography. He teaches choreography in Belgrade, provides choreographic assistance to theater directors and works as a dance dramaturge. Recent work: Crystal Ball (2021), Lounli Plenet (2020), Hopelessness (2017) and Only Mine Alone (2016). He is part of a research team for archiving contemporary dance by Nomad Dance Academy and Museum of Contemporary Art in Ljubljana.
Dunja Njaradi
Dunja Njaradi is an Associate professor at the Department for Ethnomusicology, Faculty of Music, University of Arts in Belgrade. As a dance anthropologist, Dunja is interested in traditional dances, social dances and religious performances. She has extensive teaching experience in drama, theatre, dance and anthropology. She is currently teaching ethnology, anthropology and ethnochoreology at the Department for Ethnomusicology at the Faculty of Music, University of Arts in Belgrade.
Milica Ivić
Milica Ivić holds a PhD in Theory of Arts and Media at the University of Arts in Belgrade. She is a dramaturg and an independent researcher working in the field of contemporary dance in Serbia, interested in questions of archiving and institutionalisation of contemporary dance. She is part of a research team for archiving contemporary dance in collaboration with Nomad Dance Academy and Museum of Contemporary Art in Ljubljana.
Susanne Franco
Susanne Franco is an Associate Professor at Ca’ Foscari University of Venice. She is the Principal Investigator of the international research project “Memory in Motion: Re-Membering Dance History” (2019–2022) and was the coordinator of the Ca’ Foscari Unit for the international research project “Dancing Museums: The Democracy of Beings” (2018–2021, EACEA, Creative Europe). She has published numerous essays on modern and contemporary dance and research methodology, and she is the author of Martha Graham (2003), Frédéric Flamand (2004) and the editor of Ausdruckstanz: il corpo, la danza e la critica (2006). She also co-edited (with Gabriella Giannachi) Moving Spaces: Rewriting Museology Through Practice (2021), (with Marina Nordera) Ricordanze. Memoria in movimento e coreografie della storia (2010), Dance Discourses: Keywords in Dance Research (2007), and The Oxford Handbook of Dance and Memory (forthcoming); and (with Cristina Baldacci) On Reenactment: Concepts, Methodologies, Tools (forthcoming). As a curator she has collaborated with numerous Italian Institutions and Museums.
Efrosini Protopapa
Efrosini Protopapa is a London-based choreographer and scholar interested in experimental and conceptual practices across dance, theatre and performance, particularly through notions of negotiation, thinking, and labour in/as performance. She completed the research project Dramaturgy at Work, which led to the publication of the book The Practice of Dramaturgy: Working on Actions in Performance (Valiz, 2017). She has presented choreographic work internationally, including in the UK, the Netherlands, Germany and Greece and was awarded the Bonnie Bird New Choreography Award. She works as a Reader in Dance and Choreography at the University of Roehampton where she convenes the postgraduate dance programmes and supervises PhD projects especially practice-based.
Christel Stalpaert
Christel Stalpaert (° 1971) studied German philology and Theatre studies at Ghent University. She got promoted in 2002 with a doctoral dissertation defending a post-semiotic method of analysis, based on Gilles Deleuze's aesthetics of intensities (aesthesis) and Luce Irigaray's philosophy of embodied cognition and corporeality. Her dissertation offers an innovatory perspective on contemporary postrepresentative and postdramatic scopic regimes. Since 2003, Stalpaert is a lecturer in Theatre Studies (Performing and Media Arts) at Ghent University, and published numerous articles on theatre and performance in books and journals (Documenta, Ballet-Tanz, Arcadia, Eighteenth-century Life, a.o.). She is a member of the editorial board of Documenta, Theatre Topics (Amsterdam University Press) and Studies in Performing Arts & Media. She co-edited, among others, No beauty for me there where human life is rare: on Jan Lauwers' Theatre Work with Needcompany (2007) and Bastard or Playmate? Adapting Theatre, Mutating Media and the Contemporary Performing Arts (AUP 2012). Together with Prof. Katharina Pewny she is directing the research group S:PAM | Studies in Performing Arts & Media, and founder and convener of the associated research group for Postdramatic Aesthetics since 2007. Christel Stalpaert is an active member of international research groups Choreography and Corporeality (International Federation of Theatre Research), Performance and Philosophy (Performance Studies International) and Arbeitsgruppe Dramaturgie (Gesellschaft für Theaterwissenschaft).
Annouk Van Moorsel
Annouk studied at the Higher Institute for Dance and the Vrije Universiteit Brussel (Licentiaat in clinical psychology). She worked as a dancer, choreographer and dance teacher. Since 2002 she has been the coordinator of the dance teacher training programme at the Royal Conservatoire of Artesis Hogeschool. She was responsible for the quality assurance policy of the department. Since 2007 she is also the Head of the teacher training programmes dance, drama and music and since 2019 the Acting Head of dance. She has worked as a psychologist / therapist and is co-author of the book “4 je mee?” - Initiation lessons for 6-year-olds with crossovers to the art disciplines of drama, dance, music and image. Since 2005 she has been involved as a promoter and co-supervisor in various research projects at the Department of the Royal Conservatoire and the University of Antwerp and is chair of CORPoREAL research group (KCA). She is a member of the Organizing Body of AP Hogeschool, the Council of the School of Arts Royal Conservatoire and the Research Council of the Royal Conservatoire and the Royal Academy of Antwerp. She is a member of CoDA an international research network "Cultures of Dance" that was founded in 2019 on the initiative of Professor Timmy De Laet of the University of Antwerp.
Sarah Whatley
Sarah Whatley is Chair in Dance and Director of the Centre for Dance Research (C-DaRE, Coventry University). Her research focuses on the interface between dance and new technologies, dance analysis, somatic dance practice and pedagogy, and inclusive dance. The AHRC, the Leverhulme Trust, Wellcome Trust, and the European Union fund her research, which is broadly focused on the impact of digital technologies on tangible and intangible cultural heritage.
Laura Karreman
Laura Karreman is an Assistant Professor in the Department of Media and Culture Studies at Utrecht University (NL), where she is also the programme coordinator of the RMA Media, Art, and Performance Studies. She researches the role of embodied knowledge in dance transmission practices, the role of digitization in performance archives, and epistemological questions that relate to new notions of dance and performance knowledge. She is a member of the UU Research Group Transmission in Motion, in which she relates to research themes and topics such as dramaturgy, somatechnics and “mobilizing the archive”.
Annelies Van Assche
Annelies Van Assche is a postdoctoral research fellow at Ghent University at the department of Art History, Musicology and Theater Studies in the research unit S:PAM - Studies and Performing Arts and Media. Annelies Van Assche obtained a joint doctoral degree in Art Studies and Social Sciences for studying the working conditions of European contemporary dance artists. She is connected with Ghent University, KU Leuven and Royal Conservatory of Antwerp. Her research focuses on the relation between labor and aesthetics in contemporary dance.
Timmy De Laet
Timmy De Laet is a Tenure-Track Professor of Theatre and Dance Studies at the University of Antwerp and the Research Centre of Visual Poetics. Timmy is the co-founder and coordinator of CoDa | Cultures of Dance – Research Network of Dance Studies. Next to his appointment at the University of Antwerp, he is a lecturer at the BA and MA Dance of the Royal Conservatoire Antwerp.
Renata Lamenza Epifanio
Renata Lamenza Epifanio (Rio De Janeiro, 1985) is an artist and researcher that navigates through the borders of costume, performance, installation and dance. After graduating in Dance(Faculdade Angel Vianna) and in Costume(Senai- CETIQT), she completed her MA in Visual Arts– Costume Design (Royal Academy of Fine Arts Antwerp- RAFA). Her collaborative performance project Talk to me was nominated in 2016 for the Hugo Roelandt Prize. Since 2018 she works as a researcher at the RAFA and at the Royal Conservatoire of Antwerp (RCA). Her thesis project, The moving costume: body as a playground, and her methodology are integrates the Master Dance programme at RCA and dance program at Performact (Portugal- 2018;2022). Since 2021 she acts as the artistic coordinator and co-curator of the Master Dance at the RCA and since 2019 is the mother of Mia. Concerned with expanding the dialogues between costume and the body, her works use costume as a sensorial trigger, proposing it as an agent of movement, and as a tool for activating the political body. In her installations/performances, she plays with the relation between object-audience and audience-performer. Here she invites the public for an immediate corporeal-sensorial dialogue with the object and the performer, relocating the protagonism from the work itself to the relation that is created between them.