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ABOUT THE DRAMATURGS

Event Facilitator

Dr Philipa Rothfield is honorary professor in Dance and Philosophy of the Body, University of Southern Denmark, and honorary Senior Lecturer in Philosophy and Politics, La Trobe University, Melbourne, Australia. She is Creative Adviser at Dancehouse, Melbourne, Australia, Co-Editor of the Dancehouse Diary, author of Dance and the Corporeal Uncanny (Routledge, 2020) and co-author of Practising with Deleuze (Edinburgh University Press, 2017). She is also a dance reviewer with over 80 reviews to her name, mostly for RealTime magazine, Australia. An occasional dancer, she is Associate Artist with Dance Exchange (Dir. Russell Dumas) and practises Yoga, Qi Gong and dance improvisation.

 
 

Featured Dramaturgs

Dr. Guy Cools is a dance dramaturg. He is a Postdoctoral Researcher at Ghent University, where he finished a practice-based PhD on the relationship between dance and writing. He has worked as a dance critic and dance curator. He curated from 1990 till 2002, the dance program of Arts Centre Vooruit in Ghent, Belgium and has also curated many international festivals, conferences and research labs, amongst others the 3rd Modul Dance Conference: Ethics in Aesthetics? For an ecology of both the environment and the body for the European Dance House Network in 2012 and the ChoreoLab Ways of Seeing Rhythm for Reso at Dampfzentrale Bern in 2015. As a production dramaturg, he worked amongst others with Jean Abreu (UK), Koen Augustijnen (BE), Sidi Larbi Cherkaoui (BE), Danièle Desnoyers (CA), Alexander Gottfarb (AT), Lia Haraki (CY), Christopher House (CA), Akram Khan (UK), Joshua Monten (SUI), Arno Schuitemaker (NL) and Stephanie Thiersch (DE).

Cools is a much sought after choreographic and dramaturgical mentor. He has been mentoring amongst others Anghiari Dance Hub, the International Choreographer’s Week in Tilburg, the project Danse et Dramaturgie in Switzerland; the Biennale Dance College in Venice and the Atlas program of Impulstanz in Vienna in 2019. He lectures and teaches at different universities and arts colleges in Europe and Canada: amongst others University of Ottawa, Fontys School of Fine and Performing Arts in Tilburg; University of Ghent, Belgium. His most recent publications include The Ethics of Art: ecological turns in The performing arts, co-edited with Pascal Gielen (2014); In-between Dance Cultures: on the migratory artistic identity of Sidi Larbi Cherkaoui and Akram Khan (2015); Imaginative Bodies, dialogues in performance practices (2016) and The Choreopolitics of Alain Platel’s les ballets C de la B, co-edited with Christel Stalpaert and Hildegard De Vuyst (2019). With the Canadian choreographer, Lin Snelling, he developed an improvised performance practice ‘Rewriting Distance’ (see also: www.rewritingdistance.com) that focuses on the integration of movement, voice, and writing. Cools lives in Vienna.

 

Dr Bojana Cvejić’s work spans philosophy, performance practice and theory and dance. She studied musicology (BA, MA, University of Arts, Belgrade) and philosophy from which she received a PhD at Centre for Research in Modern European Philosophy in London. Cvejić has made more than twenty theater and dance performances since 1996 as (co)director (five experimental opera stagings, performances with Jan Ritsema) or dramaturg (in choreographies by among others Xavier Le Roy, Eszter Salamon, Mette Ingvartsen, Anne Teresa De Keersmaeker). Cvejić is author of several books, most recently Choreographing Problems: Expressive Concepts in Contemporary Dance and Performance (Palgrave Macmillan, 2015, available in Slovene and Hebrew too), Public Sphere by Performance, (co-written with A. Vujanović, Bbooks, 2012) and Drumming&Rain: A Choreographer’s Score (co-authored with A. T. De Keersmaeker, Mercatorfonds 2013; third volume of A Choreographer’s Score, available in French too). She has made two videos “… in a non-wimpy way” (with Steve Paxton) and “Yvonne Rainer’s WAR” (co-authored with L. Laberenz). She teaches at contemporary dance school P.A.R.T.S. in Brussels since 2002, and is Professor of Dance and Dance Theory at the Oslo National Academy of the Arts KHIO since 2017 and Guest Professor of Philosophy of Art at FMK Belgrade since 2016. As a co-founding member of TkH/Walking Theory editorial collective (2001-16), Cvejić engages theoretical-artistic research projects, currently an investigation of performance of the self and transindividuality (in collaboration with A. Vujanović and M. Popivoda). In 2013, Cvejić curated the exhibition Danse-Guerre at Musée de la danse, Rennes (in collaboration with C. Costinas). In 2014, she devised a choreography and lecture program titled Spatial Confessions for Tate Modern’s Turbine Hall. Her areas of interest include expressionism in Western (continental) philosophy, social choreography, critique of individualism, rhythms of intensified work, and contemporary performance poetics.

 

Malaysian-born, Dr. How Ngean Lim has been actively involved in the performing arts for 30 years, practising in Malaysia and Singapore. He has been dramaturging dance since 2009 for various institutions and individual choreographers. They include the Singapore Arts Festival and Singapore’s Esplanade Theatres on the Bay, with acclaimed Singaporean choreographers Daniel Kok, Joavien Ng, Kuik Swee Boon and Ming Poon, Thailand’s Pichet Klunchun, and, Phnom Penh-based Amrita Performing Arts. In 2016, How Ngean founded the Asian Dramaturgs’ Network (ADN), www.asiandramaturgs.com, a platform for critical exchange on dramaturgy among dramaturgs and performance-makers in the Asian region. It has had six successful symposiums and conferences since 2016. ADN organised its first dramaturgy laboratory in Yogyakarta in September 2018 in collaboration with Cemeti Institute for Art and Society. In 2018, he worked on a transnational curatorial performance project called Jejak-Tabi with co-curators Akane Nakamura (Japan) and Helly Minarti (Indonesia) that platforms discursive exchanges among Asian contemporary performing artists specifically in Asian cities. How Ngean received his doctorate degree in 2015 from the National University of Singapore with his thesis entitled Choreographic Modernities: Movement and Mobility in Southeast Asian Contemporary Dance.

 

Lou Cope is a UK-based dance & theatre dramaturg and facilitator who has worked across the UK, Europe and in the Middle East. As well as working with artists, Lou dramaturgs organisations, is Dramaturg in Residence at South East Dance and founder of CoAD – The Centre of Applied Dramaturgy (www.thecoad.org). Recent artistic collaborations include: Aakash Odedra on the Amnesty International Freedom of Speech & ACTA Award-winning #JeSuis; English National Ballet; Birmingham Royal Ballet; Gary Clarke on The Troth– winner of Herald Angel and Lustrum Awards, and COAL – UK Theatre & Critics Choice awards, and the forthcoming Wasteland; Jose Agudo; Stopgap Dance; Rhiannon Faith; & Hagit Yakira. Past collaborations include: Phoenix Dance Theatre; Scottish Dance Theatre; les ballets c de la b; Sidi Larbi Cherkaoui and Damien Jalet on the double Olivier Award winning Babel (words) designed by Antony Gormley; & Cherkaoui and Gormley’s Sutra. Lou is also a published writer, a workshop leader, and a podcast host.

 

Dr. Nanako Nakajima(中島那奈子)is a scholar and dance dramaturg, and a certified traditional Japanese dance master, Kannae Fujima. She is a Valeska Gert Visiting Professor 2019/20, at Freie Universitaet Berlin, and realized “Dance Archive Box Berlin.” Her recent projects include “Dance Archive Boxes @TPAM2016,” “Yvonne Rainer Performative Exhibition” at Kyoto Art Theater Shunju-za 2017, Wang Mengfan’s “WHEN MY CUE COMES, CALL ME, AND I WILL ANSWER” at Wuzhen Theatre Festival, China, 2019. Nanako received 2017 Special Commendation of Elliott Hayes Award for Outstanding Achievement in Dramaturgy from the Literary Manager and Dramaturgs of the Americas. Nanako has worked as a dance dramaturg with New York downtown artists. Her dramaturgical work with Luciana Achugar, Exhausting Love at Danspace Project (2006), was awarded the New York Dance and Performance Award for choreography. Her other dramaturgical works include Chameckilerner’s Costumes By God (2005, NY Dance Theater Workshop), Koosil-ja Hwang’s mech[a]OUTPUT  (2007, NY Japan Society), Osamu Jareo’s Theater Thikwa plus Junkan Project (2008-2011, KYOTO EXPERIMENT 2012), and Archiving Dance, Dance Marathon: OPEN WITH A PUNK SPIRIT! Archive Box (2014 Saison Foundation; 2015, Singapore International Festival of Arts). Her next dramaturgical work with Pichet Klunchun will be premiered in Taipei, 2021. Her publications include Dance Dramaturgy, The Aging Body in Dance, Anohni—My Truth, and currently she writes her monograph on dance dramaturgy.

 

Dalisa Pigram is a Yawuru and Bardi woman born and raised in Broome, north-western Australia. Co-artistic director of Marrugeku, together with director and dramaturg Rachael Swain, Dalisa is a dancer and choreographer with the company and has been a co-devising artist on all productions, touring extensively internationally, nationally and to remote regions of Australia. In her community, Dalisa coordinates and teaches the Yawuru Language Programme at Cable Beach Primary School and is committed to the maintanence of Yawuru language and culture through the arts and education. Dalisa is co-editor of Marrugeku: Telling That Story—25 years of trans-Indigenous and intercultural exchange.

 

Dr Linda Sastradipradja’s extensive dance career encompasses dancing, teaching, directing, producing, mentoring, researching and creatively engaging with dance and dancers over many years and in many countries. After graduation, she moved to New York and performed internationally with US artists and companies including Mikhail Baryshnikov’s White Oak Dance Project, Sara Rudner, Dennis O’Connor Dance, Dana Reitz, Molissa Fenley; in Hong Kong with City Contemporary Dance Co; and with Australian artists and companies including Dance Exchange, Opera Australia, BalletLab and Dance Works. In recognition of her mentorship of company dancers, the Trisha Brown Company invited Linda to perform the iconic work Spanish Dance during their 2014 Melbourne Festival season. Linda has also worked on theatre and film productions in association with artists Sara Rudner, John Carrafa, Lee Gingold and The Alley Theatre (Houston) and is featured in the work of renowned dance photographer Lois Greenfield.

Her creative work has been presented in the US and Australia. Linda’s PhD by creative practice acknowledges the primacy of the dancer as auteur of dancing embodied, created and performed, and is realised through her work as Lecturer in Dance at the Victorian College of the Arts, University of Melbourne, and with Russell Dumas and Dance Exchange as a performer and Artistic Associate. Her recent performance work has been presented at The SUBSTATION, and in conjunction with Open House Melbourne Festival from 2017 – 2019. Linda continues to work in close association with many international and Australian performing arts companies and practicing artists, and actively contributes to national and state artistic organisations as a panelist, consultant and contributing writer.

 

As Artistic Director of Australian Dance Theatre, Garry Stewart has created a significant repertoire of works which have become renowned for their ambitious artistic collaborations, rigorous research and compelling movement vocabulary. These productions have toured extensively to some of the most prestigious theatres in the world including Théâtre de la Ville in Paris, The Joyce Theater in New York, Sadlers Wells in London, the Barbican Theatre in London, Grand Théâtre de Luxembourg and the Sydney Opera House. Stewart has engaged in diverse collaborations with other artists and practitioners from a wide range of fields including neuroscience, architecture, biology, physics and philosophy, as well as engagement with technologies including robotics, 3D stereoscopic graphics, interactive video, film and video installation. His most recent work has been centred upon conceptual explorations into nature and the problematics of the human relationship with the natural environment.

 

Dr Rachael Swain is a settler artist, born in Aotearoa New Zealand. She is co-artistic director of Marrugeku, together with Yawuru dancer and choreographer Dalisa Pigram. She works between the land of the Gadigal in Sydney and the land of the Yawuru in Broome. Rachael is a director and dramaturg of intercultural and trans-disciplinary dance projects, a scholar and a practice-led performance researcher. Since the company’s founding, she has co-conceived and directed many of Marrugeku’s productions, which have toured throughout remote and urban Australia and around the world. She is the author of Dance in Contested Land—new intercultural dramaturgies (Palgrave, 2020) and co-editor of Marrugeku: Telling That Story—25 years of trans-Indigenous and intercultural exchange.