I am an Associate Professor in the Department of Dance at The Ohio State University. From 2014-2019, I was co-editor of The International Journal of Screendance with Simon Ellis. My writing has appeared in The Bloomsbury Companion to Dance Studies, Routledge Dance Studies Reader (3rd ed.), The Oxford Handbook of Dance and the Popular Screen, Choreographies of 21st Century War, and Dance on Its Own Terms as well as Theatre Journal, The International Journal of Performance Arts and Digital Media, and Performance Matters, among others. Current projects include an open-access book with University of Minnesota Press, Perpetual Motion: Dance, Digital Cultures, and the Common, as well as a suite of digital humanities projects that can be found at http://movementonthemove.osu.edu/. Kate Elswit and I recently received a 3-year Arts and Humanities Research Council grant for our collaborative work bringing data visualization and computational tools of analysis to bear on dance history in the study of mid-century African American choreographer Katherine Dunham. More information on Dunham’s Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry can be found at https://dunhamsdata.org/.
Associate Professor, The Ohio State University, Department of Dance
Affiliated Faculty in: Folklore; Theatre; Translational Data Analytics; Women’s, Gender, and Sexuality Studies
PhD, Culture and Performance, University of California, Los Angeles (2009)
MA, Performance Studies, New York University (2003)
BA, Women’s Studies, University of Utah (2001)
BFA, Ballet, University of Utah (2001)
Monograph: Perpetual Motion: Dance, Digital Cultures, and the Common. Forthcoming with University of Minnesota Press, 2020.
Movement on the Move (ongoing) http://movementonthemove.osu.edu/
“Dunham’s Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry” with Kate Elswit, https://www.dunhamsdata.org
“Dance in Transit” with Kate Elswit, 2016-2018
“Mapping Touring” Database and data visualization 2014-present: http://movementonthemove.osu.edu/project-mapping-touring
“Mascot Moskovina” 2013 http://scalar.usc.edu/works/mascot-moskovina/index
Peer Reviewed Publications
“Mapping Touring: Remediating Concert Dance Archives,” Dance Research Journal. Forthcoming 2019.
“Dance Touring and Embodied Data: Some Approaches to Katherine Dunham’s Movement on the Move,” with Kate Elswit, Current Research in Digital History 2.1 (2019). Web. https://doi.org/10.31835/crdh.2019.12
“Screendance,” Sherril Dodds, ed. The Bloomsbury Companion to Dance Studies. New York and London: Bloomsbury, 2019. pp. 219-244.
“‘Complex Temporalities’: Digitality and the Ephemeral Tense in Adam H. Weinert’s ‘The Reaccession of Ted Shawn’,” Jens Giersdorf and Yutian Wong, ed. Routledge Dance Studies Reader 3rd Edition. New York: Routledge, 2018. pp. 364-373.
“Arranging (enchaînement),” Rachel Fensham, section ed. “Doing and Making” in Celia Lury, ed. Routledge Handbook of Interdisciplinary Research Methods. London: Routledge, 2018. pp. 41-46.
“Mapping Movement on the Move: Dance Touring and Digital Methods,” with Kate Elswit, Theatre Journal 68.4, pp. 575-596. https://muse.jhu.edu/article/645397
“Dancing in Digital Archives: Circulation, Pedagogy, Performance,” Maaike Bleeker, ed. Transmission in Motion: The Technologization of Dance. London: Routledge, 2016. pp. 155-167.
“Improvising Philosophy: Thoughts on Teaching and Ways of Being,” Performance Matters 2.1 (2016): 86-91. Web. http://performancematters-thejournal.com/index.php/pm/article/view/31.
“Affective Temporalities: Dance, Media, and the War on Terror,” Gay Morris and Jens Giersdorf, ed. Choreographies of 21st Century War, Oxford: Oxford UP, 2016. pp. 157-179.
“Monstrous Belonging: Performing ‘Thriller’ After 9/11,” Melissa Blanco, ed. Oxford Handbook of Dance and the Popular Screen, Oxford: Oxford UP, 2014. pp. 393-411.
“Gestural Choreographies: Embodied Disciplines and Mobile Media,” The Oxford Handbook to Mobile Music Studies, New York: Oxford UP, 2014. pp. 238-256.
“‘Single Ladies’ is Gay: Queer Performances and Mediated Masculinities on YouTube,” Melanie Bales and Karen Eliot, ed. Dance on Its Own Terms: Histories and Methodologies, Oxford: Oxford UP, 2013. pp. 127-151.
“Screendance 2.0: Dance and Social Media,” Participations: Journal of Audience and Reception Studies, special edition Screen Dance Audiences, 7.2 (Nov. 2010). http://www.participations.org/Volume%207/Issue%202/special/bench.htm.
“Anti-Gravitational Choreographies: Strategies of Mobility in Screendance,” The International Journal of Screendance 1.1 (2010): 53-61. http://dx.doi.org/10.18061/ijsd.v1i0.6138
“Computational Choreographies: Performance in Dance Online,” The International Journal of Performance Arts and Digital Media 5.2 and 3 (2009): 155-169.
“Media and the No-place of Dance,” Forum Modernes Theater, 23.1 (2008): 37-47.
Selected Short Pieces, Videos, and Editor Reviewed Publications
“Editorial: Screendance Now,” with Simon Ellis, The International Journal of Screendance 10.1. 2019. http://dx.doi.org/10.18061/ijsd.v10i0.6850
“Pathways, Histories, and ScreenDance Diaries: Sarah Elgart in Conversation,” The International Journal of Screendance 10.1. 2019. http://dx.doi.org/10.18061/ijsd.v10i0.6831
“Dancing with the Unexpected,” public TED-style lecture for Research and Innovation Showcase at The Ohio State University, April 2019. https://www.youtube.com/watch?v=1IxIrsJMezg&feature=youtu.be
“Be the Street 2018 Final Video.” Dir. Harmony Bench, with Doug Dangler and Mason Chapello (video capture) and Scott Sprague (video editing). Be the Street. 2019. http://go.osu.edu/Ckcs
“Scaffolding Story: Becoming Devisers.” Be the Street. 2018. http://go.osu.edu/CENz
“Be the Street Welcome Video.” Dir. Harmony Bench, with Doug Dangler and John Slavnik (video capture) and Scott Sprague (video editing). Be the Street. 2017. http://go.osu.edu/CBgJ
“Life Becomes Art: Devising Performance with Albany Park Theater Project.” Be the Street. 2017. http://go.osu.edu/B5RV
“‘Being Human is Interdisciplinary’: Building Ensemble with Albany Park Theater Project.” Be the Street. 2017. http://go.osu.edu/B3zZ
“Dance on Camera at 45,” The International Journal of Screendance 8.1 (2017). http://dx.doi.org/10.18061/ijsd.v8i0.5840
“Editorial: Solo/Screen,” with Simon Ellis, The International Journal of Screendance 8.1 (2017). http://dx.doi.org/10.18061/ijsd.v8i0.5891
“Editorial: Field Perceptions,” with Simon Ellis, The International Journal of Screendance 6.1 (2016). http://dx.doi.org/10.18061/ijsd.v6i0.5250
“Screendance: Learning, Teaching, Living,” an interview with Jason Bahling, Ben Estabrook, Natalie Gotter, Eric Nordstrom, and Ellen Maynard, The International Journal of Screendance 6.1 (2016). http://dx.doi.org/10.18061/ijsd.v6i0.5232
“Editor’s Note: On Community, Collaboration, and Difference,” with Simon Ellis, The International Journal of Screendance 5.1 (2015). http://dx.doi.org/10.18061/ijsd.v5i0.4866
“Mobilizing Subjectivity: An Interview with Victoria Marks,” The International Journal of Screendance 5.1 (2015). http://dx.doi.org/10.18061/ijsd.v5i0.4662
“Maya Deren: A Prologue,” The International Journal of Screendance 3.1 (2013). http://journals.library.wisc.edu/index.php/screendance/issue/current
“Introduction: Amelia Jones,” The International Journal of Screendance 2.1 (2012). http://journals.library.wisc.edu/index.php/screendance/issue/view/46
“Of Skins and Screens: Hyperdance, Haptic Cinema, and Contact Improvisation,” Extensions: The Online Journal for Embodiment and Technology 3 (2007). http://www.performancestudies.ucla.edu/extensionsjournal/bench.htm.
Selected Grants, Awards, and Fellowships
Arts and Humanities Research Council, 2018 (£566,000 for Dunham’s Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry)
OSU Virginia Hull Research Award, 2017 ($2,500 for “Transmissions: Katherine Dunham on the Global Stage)
OSU Arts and Humanities Discovery Theme, 2016 ($100,000 for “Be the Street: A Performance Studies Project on Human Mobility and Placemaking”; Ana Puga Principal Investigator)
Battelle Engineering, Technology and Human Affairs with OSU College of Arts and Sciences, 2016 ($55,000 for “Dance in Transit”; Kate Elswit Co-Investigator)
OSU Research and Creative Activity Grant, 2014 ($19,000 for “Mapping Touring”)
Selected Professional Activities and Service
Co-editor, The International Journal of Screendance 2014-2019
Board of Directors, Congress on Research in Dance 2012-2015; Recording Secretary 2013-2015
Co-convenor, Performance/Politics Working Group, Humanities Institute, Ohio State 2012-2015
Steering Committee, Digital Arts and Humanities Working Group, Humanities Institute, Ohio State 2012-2014
Editorial Board, The International Journal of Screendance 2010-2014
Editor, Extensions: The Online Journal for Embodiment and Technology 2003-2008