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Hetty Blades is Assistant Professor in the Centre for Dance Research (C-DaRE). She completed her PhD in the Centre in 2015, under the supervision of Sarah Whatley and Scott deLahunta, which considered the ontological implications of digital scoring practices for dance. She holds an MA in Dance Studies from Roehampton University (2010) and a BA (Hons.) in Dance Theatre from Trinity Laban (2007). Hetty has worked as a Visiting Lecturer in Dance Studies at Kingston University, University of East London, Rambert School of Ballet and Contemporary Dance and given guest lectures at Roehampton University, London Contemporary Dance School and University of California Los Angeles. Between 2015-17, Hetty worked as a Research Assistant in the Centre, contributing to projects including Europeana Space (EU), InVisble Difference: Dance, Disability and Law (AHRC) and Resilience and Inclusion: Dancers as Agents of Change (AHRC). She was Editorial Assistant for the Journal of Dance and Somatic Practices (2015-19).
Claire Loussouarn is a social anthropologist, filmmaker and movement artist. She is a Visiting Research Fellow at Goldsmiths, University of London where she researches on ecological movement, mindful movement, filmmaking and screen technology. She is co-founder of Kinesthesia, a moving image festival which looks at the moving image from the perspective of the whole body and its senses and which questions the Western cultural bias for vision. She is currently working on a durational visual art installation in collaboration with filmmaker and researcher Dominique Rivoal which explores the mindful and feral practice of moving with the rhythm of the seasons over several years within an urban wild field in the Hackney Marshes of London.
L. Archer Porter is a scholar, artist, and purveyor of performance on new media. As a Doctoral Candidate in Culture and Performance at UCLA, Porter investigates the economic, social, and cultural implications of dance in digital culture. Her dissertation, ‘The Domestic Stage: Dance and Intimacy in the Age of New Media” examines the choreography of gender and the aestheticization of intimacy in home dance videos online. Porter’s work has been published in a range of scholarly journals including Performance Research, International Journal of Screendance, Dance Research Journal, TDR, and Etudes, as well as in the Bloomsbury Handbook of Dance and Philosophy.
Lightning presenter bios:
Catherine Cabeen, MFA, is a former member of the Bill T Jones/Arnie Zane Company (1997-2005), the Martha Graham Company (1995-97 and 2005-06), and Richard Move’s MoveOpolis! (2005-2017). Cabeen directed her performance company Hyphen from 2009-2019. Cabeen received commissions from On the Boards, Donald Byrd, Seattle Art Museum, the Visa2Dance Festival in Dar Es Salaam Tanzania, and Alsarab Dance Company in Byblos Lebanon, among others. The New York Times called Hyphen, “highly kinetic, complex,” and, “visually exquisite.” Cabeen has been a teaching artist for the Bill T Jones/Arnie Zane Company since 2005 and is currently an Associate Professor at Marymount Manhattan College. In addition to teaching at MMC’s main Upper East Side campus, Cabeen teaches at Bedford Hills Correctional Facility, a maximum-security prison for women, through MMC’s prison education program. catherinecabeen.com.
Jo Cork is an independent dance artist, choreographer and screendance-maker, drawing on exploration of the human experience to create her work. She is interested in the territory between choreographic practice and film composition, and in finding effective ways to use digital formats to bring screendance to broader audiences and more diverse venues. Jo completed an MA in Screendance in 2020, studying at London Contemporary Dance School. She is a guest lecturer at London Contemporary Dance School, Liverpool Institute for Performing Arts and London College of Music and is currently engaged as screendance mentor to One Dance UK’s Young Creatives programme. In 2016, she completed the award winning dance film, Sensate and has since developed numerous screendance works including films, multi-screen/device and hologram installations, and pieces utilising QR codes and elements of augmented reality. Her works have been shown across the globe in festival settings, art galleries and museums, as well as in less conventional spaces including pubs and restaurants. Current projects include the outdoor screendance installation, Finding Ground, independent dance films with Anthony Van Laast, and with director Phil Taylor, and a research project exploring the use of haptics in screendance, in partnership with Studio Wayne McGregor.
Please note that this video is currently unlisted; it will be made public once the closed captioning is updated at the conclusion of the conference. The contributions on which these presentations are based will be published in the special issue of The International Journal of Screendance, This Is Where We Dance Now: Covid-19 and the New and Next in Dance Onscreen, guest-edited by Harmony Bench and Alexandra Harlig.