Danielle Adair is an artist, performer, and writer. Her works have premiered in exhibition, screening, theater and concert venues internationally. She is the author of From JBAD: Lessons Learned (Les Figues Press) based on her time as “embedded media” with US Forces in Afghanistan and for which she created the feature-length video-performance FIRST ASSIGNMENT. Her second feature-length work And I Think I Like It. is a collection of 13 video-song-poems with an accompanying artist book (Edition Solitude). As part of her three-part video-performance Caution, bomb, Adair created and premiered her experimental opera Caution Baum with the Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart. Adair is a California Community Foundation Visual Arts Fellow, a Center for Cultural Innovation – ARC Grantee, the recipient of The Louis Sudler Prize in the Performing and Creative Arts, and Fellowships at Akademie Schloss Solitude, Digital Arts Studios Belfast, and I-Park Foundation, among other distinctions. She holds her BA with Honors in Human Development and in Visual Arts from The University of Chicago and her MFA in Critical Studies and in Studio Arts from California Institute of the Arts.
In her work and writing Adair is interested in the construct and guarantor of persona, conceptions of psychopathology, immaterial and emotional labor, and the relationship between persona and machine intelligences. danielleadair.com
MARINA J. BERGENSTOCK
Marina J. Bergenstock (she/her) is a director and dramaturg. She holds a BA and a BS from Penn State University and received her MFA in Directing from the University of Iowa. She is the co-host of Kunafa and Shay, a SWANA podcast produced by HowlRound Theatre Commons. Marina is also a member of Silk Road Rising’s Polycultural Institute Advisory Council. She is active in community-engaged work in the 2021-2022 Graduate Public Service Fellowship program. Prior to beginning her Ph.D, she was a Visiting Assistant Professor at Beloit College for three years and trained with SITI Company and in the Kennedy Center Directing Lab.
Recent directing work includes Ryan Oliveira’s Bloopsong at The New Coordinates Theatre (2021), Man of God Theatreworks/Stanford TAPS collaboration (2020), Five Lesbians Eating a Quiche and In the Next Room at Beloit College (2020/2019), and she was the assistant director/dramaturg for Twice, Thrice, Frice at Silk Road Rising (2019). She was also the dramaturg on Penn State Altoona’s Two Rooms (2021). Marina’s research is focused on SWANA theatre. Her work has been published in MATC’s Theatre/Practice and in Arab Stages with a review in Eumenica. More information at: www.MarinaBergenstock.com
Karishma Bhagani, from Mombasa, Kenya, is pursuing a PhD in Theater and Performance Studies at Stanford University. She graduated from New York University (NYU) with a B.F.A in Theatre and a B.A. in History. In her capacities as a director, producer and scholar of the performing arts, Karishma is keen on contributing to the development of a sustainable creative economy within East Africa. Karishma currently serves as the Associate Artistic Director for the Tebere Arts Foundation in Uganda and Associate Producing Director for the Nairobi Musical Theatre Initiative in Kenya. She is also a fellow at the Georgetown Lab for Global Performance and Politics. While at NYU, Karishma was the recipient of the Richard Hull Fellowship, the Bevya Rosten Memorial Award, the CTED Development Impact Fellowship and the Presidents’ Service Award. She was also the Tisch bachelor’s representative at NYU’s All-University Commencement ceremony.
Danee Conley is a dramaturg turned academic in Stanford TAPS’ PhD program. She received her BA in Theater/Dance and American Studies from Trinity College in Hartford, CT as well as her MA in Theater and Performance Studies from Washington University in St. Louis, MO. She has also studied with the La Mama Experimental Theatre Club and the Shakespeare Globe in London.
Her current research looks at contemporary strategic board games as they intersect with postcolonial spectatorship, activism, and identity formation through game play. Her interests also include game design, intent versus impact, and the potential for cultural or ethical consulting in gaming companies, both board and video.
In her theater practice, she has served the role of lead production dramaturg for university and student theater as well as professional companies since beginning her creative practice in 2012. The most recent productions include Molly’s Hammer at the Repertory Theater of St. Louis, The Mammaries of Tiresias with the Stanford Women* in Theater, and A Raisin in the Sun with Stanford’s Theater and Performance Studies Department.
Sariel Golomb holds a BA in English and Dance, with departmental honors, from Columbia University. Her research focuses on intersections between corporeality and the erotics of the gaze in western visual culture, with particular attention to choreographies of the deviant, grotesque, abject, uncanny, and violent in modern and contemporary dance/performance. Sariel is pursuing PhD minors in Feminist, Gender & Sexuality Studies and Comparative Studies in Race & Ethnicity. Other interests include dance studies, visual culture, medical humanities, disability studies, posthumanism and new materialisms.
As a dancer Sariel has performed works by Diane Frank, Amara Tabor-Smith, Gesel Mason, Trisha Brown, Gwen Welliver, Alexandra Beller, Pam Tanowitz, Sam Kim, and Heidi Henderson. She is also a critic, dramaturg, and curator, and her writings on dance have appeared in Dance Research Journal, The Brooklyn Rail, and the blogs of The Kitchen and LUMBERYARD Contemporary Performing Arts. Sariel serves as Colloquies Editor for ARCADE, a digital salon of the Stanford Humanities Center, and Assistant Editor for the forthcoming anthology The Articulate Body: Dance and Science in the Long-Nineteenth Century (University Press of Florida). Sariel is Graduate Student Representative for the Dance Studies Association (DSA) and coordinates the Future Artists Initiative (FAI), a national scholarship dedicated to increasing diversity in pre-professional dance education. As one of TAPS’ Carl Weber Memorial Fellows, she serves as the Editorial Assistant for the Stanford TDR consortium.
Emma Humphris (she/her) is a PhD candidate in Performance Studies and Master student in Education at Stanford University. Her research employs the lens of performance studies to examine and assess security sector reform initiatives, specifically in the context of police training and capacity development programs. She has an overarching interest in the performance of state violence and its modes of reproduction through training, gestures, discourse and representation. Her jurisdictions are the United States and France, where she works with police academies and the French Gendarmerie Mobile. She holds a Msc In Criminology and Criminal Justice from Oxford University and a degree in political science from Sciences Po Paris and Philosophy from la Sorbonne Paris (IV).
Emma’s research interests have shaped her creative practice in and outside of the academic world. She has written and created a short dance film entitled Bala Sabab while working in the Lebanese criminal justice system. She has also devised Women in Waiting, a play about women’s experiences in immigration detention centers. She is now using similar material to develop an exhibition at the VBKO museum in Austria in September 2021.
Daniel Jackson works in live performance and digital media at the intersection of technology, interactivity, and identity. His work interrogates the possibilities that new technologies provide for creating surprising experiences that question our understanding of the world. His recent work includes An Old Ruinous Vault, With A Strong Grated Door, Through Which The Moon-Beams Are Gleaming, exhibited as part of San Antonio’s CAM Perennial group art show, and Basement Complex Suite 102 at Jump-Start Performance Co. He holds an MFA in Video for Performance and Integrated Media from the California Institute of the Arts.
In addition to creating and producing his own work, Daniel has spent time working as an artist and technician with Andrew Schneider, Young Jean Lee, Radiohole, The Wooster Group, and Jump-Start Performance Co.
Daniel’s research interests include algorithmically generated performance, the execution of code as performance, performance in virtual spaces, and contemporary American experimental theater.
TIMOTHY S. JONES II
Tim (he/him/his) is a producer, scholar-activist, and multi-disciplinary artist with intersecting research interests in race, sexuality, aesthetics of risk, socio-political choreographies, performance ethnography, visual culture, and memory. He is primarily interested in the Black male body in undervalued movement and performance practices (BDSM, erotic film & dancing, fraternal stepping & strolling, bodybuilding, protests, roller disco, cosmetology, vogue & walking the balls). Recently, Tim worked on a project that looked at sex work and digital performance in the age of COVID-19. He is currently conducting research on Black barbers and the role of surveillance during the late 19th and early 20th centuries.
Prior to Stanford, Tim earned an MFA in Theater Management and Producing from Columbia University as well as a BA in English and a BA in Drama from Morehouse College. Tim has trained at The Ailey School, London’s Central School of Ballet, Shanghai Theater Academy, the British American Drama Academy, Spelman Dance Theater, and Earl Mosley’s Institute of the Arts. Tim has also worked at Sleep No More, New York Live Arts, Boneau/Bryan-Brown, Parsons Dance, Park Avenue Armory, and New York Theater Workshop.
From 2015-2019 Tim worked as a senior-level administrator for NHPS. It was there he led the arts program and curriculum, created and managed community partnerships, ran a leadership mentoring program for at-risk young men of color, and occasionally taught a course called “Facing History and Ourselves.” He also Founded the Connecticut Regional August Wilson Monologue Competition (now managed by Long Wharf Theatre & Yale Repertory Theatre), which invites high school students from all over the state of Connecticut to learn and perform the works of August Wilson.
Outside of his professional and artistic endeavors, Tim is involved in homeless, foster care, and carceral advocacy work. Tim is deeply committed to interrogating cultural competency, programming, engagement initiatives, and the complexities surrounding the representation of people of color in the arts and the academy.
ANNA JAYNE KIMMEL
Anna Jayne Kimmel is a PhD candidate in Performance Studies pursuing minors in Cultural Anthropology and Comparative Studies in Race and Ethnicity alongside a certificate in African Studies, with an emphasis in dance, memory, and public performance as politics. Her current research intersects critical dance studies and crowd theory to analyze the resulting representations of race, national identity, and democratic affect. As a dancer, Kimmel has performed the works of Ohad Naharin, Trisha Brown, John Jasperse, Francesca Harper, Rebecca Lazier, Olivier Tarpaga, Marjani Forte, Susan Marshall, Loni Landon, and Christopher Ralph, among others. She served as the graduate coordinator of the Arts and Justice workshop at the Stanford Humanities Center (2020–2022) and as adjunct lecturer at Santa Clara University in the Department of Theatre and Dance (2021).
Kimmel holds an AB from Princeton University in French Studies with certificates in African Studies and Dance. Her writing appears in Performance Research and Lateral, with reviews published in TDR: The Drama Review and Dance Research Journal. She currently serves on the Future Advisory Board to Performance Studies international, and as the reviews Editor of Performance Research.
Suhaila Meera holds a BA in History and Film from Cornell University, has studied acting with Barry John and at the Stella Adler Studio, and has a background in jazz, hip-hop, and Indian folk dance. Before beginning her Ph.D., she worked in operations and development at Delhi-based arts management firm Teamwork Arts, New York-based nonprofit Girls Write Now, and The Juilliard School. Recent artistic endeavors have included dancing with Chocolate Heads Movement Band (2017), directing Nick Payne’s Constellations (2019), and dramaturging The Seagull (2019) and Everybody (2020) at Stanford. Her research explores the intersections between childhood studies, refugee art and performance, and theories of acting and affect.
Rishika Mehrishi holds a BA (honors) in History from Delhi University, and an MA in Performance Studies from Jawaharlal Nehru University, New Delhi, and Tisch School of the Arts, New York University. Her research interest in human-nonhuman performances in South Asia intersects multispecies ethnography, new materialism, and postcolonial studies. Her dissertation, Performing Entanglement: More-than-Human Repertoires in South Asia, concerns the way animal materialities and metaphors shape contemporary discourses on caste, religion, gender, and sexuality in South Asia. Her writings have appeared in Theater Journal, Modern Drama, and Marg Magazine. She has been an Asian Cultural Council Grantee, serves as a Research Assistant at Stanford’s Center for South Asia, and is currently the Carl Weber Memorial Fellow at Stanford TAPS.
Rishika is also a performance artist and makes durational art that draws heavily on everyday rituals and laboring bodies. She has performed at various festivals and performance venues in New York City. In 2018, she conceived and performed in Out of Breath, a piece about migrant worker crises, at Stanford University.
Rishika’s expertise in archiving lies at the cusp of her academic and artistic pursuits. Before joining Stanford, she worked on theater and performance based archival collections in Delhi, Abu Dhabi, Seoul, and New York. She is currently co-authoring a book on Richard Schechner’s Ramleela archives.
Westley holds Bachelor’s and Master’s degrees in Music with additional studies in German and Arts Management from the University of Michigan in Ann Arbor. Westley’s scholarly interests lie at the intersections of performance studies, sound studies, gender studies, and Black studies. Current research interests include the role(s) of opera in Black identity development and performance; post-colonial, queer, and materialist approaches to the voice; and Tik Tok as a stage for the (sonic) performance of race and gender.
Westley is also a vocalist and multidisciplinary artist. Select operatic roles include Boy Sam (David Lang’s the difficulty of crossing a field), Ovlur (Bordin’s Prince Igor), and Benvlio (Gounod’s Roméo et Juliette.) Westley has also produced, curated, and dramaturged several new works and productions, including …Who I Am, an adaptation of Samuel Barber’s Knoxville Summer of 1915 addressing Black lived experience in the American South, and Afrika Singt, a collaborative work exploring depictions of Afro-Deutsch and Afro-American identity in Germany.
Rashi has an MA in Performance Studies from New York University, MA in Conflict and Peace Studies from Jamia Millia Islamia University and a Bachelors in Economics and Computers from Delhi University. Rashi was actively involved in Delhi University’s campus theatre where she was a member of, and later headed, Maitreyi College’s dramatics society Abhivyakti. She acted in various productions such as In The Name of Honour (a devised protest performance against honour killings in India), O Ibsen (based on Henrik Ibsen’s plays), Akka Amoli Anni (an adaptation of Munshi Premchand’s story ‘Bade Bhaisaheb’) and Eklavya Uvach (a satire on the prevalent caste system in India), which were performed at different university festivals in India. Amongst these the play O Ibsen was performed as part of the Norwegian Collegiate Theatre Festival in Delhi in 2010. She recently co-directed a devised experimental performance, based on Sadaat Hasan Manto’s partition stories, titled Enter At Your Own Risk. A seditious play in a few scenes showing sanity and insanity as performed by actors of National Paagalkhana — by order of Toba Tek Singh. She has also been associated with different socially and politically active theatre groups in Delhi in different capacities.
Her research interests include exploring the relationship between aesthetics, politics and performance; postcolonial studies; and representation & subjecthood of the subaltern in theatrical as well as every day performances. Rashi was a recipient of Gallatin Global Fellowship in Human Rights at NYU as part of which she explored the role of theatre in fostering the human rights discourse, specifically looking at theatre practices of Palestinian artists in the West Bank.
THAO P. NGUYEN
Thao P. Nguyen holds a Master of Public Health (MPH) degree from the University of California at Berkeley, a Master of Arts (MA) degree in Communication Studies with a focus on Performance Studies from San Francisco State University, and a Bachelor of Science (BS) degree in Psychology from Brown University. As a scholar, her research areas include queer and trans* people of color (QTPOC) literature, performance and film; the intersection of sexual violence and structural violence; and queer migration. She is particularly interested in increasing the visibility and understanding of issues most pertinent to populations experiencing multiple vectors of structural oppression, such as Asian American women and QTPOC. Nguyen is a playwright, solo performer, and comic storyteller. Her full-length one-person comedy Fortunate Daughter was named one of the top ten Bay Area plays of 2013 by KQED Year in the Arts. Nguyen has been a member of the Solo Performance Workshop since 2007. She served as the Artistic Director for the Asian Pacific Islander Cultural Center of San Francisco from 2013 to 2014. For more information, please visit www.thaosolo.com.
Zoe Ryu holds a BA in Economics from Korea University and an MA in English literature from Seoul National University. The main concentration of her current studies lie primarily on the intersection of race and gender in American theatre and literature. Her theatre practice focuses mainly on dramaturgy – in Seoul, where her work is based, she worked with prominent Korean theatre companies and produced plays such as Machinal by Sophie Treadwell and A Fortunate Day by Hyun Jin-geon both performed at the Yeohangza Theatre. Her future aspirations lie in intercultural performance that makes use of traditional Korean movements, dance and sound derived from Korean masked dance and traditional Korean opera.
Amani Starnes is an actress, dancer, writer, producer, and singer in Stanford’s PhD TAPS program. She graduated from Yale University, where she majored in Theater Studies with a concentration in Performance and African American Studies.
Her work focuses primarily on race and gender in performance and culture. Recently, Amani received critical acclaim in such publications as The Washington Post, Jezebel, The Jane Dough, Madame Noire, and Racialicious for a web series she wrote, produced, and headlined, The United Colors of Amani. In the tradition of Robert Townsend’s Hollywood Shuffle, the series explores Amani’s uncomfortable racial adventures in Hollywood.
In addition to her web presence, Amani is the face of several national commercials. She also sings, choreographs, produces content for networks like AOL and AMC, and performs in independent films, plays, concerts, music videos, rock operas and musicals. She has been a member of Tim Robbins’ The Actors’ Gang theater company for over a decade.
Adin Walker (he/they) is movement director + associate director for the dance, puppetry, and climate-justice focused Phantom Limb Company, who’s production Falling Out about the 2011 radiation disaster in Fukushima (BAM Next Wave Premiere, 2018) was featured on the cover of American Theatre’s March 2020 issue on theater and climate change. Right before the Covid-19 shutdown, Walker choreographed Paula Vogel’s Indecent in Portland, OR with Artists Repertory Theater + Profile Theater (dir. Joshua Hecht.) Beginning in Spring 2022, Walker will direct the rolling world premiere of Yilong Liu’s PrEP Play, or Blue Parachute at New Conservatory Theater Center of San Francisco. As a director and choreographer, Walker has ongoing collaborations with writers and composers Anya Pearson, E. Rosales-Balcarcel, L M Feldman, Philip Dawkins, Roger Q. Mason, Ava Geyer, Emily Kitchens, Yilong Liu, Khiyon Hursey, and Julian Hornik. Walker trained in classical, contemporary, and hip hop dance, having performed principal roles in works by Maleek K. Washington, Christopher K. Morgan, Alex Neoral, and Karole Armitage. Walker has been a guest artist/guest lecturer at Yale School of Drama, Princeton University, and NYU Tisch; is a frequent teacher of courses in queer drama for Artists Repertory Theater; has been an associate/assistant director to May Adrales, Shana Cooper, Dawn Monique Williams, Yehuda Hyman, and Tony winner Rebecca Taichman; has held directing fellowships with the Oregon Shakespeare Festival and the Chautauqua Theater Company; and, has been a line producer and associate producer to Tony winner Mara Isaacs of Octopus Theatricals.
Walker’s research, writing, and teaching interests center art, performance, and film that explore queer aging and building queer futures during the “Lazarus” era/medical intervention era of HIV/AIDS (after ~ 1995.) Walker graduated from Princeton with degrees in English, Theater, and Feminist, Gender, and Sexuality Studies where Walker wrote a thesis on Fairies throughout literature — from medieval lai poems to James Baldwin’s novels — and explored how Fairies offer critical frameworks for thinking into a historicity of queerness that reverberates into contemporary dance and music video. Walker loves teaching and is a tutor in Stanford’s Hume Writing Center. More information about Walker’s work at: www.adinwalker.com
Emily Waters is a Brooklyn-raised interdisciplinary artist grounded in a Black theater tradition that explores the roles of witness and testimony in collective and intergenerational healing. Waters helped to roll out the first ever #MeToo curriculum with Girls for Gender Equity, focusing on joy and storytelling through theater. Emily was an Emerge Fellow 2019 with Hemispheric Institute where they presented their work in progress at Abrons Arts Center. Waters is also the recipient of the Peace and Social Change Fellowship with Columbia University where she supervised research on the healing capacity of theater for survivors of sexual assault. In December 2019, Waters was awarded the Mount Tremper Arts Residency. They have presented their original work at Jack Theater, the Apollo, the High Line, Novo Foundation Grantmakers of Color Conference, and Judson Church. Waters is a Performance Project Fellow alum and was a selected writer in Billie Holiday Theater’s annual 50in50 and Black Revolutionary Theater Workshop’s Revolution Now! Program. Emily Waters received a Drama League Award nomination for outstanding digital theater alongside the selected artists for All for One Theater’s Solo Short’s Series. Most recently, Emily presented their original performance, Look Back At It, at The Shed as part of the Open Call commission program for early career artists.
Emily’s current research interests African diasporic narrative healing modalities, folklore and religious studies, and the connections between contemporary Black performance movements and anti-violence work.