Saturday, January 4, 2014

Call for Winter 2014 | DEADLINE: January 15

CHEW ON THIS: Lecture Series 2013-2014

Call for Presentations: DEADLINE: JANUARY 15
*at the very least notify us of your interest in presenting

The Chew On This Lecture Series welcomes presentations for the Winter 2014!!!

Share a choreographic work, a draft of a conference paper, a chapter of your dissertation or any work in progress.
NEW to WAC/D? This is a great way to introduce yourself and your research in a welcoming environment.
Recent grads/Alums in the LA area please considering presenting your work.

Presentations should run about 20 minutes. The rest of the hour is reserved for discussion and feedback.

Chew on This is a noon-time, brownbag lecture and artistic presentation series focusing on works-in-progress. It takes place on Tuesdays in the World Arts and Cultures/Dance Department (UCLA), throughout the academic year.

This is a graduate student-run event for graduate students, although the series has included faculty and alumni presentations, as well.

To present your work on Chew On This, please send us the following materials:

1. Presentation Title;
2. Presentation description (150 word limit);
3. Bio (200 word limit);
4. Image(s) related to your presentation;
5. A photo of you we can use in the publicity;
6. Any weblinks related to your presentation;
7. Audio visual and space needs;
8. Two preferential dates.
(Please note that the dates are reserved on a first-come-first-serve basis. We'll do our best to accommodate all presenters’ schedules).

The Chew On This committee is currently looking for new members. Please contact us if you are interested in helping out! This is an amazing opportunity to get involved and contribute to the WAC/D community!!

We hope to see you all on Tuesdays, at 12pm!

CONTACT to send materials, get involved, or ask for more information
Ellen Gerdes, Mana Hayakawa, Rita Valente and Carl Schottmiller

Monday, September 30, 2013

10/08: Sarah Wilbur

Please join us at the first Chew on This of Fall 2013
Tuesday, Oct 8 at 12pm
Kaufman Conference Room #160


Dance for Veterans: Political Affect and Alternative Exits

With a now-notorious backlog in mental health service provisions at U.S. Department of Veterans Affairs and an estimated 22 veterans committing suicide each day, the State’s ongoing investment in movement-based training strategies has taken an interesting turn toward dance-based health interventions. As a joint effort between psychiatrists, psychologists, social workers, and dance educators at the Greater Los Angeles VA Medical Center, the Dance For Veterans Program works to restore a sense of bodily authority among veterans who are living with severe mental illness. In this paper, I situate the Dance for Veterans program alongside a range of military training and killing practices using John Protevi’s (2009) efforts to resuscitate a politics of emotion for poststructuralist philosophy through recourse to cognitive neuroscience. As a materialist philosopher with a skeptical eye toward affective cognition, Protevi’s Deleuguattarian framework considers how biocultural and biopolitical factors contribute to emotional reprogramming at all levels of military service. Protevi’s work offers particular resources for dance and performance scholars seeking to understand the state’s historical investment in affective reprogramming through social practice, for better and for worse.

Sarah Wilbur is a choreographer, performer, dance educator, and academic who currently works for UCLA and the U.S. Department of Veterans Affairs. To reconcile the strange path that led her here (through the more well-traversed routes of non-profit arts production, concert dance, musical theatre, opera, and experimental performance) Sarah’s dissertation research offers an analytical framework through which the choreographic co-operation of artists and institutions might come into sharper relief.  Prior to relocating to Los Angeles in 2007, Sarah worked for a decade in the non-profit arts sector as an artist-advocate-administrator. Conference presentations include: Congress On Research in Dance, American Society for Theater Research, UCLA GESIS Teacher Education Program/UCLA, and Dance Under Construction. Sarah’s writing on dance and the limits of U.S. arts policy appears the current Journal of Emerging Dance Scholarship. She also sweats more than most humans.

Wednesday, May 29, 2013

6/5: Emily Beattie

Please join us during WEEK 10

WEDNESDAY, 6/5, 12-1p
Kaufman Conference room 160
Talk followed by light refreshments and snacks

Presenter: Emily Beattie
shadowline: Playing with the edges in performance and technology 

In rehearsal periods in the Fall and Winter, I was given the opportunity to set work on students in a pre-professional dance company at Brown University. The piece I set was called shadowline, which is a performance work that featured projected animations, dance, and an original score. I chose to include projections as a way to visually address the storyline of the piece, which features a piece of technology that creates a fatal connection for the main character. The actual integration of this component posed many questions for me and my process. Performer interaction with the projections provided some challenges and some benefits for the performers as well as the experience of the viewer. By looking at earlier versions of the work, explaining how the animation is now activated, and showing the final work, I hope to discuss some of the implications for dancemaking with technology that I found.
Emily Beattie is originally from Fredericksburg, Virginia and currently works as a performer and choreographer in both Boston and Los Angeles. As a performer, Emily has been honored to participate in the works of Stephen Koplowitz, Edisa Weeks, Donald Byrd, Sara Rudner, Jennifer Monson, Simone Forti, Lionel Popkin and several national companies. Since 2003, her interest in collaborative performance and technology interventions has been supported and performed both nationally and internationally by organizations such as Roy and Edna Disney CalArts Theater, Los Angeles, Pieter Performance Space, Brown University, Boston CyberArts Festival, Green Street Studios, Somerville Arts Council, Glouchester New Arts Festival, Oberon Theater, World Arts Music/Crash Arts, Support Women Artists Now Day Inc., Kyoto Cultural Festival 2011 Renku Poetry Conference and Festival, and Rhodopi International Theater Lab.  Emily extensively collaborates with composer and designer Eric Gunther who founded the design and performance studio sosolimited.

Monday, May 27, 2013

5/28: Dr. David Shorter | 5/30: Yehuda Sharim

Please join us for TWO Chew on This sessions, this week!

Tuesday, 5/28, 12-1pm
*Kaufman Room 208*
Presenter: Professor David Shorter
Going Glocal: Collaborating with Indigenous Language Learners on Globalizing Technologies

Thursday, 5/30, 12-1pm
*Kaufman Room Conference*
Presenter: Yehuda Sharim
Yehuda will present on his dissertation.

Wednesday, May 15, 2013

5/21: Sharna Fabiano | 5/24: Laurel Tentindo & Kevin Williamson

Please join us for TWO Chew on This sessions next week!

Tuesday, 5/21 at 12pm,
Kaufman Conference Room

Prawns a la Indigo: Tango as Physical Theater


Friday, 5/24 at 12pm
Kaufman Room 200

Neanderthal vs Cyborg


Tuesday, 5/21 at 12pm, Kaufman Conference Room

Prawns a la Indigo: Tango as Physical Theater

In February and March, I had the honor of collaborating with the Czech company Spitfire on a new project: Prawns a la Indigo. Spitfire refers to its own work as “authorial theater” and often seeks to combine genres and styles of live performance. In this session, I’ll give a guided tour of some rehearsal footage and speak about how we assembled physical material generated 1. through tango movement principles, 2. in response to surrealist images, and 3. following an original script, which describes four women who meet in a café to start a revolution.
Sharna Fabiano is an internationally recognized tango artist. She was a member of the NYC-based all-woman company TangoMujer from 2003-2006, and ran her own performing group in Washington, DC from 2006-2010, investigating the fusion of tango with contemporary dance and theater. While living in DC, she also founded the nonprofit organization Tango Mercurio, which created outreach programs for urban youth and elders and an all-volunteer tango orchestra for social dancing. In 2008, Sharna was named to Dance magazine's "25 To Watch" list and featured as an emerging artist in the Washingtonian. In addition to her performance work, she also co-founded the Global Milonga, an international benefit for reforestation that links simultaneous tango events through online streaming audio and video, and the Women’s Tango Retreat, a national gathering for women who dance both roles.


Friday, 5/24 at 12pm, Kaufman Room 200

Neanderthal vs Cyborg

Neanderthal vs Cyborg is a sci-fi dance experiment.  Parallel histories morph in and outside of the studio to reveal the absurd and vulnerable.  It is an imagined dance where two people make a show about making a show. Through the vastness of the incomprehensible universe, these two characters are magnetically pulled together.  The responsibility to make an intelligible piece weighs on them.  These fallen heroes exploit one another and themselves while engaging in theatrical impulses,   genre-bending, and improvised dance.  They search for authenticity.  This performance transforms into a party - if everything goes right.   Laurel and Kevin are using Chew on This as an informal opportunity to share this process with the UCLA community and to experiment with technical elements (Thanks to Arsenio!).  The final performance of Neanderthal vs Cyborg will take place at the Electric Lodge in Venice on June 7th at 9 pm the event is FREE.

Laurel Tentindo ( and Kevin Williamson( are dancers, choreographers and educators, both currently in their first year of the MFA program.

Tuesday, May 7, 2013

5/14: Doran George

Please join us at our next Chew on This
Tuesday, May 14 at 12pm
Kaufman Conference room


Tearing down The Final Curtain: Performing Communities of Radical Pleasure.

My editorial for the last of Britain’s Dance Theatre Journal focuses upon the influence of sex radical culture on performance and dance in San Francisco. I argue that prudish art praxis became so entrenched throughout the 20th century that working with sex takes labor, and erotic performance and dance struggle to achieve the status of art. Yet independent alternative sexual practice is crucial for performance now that state and commercial interests have appropriated feminist and queer representational strategies. Critical attention to the Bay Area sex/art community is important because as alternative sexual practice has appeared to enter the mainstream, patriarchal heterosexual ideals have replaced rank and file critical cultures. In broad strokes I compare key influences in San Francisco with emphases in London dance performance that impose a chaste culture. Yet I suggest that if sexual experimentation is seen as a queering of the pioneer narrative, complex racial and national discourses that cut across California are erased.

Doran George is a scholar and artist completing a doctorate on ‘Somatics’ in contemporary dance. His scholarship is published in dance, film, and art journals including chapters in forthcoming Oxford University press volumes, and his artist’s images and writing is found in art publications. Doran has chaired academic conferences, presented symposia, as well as programmed performance, all with a focus on identity deconstruction. He has been funded as an artist by: L.A. Cultural Affairs, London Arts Board, Arts Council of England, British Council, Finnish Arts Council and others. Doran has danced for various choreographers, works as a professional mentor, and leads participatory projects such as working with people diagnosed with terminal illness and those experiencing bereavement. He teaches in art colleges, universities and professional arts contexts in Europe and the US. Doran trained at the European Dance Development Center (NL) and completed a Feminist Performance MA at Bristol University (U.K.)

NEXT Chew on This

Tuesday, 5/21: Sharna Fabiano
Conference room

Friday, 5/24: Laurel Tentindo and Kevin Williamson
Room 200

Tuesday, April 30, 2013

5/7: "From X to Why: A Museum Takes Shape"

 Please join us at our next Chew on This

From X to Why: A Museum Takes Shape
Tuesday, 5/7 from 12-1pm
Kaufman Room 208
Presenters: Professor Mary (Polly) Nooter Robert
Graduate Students: Peter Haffner, Elyan Hill, Dana Marterella, Elaine Sullivan, Rita Valente, and Tommy Tran

From X to Why: A Museum Takes Shape is the graduate student-curated section of the Fowler Museum’s 50th anniversary exhibition, opening in Fall 2013. This mini-exhibition focuses on the Fowler Museum’s earliest acquisitions. These objects demonstrate the strength and breadth of the collection and foreshadow the Fowler’s role as one of the premiere museums for preserving and displaying works of art from cultures around the world. In this presentation, the graduate students (Dana Marterella, Elaine Sullivan, Elyan Hill, Peter Haffner, Rita Valente, and Tommy Tran) and the project’s mentor (Professor Mary (Polly) Nooter Roberts) will talk about the conceptualization and research process underlying the exhibition. They will also explain the core concept of the project, and how it materializes in the title. Finally, the group will guide us through the exhibition and introduce us to some of the objects that will be displayed.

Dana Marterella, Elaine Sullivan, Elyan Hill, Peter Haffner, and Rita Valente are doctoral students in the Department of World Arts & Cultures/Dance at UCLA. Tommy Tran is a doctoral student at the Department of Asian Languages and Cultures. Martarella is developing a comparative study of Victoria Ocampo and Eva Perón, in which she examines how celebrity, commodity, class, and gender intersect as two women curate a global image for self and nation. Sullivan’s research interests include museum studies and the visual arts of the Luba peoples of the Democratic Republic of the Congo. Hill examines the significance of dance practices in honor of the West African water deity Mami Wata in understanding African perspectives on the black Atlantic. Haffner’s research focuses on the connections between tourism and the production of art in Haiti. Valente studies how theater festivals in Portuguese-speaking countries use the concept of Lusophony to negotiate the colonial past shared by those nations. Tran studies the contemporary use of folklore and heritage in Jeju Island, South Korea.

Mary (Polly) Nooter Roberts is Professor in UCLA's Department of World Arts & Cultures/Dance and Consulting Curator for African Art at the LACMA. She holds an MA and PhD in Art History from Columbia University, and served as Senior Curator at the Museum for African Art until 1994 and as Deputy Director and Chief Curator of UCLA’s Fowler Museum until 2008. Roberts is the author and curator of thematic books and exhibitions that explore the philosophical underpinnings of African visual arts and expressive culture, such as secrecy, memory, writing and inscription, as well as topics of the body and female representation, arts of divination and healing, and theories of exhibiting. Together with Allen F. Roberts, she produced the award-winning works Memory: Luba Art and the Making of History (1996) and A Saint in the City: Sufi Arts of Urban Senegal (2003). In 2007, she was decorated by the Republic of France as a Knight of the Order of Arts and Letters for her promotion of francophone African artists.

NEXT CHEW on THIS: May 14 with Doran George