BA (University of the Philippines), PhD (University of California Riverside)
Ethnography, cultural heritage, tourism, transnationalism, nationalism, gender studies, reconstruction, Philippine "folk" dance.
MFA, PhD (Simon Fraser University)
Ethnology, cultural context of African music and dance, cross-cultural aesthetics.
BFA, MA (York University)
Carol Anderson has pursued a diverse career as a contemporary dancer, choreographer, director, educator and writer. She studied dance in Toronto, New York and London, and started her performing career as a member of Judy Jarvis’ original company in 1968. In 1974 she became a charter member of Dancemakers, dancing in works by numerous noted choreographers. She was the Toronto company’s artistic director from 1985-88, and resident choreographer in 1988-89. She has created choreography for the concert stage, theatre and film. Anderson is the author of a growing body of writing on Canadian dance and other cultural matters; her books include Unfold: A Portrait of Peggy Baker (2008), This Passion: for the love of dance (1998) and Chasing the Tale of Contemporary Dance I and II (1999/2002). She is an Associate Professor in the Dance Program, teaching both practice and theory at the undergraduate and graduate levels.
MA (York University)
Choreography and performance studies, dance history, dance ethnology, cultural memory, contemporary dance techniques.
BFA (Victoria), MA (Simon Fraser), PhD (York)
Darcey Callison is a choreographer and dance scholar who has worked extensively with Authentic Movement, the physical voice, Viewpoints and post-modern theatrical dance. His creative studio-based research integrates new media and cultural studies with postmodern dance methodologies. He is also a physical trainer whose Personal Body Work workshops focus on diverse improvisational techniques and somatic investigations for personal creativity and authentic physical expression.
Dr. Callison's doctoral dissertation in Communication and Culture focused on Hollywood's choreography for men. Analyzing the physical codes and movement signatures used to dance masculinity for Hollywood, he researched the construction of a gendered whiteness that Hollywood disseminated to preserve the patriarchal apparatus that forms and informs the utopian patriarchy of the 'America Dream'.
Dr Callison's studio research, creation and production of (Re) Tracing Fred were generously supported by the Creative Research branch of the Social Sciences and Humanities Research Council of Canada. His choreographic work has also won support from The Canada Council, Toronto Arts Council, Ontario Arts Council and Laidlaw Foundation. An editorial board member for the Society of Dance History Scholars publications and for the new Intellect journal, Choreographic Practices, Dr. Callison continues to pursue the fusion of studio and scholarly research as a dance artist. Professor Callison currently serves as director of the MFA Graduate Program in Dance at York University.
MA Dance, BFA (Hons.), Certified Movement Analyst (CMA)
An accomplished choreographer and sought-after teacher, Susan Cash is an alumna of the professional training program of the School of Toronto Dance Theatre. She has been performing and presenting her own work for several decades, both on the alternative theatre circuit and in formal performance venues throughout the world. Susan’s dances reveal her sensitive connection to the environment and she continues to explore notions of space, place and inter-culture collaborative processes in her teaching, research and choreography. Her investigations have taken her to Brazil and most recently to Guatemala where she was commissioned to work with the Momentum Contemporary Dance Company.
Recently her paper “A Path Towards Changing Space” was published in the Society of Dance History Scholars conference proceedings that took place at Stanford University. After completing her training as a CMA in New York, Susan is now core faculty in the LabanBartenieff & Somatics Studies International Program in Canada. Also she will soon be a registered, level-one gyrotonic teacher. Further to this, she applies her movement analysis and bodywork skills at several medical and rehabilitation clinics in Ontario, working with clients to promote efficient movement patterns. Susan is a member of the MFA faculty, and supervises graduate students and has taught the Movement Observation course. She has taught composition, repertoire, choreography, improvisation, dance experience and modern technique in the undergraduate program. Since 2003, she has also served as Artistic and Managing Director of the York Dance Ensemble, a repertory company of advanced dancers from the department.
As a creative facilitator, Susan works as a dance dramaturge for dance companies, the 808 series and choreographers and dancers in the professional community. Before coming to York University Susan was artist-in-residence at the University of Waterloo where she received a Distinguished Teacher Award.
BA (Harvard University) MA, PhD (Stanford University)
Canadian dance history, criticism, medieval dance, creativity studies, gender issues in dance, dance and related arts, dance writing and biography.
BA, MFA (York University), EdD (Temple University)
Dance and technology (pedagogical and philosophical issues pertaining to arts education), Canadian dance history, nineteenth and twentieth century ballet technique.
BA Hons (UWO), MA (Brock), PhD (University of Edinburgh)
Mary Fogarty is a cultural sociologist with a focus on popular dance, music and culture. Formally an invited Visiting Scholar at New York University and Arizona State University, she has been invited to give public talks and keynote addresses at various academic conferences and public events internationally. Her current work is broadly concerned with questions of globalization, circulation and mediation of popular dance practices, narratives and methods with special attention paid to the longer historical trajectory of popular dance that informs discourses about hip-hip dance styles. She also has an ongoing research project taking a sociological approach to the investigation of movement, posture, alignment and rhythm.
A Canadian who spent time in the U.K. to earn a PhD from the University of Edinburgh in Music and to lecture in Dance at the University of East London, Fogarty's interests span across the arts. Her recent anthology with Mark Evans, Movies, Moves and Music: The Sonic World of Dance Films (2016) draws on her interdisciplinary background and interest in the potential intersection of dance and sound studies. She also has degrees in film studies and popular culture.
Passionate to have hip-hop dance and culture taken seriously in the academy, Fogarty is currently collaborating on a book project with co-author Ken Swift, a second generation b-boy from New York City known as the "epitome" of the dance, and co-editing an anthology, The [Oxford] Handbook of Hip-Hop Dance Studies, with Imani Kai Johnson.
She has recently published book chapters in the prestigious Routledge Reader on the Sociology of Music (Shepherd and Devine 2015), The Oxford Handbook of Dance and the Popular Screen (Blanco Borelli 2014), and Ageing and Youth Cultures: Music, Style and Identity (Hodkinson and Bennett 2012).
Mary Fogarty is currently the Chair of the North American chapter of PoP Moves (popmoves.com), an international research working group that she helped co-found in the UK, and Chair of the event committee for IASPM-Canada's annual conference (May 2017). She is also the lead lecturer of the Toronto B-Girl Movement and a member of KeepRockinYou arts collective (www.keeprockinyou.com).
BFA (UVic), MFA Design (UVic)
Assistant Professor: Production and Design
William is a founder and Co-Artistic Director of Out of the Box Productions. Over the last five years he has lead the design team for productions of Opera Erotique, The Third Taboo, Prior Engagement, and Sound in Silence. They are currently in the development stage of their next work; Bugzzz, a cautionary tale. The heart of his research lies in developing meaningful stories told through a ‘performance fusion’ supported by sustainable ‘design on demand’.
As a Professional Lighting Designer he has designed for, among others, Ballet Victoria (Court of Miracles, Peter Pan, Alice a Wonderland of Dance), Kaleidoscope Theatre (Little Women, Disney’s Aladdin Jr.), and Chemainus Theatre (Lost in Yonkers, South Pacific, Saint Joan). Last summer, William designed lighting for the dance creations of Holly Small, Susan Cash and Keiko Kitano at the World Dance Alliance in New York City. He was also pleased to design lighting for Krystal Cook’s Emergence at the recent Impact 11 Festival.
On faculty in the Department of Dance at York University, William teaches Dance Production, Lighting Design and Dance Video. In addition to teaching, he serves as Director of Design and Production Manager for the Department’s curricular performances.
William is a Professional Member of the Associated Designers of Canada, C.I.T.T. and IATSE Local 168.
BA (University of Western Ontario), MA (University of Southern California)
Dance education and pedagogy (youth), dance choreography and performance (youth), dance and community arts practice, dance and technology
BA (Wellesley College), MA (Tufts University), PhD (University of Surrey)
Canadian dance history, dance writing, dance and music, women’s studies
BS (Vanderbilt University), MA (Northwestern University), PhD (University of California Riverside)
American dance history, social dance reconstruction, dance in the African diaspora, Brazilian dance, cross-cultural research, cultural studies.
BA Mathematics (York), BA Computer Science and Music (York), MA Interdisciplinary Studies (York)
Associate Professor: Digital Media
BFA (York), MA (UCLA)
Holly Small is a dance artist and educator with an appetite for inter-disciplinary collaboration. Her choreography, described as "a flawless integration of music and dance" (Globe & Mail, Toronto) has been featured in dance, music and theatre festivals throughout Canada and in the US, the UK, Europe and Asia. Many of her 50-odd dances are large-scale works featuring dance, live music, video and inter-active new media. Radiant, her most recent collaboration with composer/media artist Johan Oswald and stage designer Emile Morin, received four Dora Award nominations for outstanding choreography, music, performance and production. She is a recipient of numerous choreographic grants as well as a Millennium Award, the UCLA Woman of the Year Award and the Paula Citron Award. Small is a Professor of Dance at York University where she has been teaching and researching for 20 years.
BA (University of Toronto), MA, PhD (Ohio State University)
Professor and Graduate Program Director: MA and PhD
Canadian dance history, dance reconstruction, Laban movement analysis and notation, dance education, multimedia development.
Canadian dance history, archives and preservation, dance publishing.
BFA, MA (York University), CMA (Laban/Bartenieff Institute of Movement Studies)
Dance writing and publishing, Laban Movement Analysis, arts management, communication and cultural studies, dance technique, improvisation and performance.
Denise Fujiwara is a choreographer, dancer, dance impresario and dance teacher with over 30 years of professional experience. She began her interesting career in childhood, as a gymnast and competed internationally on the Canadian Modern Gymnastics team. Upon completing an Honours B.F.A. in Dance at York University (1974-1979), she became one of the founders of T.I.D.E. (Toronto Independent Dance Enterprise). Here she was instrumental in the creation of a diverse body of work for the now-defunct but still notorious company that danced across Canada for 10 years.
She has created and toured six exquisite solo concerts. Sumida River, a haunting Butoh work created especially for her by master choreographer, Natsu Nakajima, has been featured in dance festivals in New York, Seattle, Washington DC, Vancouver, Calgary, Copenhagen, Cracow, Colombia, Ecuador and India. Elle Laments, her concert of site-specific solo dances, toured from coast to coast in Canada. She recently returned to ensemble choreography with Conference of the Birds, which the Toronto Star called, “– the best thing to premiere at the (fFIDA) festival in many a year”, and with NO EXIT, which was commissioned by Toronto’s DanceWorks. Her most recent solo, Lost & Found, was commissioned by the CanDance Network of Presenters and will tour Atlantic Canada with NO EXIT in 2010.
Walls, a CBC documentary about her life and work by filmmaker Jeremy Podeswa won a 1995 Gemini Award. In 1997 she co-founded and continues as the Artistic Director of the CanAsian Dance Festival in Toronto. Her work with CanAsian promotes the work and development of dance artists from across Canada and beyond.
BA, MA (University of Saskatchewan), PhD (York University)
Philosophy, aesthetics, dance theory and criticism.
BA (University of Guelph), PhD (New York University)
Dramatic literature, American and Canadian theatre history.
Terrill Maguire has been called an innovator, instigator, and an inspiration. She is a dancer, choreographer, teacher, artistic director; and a pioneer of the Independent Dance movement in Canada. Among other things, she teaches part-time in the Dance Department of York University; has initiated and directed the Inde Festivals of New Dance and Music; done extensive Artists-in-Schools residencies all over Ontario, including in remote northern communities; produced community arts events, and has received choreography commissions and awards, including the Chalmers Award in choreography. Maguire has
created and performed solo concerts of her own and other’s works throughout Canada, the U.S., Europe and the British Isles. She has also acted extensively as a “dance-aturge”, or “outside eye” for other performers and creators.
Primarily a western contemporary dancer, she has been inspired and informed by the dance styles of many cultures: she worked with Menaka Thakkar Dance Company, has performed in Iranian/ Canadian Sashar Zarif’s Choreographies of Migration at the EnWave Theatre in Toronto in March 2008, and has been collaborating with Blackfoot/Blood native Troy Emery Twigg on an interdisciplinary, intercultural project, Pulse: Heartbeat of the Natural World. Developed during a Creation Residency at the Banff Centre for the Arts in early 2007, “Pulse” was subsequently presented at the Centre National de la Danse in Paris, France.
In July 2008, Maguire premiered a piece for solo dance and piano commissioned by composer Ann Southam, and performed by Christina Petrowska Quilico, selected for presentation at the Sound Symposium in St. John’s Newfoundland. The piece, Pond Life, was also presented in March 2009 in Toronto, at Older and Reckless, with the composer at the piano.
Characterized as “sensual and ageless,” her dancing and choreography have made her a desirable collaborator for numerous artists in all disciplines.
Maguire recently produced an inter-generational, interdisciplinary site-specific performance work in the Zen Garden at York University, April 2010. Other recent activities include teaching at Toronto’s Centre for Indigenous Theatre, choreographing a work, In Motion, for 21 York University dance majors; presented in May 2009, and performing in Impulse Lab, a collaborative/improvisational event with dancers Julia Aplin, Hope Terry, Linnea Swan; and musician Rick Hyslop and ensemble. Maguire, musician WIlliam Beauvais, and Keiko Kitano performed at Toronto’s Nuit Blanche; at the Rivoli’s Eros Cabaret in fall of 2009; and Maguire will be artist-in-residence with Beauvais for fall 2010, at Somewhere There performance space.
For the past two years, she has directed, created and danced in interdisciplinary site-specific performance events for the Opening Day at the Toronto BrickWorks, in association with the Evergreen Foundation
BA, MA (University of Toronto)
Artistic directing, dramaturgy.
Brian is a dramaturg, director and playwright. He is the founding Artistic Director of Nightswimming, a Toronto-based dramaturgical company that commissions and develops new works of theatre, dance and music, and conducts theatrical research through its unique Pure Research program. With Nightswimming, Brian has commissioned more than two dozen new works of dance and drama, many of which have gone on to acclaimed productions in Toronto and elsewhere.
Nightswimming commissioned the Governor General’s Award nominee Bombay Blackby Anosh Irani, which Brian directed in Toronto and Vancouver, and received the Dora Award for Best New Play. Brian is dramaturg for Nightswimming’s City of Wine project, Ned Dickens’ seven-play cycle, and developing new works with Carmen Aguirre, Don Druick, Anita Majumdar and Richard Sanger. Brian’s productions of Rough House and Bombay Blacktoured Canada in 2008; he directed Pierre Brault’s Portrait of an Unidentified Manat the NAC and on tour at the Magnetic North Festival, Grand Theatre, Vancouver East Cultural Centre and in New Zealand, and Brault’s 5 O’Clock Bells for the Great Canadian Theatre Company and at the Luminato Festival, Manitoba Theatre Centre, Grand Theatre, Banff Centre and Yukon Arts Centre.
Most recently, he directed the premiere of Judith Thompson’s Such Creatures at Theatre Passe Muraille. He has directed the premiere productions of two Jason Sherman plays, as well as Michael Healey’s first play, Kicked, which toured Canada including a run at GCTC, where he also directed Sherman’s An Acre of Time.
His own plays include the 2009 Summerworks hit Lake Nora Arms (adapted from Michael Redhill’s book with Jane Miller), Blue Note (with Martin Julien; Harbourfront Centre), The Death of General Wolfe (Theatre Passe Muraille), and adaptations of Jane Urquhart’s The Whirlpool (Tarragon Theatre), and the Iranian play Aurash (with Soheil Parsa; Modern Times Theatre in Toronto, Iran, Columbia, Cuba and Bosnia) which will receive a new production this spring at Toronto’s Young Centre.
He is the past-President of the Literary Managers and Dramaturgs of the Americas, a two-time recipient of the LMDA’s Elliott Hayes Award for Dramaturgy, and has been nominated for three Dora Awards, two for Direction and once for his adaptation of the Aurash.
From 1998 to 2004 he was Company Dramaturg at Toronto’s Factory Theatre, where he founded the company’s Playwrights Lab, developed the CrossCurrents Festival devoted to developing new works by writers of colour, and created Factory's Reading Week new play festival. Brian was Dramaturg at Toronto’s multi-disciplinary Theatre Centre from 1992 to 1999. He has also worked as a dramaturg for many independent companies and artists and specializes in dance and choreographic dramaturgy, and is an adjunct professor at York University’s Department of Dance.
BA, MA (York University)
Dance notation and reconstruction, computer applications for choreography.
BA (York University), MA, PhD (University of Toronto)
Canadian theatre and criticism, film production.