Photo Credit: Jimmy Lai

Ph.D. STUDENTS

Kelly Bowker, She/Her/Hers
kbowk001@email.ucr.edu
B.F.A. in Dance, University of Michigan
M.A. in Choreography, Trinity Laban Conservetoire of Music and Dance
Kelly Bowker is a Ph.D. candidate in Critical Dance Studies at the University of California, Riverside where she has received the Chancellor’s Distinguished Fellowship, Gluck Fellowship, Digital Humanities Fellowship, and Dissertation Year Program Fellowship. Her research uses critical race studies to examine the way that technology is represented and utilized in both popular and concert dance. Bowker completed her M.A. in Choreography at Trinity Laban and her B.F.A. in Dance at the University of Michigan. Bowker has received grants from Zellerbach Foundation in San Francisco and the DCASE in Chicago for the development of her choreography. (Photo by Kevin Wong)

Johnny Castro, He/Him/His
Johnny.Castro@email.ucr.edu
M.A. in Creative Enterprise Cultural Leadership, Arizona State University
B.S. in Nonprofit Management & Leadership, Arizona State University
Johnny Castro is a first year Ph.D. student in Critical Dance Studies at UCR. He holds a M.A. in Creative Enterprise Cultural Leadership from Arizona State University. He is a member of the Furious Styles Crew and co-founder of Worth The Weight event series. Johnny is a leader in the Arizona dance community as a bboy, practitioner, and event organizer/host & has witnessed unique aesthetic trends form in the Arizona dance scene.  His research is rooted in the lived experiences of street dancers and examines the relationship between social media and feelings of belonging and dis-belonging as experienced by street dancers.

Sinjini Chatterjee, She/Her/Hers
schat024@ucr.edu
B.A. in Comparative Literature, Jadavpur University, India

M.A. in Comparative Literature, King’s College London, University if London, United Kingdom
M.A. in South Asian Studies, School of Oriental and African Studies, University of London, United Kingdom
Sinjini Chatterjee is a second year Phd student in the Department of Dance at UCR. Her research is on Odissi dance and how the recent choreographic ventures shifts the dance form from its traditional approach. She has trained for 15 years un Odissi dance and has performed widely in India and United Kingdom. She has received the Dena’s Fellowship and multiple Gluck Program of the Arts Award.

Colette Marie Eloi, She/Her/We/Us
celoi001@ucr.edu
B.A. in Development Studies, International Relations, UC Berkeley
M.F.A. in Interdisciplinary Studies Creative Inquiry, California Institute Of Integral Studies
Ms. Eloi is an accomplished dancer/commissioned choreographer and director of ELWAH Movement Dance and Research.  Her area of focus is the African Diaspora and Indigenous dance.  Ms.  Eloi is interested in Pre-colonial Archives of African Rooted dance culture. Her research methodology is dialogical bridging knowledge of cultural communities to the academy.  She has conducted fieldwork in Haiti, Cuba, Brazil, Benin, Ghana, and the US.  Her work looks at the way the commodified imperialized body undergoes the extraction of its wholeness. Colette has received many awards as a social justice artist and she is a sought after guest lecturer.

Xiomara Forbez, She/Her/Hers
xforb001@ucr.edu
B.A. in Linguistics, B.A. in French Language and Literature, Boston University
Xiomara Forbez is a Ph.D. Candidate in Critical Dance Studies at UCR. She was born and raised in Miami, FL but spent holidays in Queens, NY. After college she worked as a Fiscal Administrator at Boston University and then a Research Management Specialist at Harvard University. Her Caribbean family and friends taught her how to dance merengue, salsa, bachata, Colombian cumbia, reggaeton, and dancehall. She has also studied ballet, Horton, Graham and is now learning hula kahiko, hula auana, and kizomba. Her dissertation research looks at expanding definitions of “dance” and “dancer.”

jemuel jr. barrera garcia, He/Him/His
jgarc137@ucr.edu
B.P.E. in Dance & Sports, College of PESCAR, West Visayas State University, Iloilo City, Philippines
M.P.E. in Dance Stream, College of PESCAR, West Visayas State University, Iloilo City, Philippines
jemuel is a Filipino 4th year Ph.D. student in Critical Dance Studies with a Designated Emphasis in Southeast Asian Studies at UCR. He is a fellow of the Fulbright Foreign Student Program and the Gluck Program of the Arts. His choreography weaves his passion for dance, music, storytelling, theater, and comics. As a transdisciplinary mover, his works were performed in countries like the USA, Thailand, Japan, Germany, and Spain. His research foregrounds an Indigenous-centered, decolonial, and transpacific dance studies lens to nuance the intercultural convergent experience of Filipino Indigenous communities and folk dance companies in the homeland and the diaspora.

Irvin Manuel Gonzalez, He/Him/His
Igonz003@ucr.edu
B.A. in English, University of California, Riverside
Irvin Manuel Gonzalez is a Ph.D. candidate at the University of California, Riverside in the Critical Dance Studies Program. His dissertation research analyzes how immigrant, queer, and working-class quebradita dancers construct mexicanidades to navigate trans/national politics. Gonzalez examines how affective affiliations between quebradores/as/xs , on both sides of the U.S.-Mexico border, are embodied to forge transnational belonging. In doing so, he theorizes the body as an archive of movement that brown bodies use to resist xenophobia/homophobia and the instability of neoliberal economies. Gonzalez is a founding member of Primera Generación Dance Collective, a board member for SBLA, and teaches at Mt. San Jacinto College.

Dava D. Hernández, She/Her/Ella
Dhern038@ucr.edu
M.A. in Dance, Texas Woman’s University
B.A. in Mexican American Studies, University of Texas, San Antonio
Dava D. Hernández is a Ph.D. candidate in Critical Dance Studies at the University of California, Riverside researching dancing and performing bodies from early twentieth century Mexican American carpas or traveling tent shows. Hernández has received the Graduate Research Mentorship Fellowship, Gluck Fellowship, and Eugene Cota Robles Award. She was a long-time member of the Guadalupe Dance Company in San Antonio, TX and has been involved in various dance-theater productions throughout the U.S. Southwest. She taught Dance throughout San Antonio and as an adjunct at Palo Alto College, San Antonio College, Texas Woman’s University, and California State University, San Marcos.

Rosalia Lerner, She/Her/Hers
rlern001@ucr.edu
B.A. in Dance and Performance Studies at the University of California, Berkeley
M.A. in Performance Studies at New York University
Rosalia Lerner is a doctoral student in Critical Dance Studies at the University of California, Riverside. Her dissertation project, “Get Well Soon!: Sick Bodied Performance in Chronic Conditions” considers how chronic illness reframes embodiments of crisis as quotidian and ongoing rather than eruptive and ephemeral. Her research looks at the intersections of disability, race, and choreographies of space to interrogate ideas around sickness and health.

Kendall Loyer, She/They
Kloye001@ucr.edu
B.A. in Dance Performance, Columbia College Chicago
M.F.A. in Experimental Choreography, University of California, Riverside
Kendall Loyer is a dancer, dancemaker, dramaturg, scholar, educator, photographer, and creative writer. Her movement practice investigates memory, embodied processes of remembering and themes of dispossession, haunting and displacement. Her doctoral research aims to unravel the queer layers of time, geography, and embodiment in Appalachia through the lens of Critical Dance Studies. Her work focuses on performance, storytelling, labor, folk lifeways and the radical antiracist potential of “white trash aesthetics” under the necropolitical violence of racial capitalism.

Evangelina Macias (Aamskapipikuni, Nakoda, GrosVentre), She/Her
evangelina.macias@email.ucr.edu
B.F.A. in Dance with a Modern Emphasis, Utah Valley University
Evangelina Macias’ dissertation research focuses on Indigenous Women dancing defiance through the dance and performance sites of Fancy Shawl, Pole dance, and Burlesque. In addition to her research and own practices in pole dance and Fancy Shawl, Macias teaches Fancy Shawl and Hoop Dance for the Title VI program for Native American youth. She has participated and assisted in different projects, which include: The special edition of Indigenous Dance Today in Dance Research Journal(2015), UCR Medicine Ways Conference(2015), Indigenous Choreographers at Riverside(2016), UCR Medicine Ways Powwow(2017), and the Dancing Earth and V’ni Dansi collaboration Michif Medicines in Vancouver BC (2018).

manuelMANNYmacias, He/Him/His
mmaci012@ucr.edu
B.A. in Gender, Ethnic, and Multicultural Studies, Minor in New Dance, Cal Poly Pomona
M.F.A. in Dance, California State University, Long Beach
manuelMANNYmacias is an interdisciplinary artist from La Puente, CA. He is a founding member of Mechanism Dancetheatre Collective, a Pomona-based project that centers de-colonial performance practices//processes//experiments in the areas “East of the 605.” He is also a collaborator//instigator with FEK-MAC, a bicoastal (NYC/LA) project with Gayle Fekete. His research//practice explores power structures and the cultivation//manifestation of emergent//divergent frameworks.

Yeji Moon, She/Her/Hers
ymoon016@ucr.edu
B.F.A. in Dance, Dongduk Women’s University
M.A. in Dance Education: Teaching Dance in the Professions, New York University
Yeji Moon is a second-year Ph.D. student in Critical Dance Studies at UCR. As a professional dancer, her background is in performing, choreographing, and directing contemporary dance. She is also a certified Yoga and Pilates(RCCB) instructor. After her BFA program, She moved to New York City and continued to choreograph and perform with various choreographers and dancers. She also studied and worked at the Laban / Bartenieff Institution of Movement Studies as a Certified Movement Analyst (CMA). Her current research interests include K-pop dance, ritual dance, communal identity, and especially the relationship between K-pop culture and young audiences.

Cuauhtémoc Peranda, They/He/She/Prince/Father/Ella
cpera001@ucr.edu
B.A. in Comparative Studies in Race & Ethnicity, Stanford University 
M.F.A. in Dance, Mills College
(Mescalero Apache, Mexika-Chichimeca/Cano; cihuaiyolo butch queen) Their research focuses on the development of the House Ballroom Scene, and how queer, transgender and two-spirit black, and blackened indigenous peoples of the Western Hemisphere have deployed the dance form of vogue as a praxis of decolonization, realness, colonialism, transformational resilience via shade, and queering indigenous knowledge reclamation. They walk and raise children as “Overall Prince Don’Té Lauren” of The Legendary House of Lauren, International. Their studies have been supported by several fellowships including the U.S. Dept. of Education Native American Studies Graduate Assistance in Areas of National Need (G.A.A.N.N.).

Preethi Ramaprasad, She/Her/Hers
prama007@ucr.edu
B.A., in Political Science and Cultural Anthropology, Rutgers University

Preethi Ramaprasad is a third year Ph.D. student in Critical Dance Studies at UC Riverside, where she received the Gluck Fellowship and Chancellor’s Distinguished Fellowship.  She has trained in South Indian classical dance (Bharatanatyam) from Prof. Sudharani Raghupathy and music from Padma Srinivasan.  Ramaprasad has performed/taught in India, Europe, and the United States.  She is also the curator of When Eyes Speak, San Francisco’s first Indian Choreography Festival. Ramaprasad researches the intersection of Bharatanatyam and politics through performance, literature, and music. Her undergraduate honors thesis at Rutgers University investigated the connection between classical dance and music practices in Tamil Nadu.

Lindsay Blue Annie Rapport, She/Her
lrapp001@ucr.edu
B.A. in Spanish Language & Latin American Cultural Studies, Minor in Dance, Pitzer College
Lindsay Rapport is a Ph.D. Candidate in Critical Dance Studies at the University of California, Riverside. Her dissertation, Get on this Vibe: Freestyling and Being in/as Radical Togetherness, explores vibing in hip hop freestyle dance practices as an alternative to violently individuated subjecthood. Arguing that what takes place in these spaces exists beyond the dance floor as well, her work considers how the practice of vibing can inform the practice of co-conspiring in the ongoing struggle for Black liberation. She is a founding dancer of ENVY Dance Company and Associate Faculty in the Dance Program at Riverside City College.

José Eduardo Valadés, él/He/Him/His
jvala005@ucr.edu
B.A. in Humanities, Universidad de Quintana Roo, México
M.F.A. in Creative Writing, New York University
Jose Eduardo is a 3rd year PhD student in Critical Dance Studies at UCR. He has worked as an editor, teacher, blogger, translator, freelance writer and shiatsu practitioner. He gained interest in Dance Studies on account of the extended influence of literary theory and language theory on art interpretation. His research interests focus on the connections between dance, intimacy, failure and the philosophy of action. He’s doing a UCHRI/UCOP funded research called “Performance in the Wake of the Political.”

Magnolia Yang Sao Yia, She/Her/Hers
myang053@ucr.edu
B.F.A. in Dance and Minor in Asian American Studies, University of Minnesota, Twin Cities
Magnolia Yang Sao Yia is a dance artist and PhD student in Critical Dance Studies with a Designated Emphasis in Southeast Asian Studies. She is Co-President of the Dance Graduate Student Association, and in 18-19 as Chair, organized Southeast Asian Studies Graduate Student Association’s first annual conference. As a 20-21 Graduate Research Mentorship Program Award recipient, and through the support of the Dean’s Distinguished Fellowship Award and the Gluck Fellows Program of the Arts, she will be researching dance and embodied practices of Hmong in the U.S. Her research interests include social justice, decoloniality, and diaspora studies. magnoliayangsaoyia.com (Photo by Bill Cameron, 2019)