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| ==Moving Data Studio== | ==Moving Data Studio== | ||
| Elswit co-founded the performance information visualization and interaction design |
Elswit co-founded the performance information visualization and interaction design company , with Ohio State University professor Harmony Bench in 2021. Their project ''Dunham's Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry'' won the 2021 ATHE/ASTR Award for Excellence in Digital Scholarship.<ref>http://www.dunhamsdata.org/</ref> | ||
| The studio's breakaway archival and information visualization installation on dancer and choreographer ] was commissioned by the ] exhibition ''Edges of Ailey'' exhibit in 2024.<ref>https://observer.com/2024/10/art-review-edges-of-ailey-the-whitney/</ref> | The studio's breakaway archival and information visualization installation on dancer and choreographer ] was commissioned by the ] exhibition ''Edges of Ailey'' exhibit in 2024.<ref>https://observer.com/2024/10/art-review-edges-of-ailey-the-whitney/</ref> | ||
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| Kate Elswit | |
|---|---|
 | |
| Born | 1980 New York City, U.S. |
| Title | Professor |
| Academic background | |
| Education | |
| Doctoral advisor | Lucia Ruprecht |
| Academic work | |
| Discipline | |
| Institutions | |
| Website | https://www.kateelswit.org/ |
Kate Elswit (born 1980 in New York City) is an American dance scholar and the head of digital research at Royal Central School of Speech and Drama. Elswit is also Professor of performance and technology, as well as a practicing artist. She is the co-founder of the Centre for Performance, Technology, and Equity at Central, and is co-editor of the New World Choreographies book series. Elswit also sits on the editorial boards for Performance Matters and ASAP/Journal, and is a member of the AHRC Peer Review College as well as the college of expert reviewers for the European Science Foundation.
Early life
Elswit grew up in New York City.
Education
Elswit received a B.A. and B.S. from Northwestern University in 2002 before being awarded a Marshall Scholarship to complete a M.A. at the Trinity Laban Conservatoire of Music and Dance, and then a Ph.D. at the University of Cambridge. Her dissertation dealt with Weimar era dance audiences and modernism, under the direction of supervisor Lucia Ruprecht.
Elswit was a Mellon Fellow at Stanford University from 2009-2012, and then a senior lecturer in theatre and performance studies at the University of Bristol from 2012-2016. She was appointed reader at Central in 2016 and later appointed full professor.
Moving Data Studio
Elswit co-founded the performance information visualization and interaction design company Moving Data Studio, with Ohio State University professor Harmony Bench in 2021. Their project Dunham's Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry won the 2021 ATHE/ASTR Award for Excellence in Digital Scholarship.
The studio's breakaway archival and information visualization installation on dancer and choreographer Alvin Ailey was commissioned by the Whitney Museum of American Art exhibition Edges of Ailey exhibit in 2024.
Performance and art
As a modern dancer, Elswit has performed with Hedwig Dances, Lucky Plush Productions, Felix Ruckert, and others. She collaborates with Swedish choreographer Rani Nair as dramaturg and historian on the Future Memory project. Elswit was also choreographer and performer in Breath Catalogue, which "combined choreographic methods with medical technology to create a cabinet of breath curiosities in performance."
Bibliography (selected works)
Books
- Watching Weimar Dance. Oxford University Press, New York 2014, ISBN 9780199844838
- Theatre & Dance. Palgrave Macmillan, London 2018, ISBN 978-1137605740
Articles
- “Dancing with Coronaspheres: Expanded Breath Bodies and the Politics of Public Movement in the Age of COVID-19”. Cultural Studies 37.6 (2022), 894-916.
- “Visceral Data for Dance Histories: Katherine Dunham’s People, Places, and Pieces” (with Harmony Bench). TDR: The Drama Review 66.1 (2022), 37-61.
- “Ten Evenings with Pina: Bausch’s ‘Late’ Style and the Cultural Politics of Co-Production”. Theatre Journal, 65.2 (2013), 215-233.
- “So You Think You Can Dance Does Dance Studies”. TDR/The Drama Review, 56.1 (2012), 133-142.
- “‘Berlin . . . Your Dance Partner is Death’”. TDR/The Drama Review, 53.1 (2009), 73-92.
- “The Some of the Parts: Prosthesis and Function in Bertolt Brecht, Oskar Schlemmer, and Kurt Jooss”. Modern Drama, 51.3 (2008), Theatre and Medicine, 389-410.
References
- "Royal Central, Profiles". Royal Central. Retrieved November 25, 2024.
- http://www.dunhamsdata.org/
- https://observer.com/2024/10/art-review-edges-of-ailey-the-whitney/