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meet the team


is Associate Professor at Università Ca’ Foscari Venezia, where she teaches Dance and Performance Art History and Contemporary Theatre, and Research Associate at CTEL (Centre transdisciplinaire d’épistémologie de la littérature et des arts vivants). She is the Principal Investigator of the international research project (SPIN) “Memory in Motion: Re-Membering Dance History” (2019–⁠2022) and she coordinates the Ca’ Foscari Unit for the international research project “Dancing Museums: The Democracy of Beings” (2018–⁠2021, EACEA, Creative Europe). She has published numerous essays on modern and contemporary dance and research methodology and has directed the book series Dance For Word\Dance Forward. Interviste sulla coreografia contemporanea (2004–⁠2011). She is the author of Martha Graham (2003), Frédéric Flamand (2004) and the editor of Ausdruckstanz: il corpo, la danza e la critica (special issue of  “Biblioteca Teatrale” 2006). She co-edited with M.Nordera Dance Discourses: Keywords in Dance Research (2007), Ricordanze. Memoria in movimento e coreografie della storia (2010) and together they are also co-editing The Oxford Handbook of Dance and Memory (forthcoming). With Gabriella Giannachi she edited Moving Spaces. Enacting Dance, Performance, and the Digital in the Museum (forthcoming), and with Cristina Baldacci On Reenactment: Concepts, Methodologies, Tools (forthcoming). As a curator, she collaborates with Fondazione Querini Stampalia (Venice), Foundation Pinault-Palazzo Grassi (Venice), Lavanderia a Vapore (Turin). Together with Roberto Casarotto, she was in charge of the dance events for the Hangar Bicocca (Milan, 2009–⁠2011). 

Susanne Franco


The conference On Reenactment: Concepts, Methodologies, Tools intends to bring together scholars of visual arts and of curatorial, museum, and dance studies to investigate the methodological and theoretical issues related to the act of reenacting choreographies and gestures, impermanent or unfinished artworks, pivotal or unrealized exhibitions, and institutional archives that need to be put in motion. Besides being an artistic strategy, reenactment is shaping as a new anti-positivistic approach to the history of dance and of art. As such, it is contributing to setting the ground for different forms of historical thinking and understanding that embrace gender, postcolonial, media and cultural studies in the redefinition of knowledge. Acting in the present, reenactment brings to the fore the multiple temporalities involved in the relationship with the past and introduces immersive (personal and/or collective) experience of previous ‘events’ as an alternative – or even a countermeasure – to predetermined representations of history. This is how as contemporaries we can make the past meaningful again by activating it in the present. 

Marina Nordera
Lucia Ruprecht
Ariadne Mikou



is a dancer and a cultural historian (PhD at the European University Institute, Florence). She is Professor and member of CTEL (Centre transdisciplinaire d’épistémologie de la littérature et des arts vivants) at  Université Côte d'Azur, where she is Head of the Arts Department and in charge of the PhD program in Dance Studies. She has published extensively on dance historiography, oral and written dance transmission, body and gender in early modern Europe.  She is the co-editor (with S. Franco) of Dance Discourses: Keywords in Dance Research (2007), Ricordanze. Memoria in movimento e coreografie della storia (2010) and The Oxford Handbook of Dance and Memory (forthcoming). She also co-edited Les arts de la scène à l’épreuve de l’histoire (2011), (with M. del Valle, B. Maurmayr, C. Paillet, A. Sini) Pratiques de la pensée en danse (2020) and three issues of the Journal “Recherches en Danse” (2014, 2015, 2016). She is currently editing the volume A Cultural History of Dance in the Early Modern Period (1450–⁠1650), part of the series A Cultural History of Dance, and co-editing (with S. Andrieu) Traversées: carrières, genre, circulations (forthcoming).



is Professor for Dance Studies at the Institute for Theatre Studies at the Universität Bern. Her main areas of research are: history, discourses and aesthetics of dance from the 18th century until today; contemporary dance and performance; historiography; dance criticism; autobiographical studies. She currently directs the project “Auto_Bio_Graphy as Performance: A Field of Dance Historiographic Innovation” funded by the Swiss National Science Foundation. She is also responsible for the doctoral programme Interdisciplinary Cultural Studies (ICS) at the Graduate School of the Arts and Humanities at the Universität Bern and a member of the board of trustees of SAPA (Swiss Archive of the Performing Arts). Her recent publications include Rhythmen in Bewegung. Äußere, eigene und verkörperte Zeitlichkeit im künstlerischen Tanz (2017) and Tanzkritik. Materialien (1997–⁠2014) (2015).

Christina Thurner



is a Fellow of Emmanuel College and an Affiliated Lecturer at the Section of German and Dutch, University of Cambridge. She has published widely on dance, literature and film. She is the author of Gestural Imaginaries: Dance and Cultural Theory in the Early Twentieth Century (2019) and Dances of the Self in Heinrich von Kleist, E. T. A. Hoffmann and Heinrich Heine (2006, special citation of the de la Torre Bueno Prize). She has edited Towards an Ethics of Gesture (special section of “Performance Philosophy”, 2017) and co-edited (with S. Manning) New German Dance Studies (2012), (with M. Minden) Cultural Pleasure, special issue of “German Life & Letters” (2009) and (with A. Webber and C. Duttlinger) Performance and Performativity in German Cultural Studies (2003). She is preparing (with B. Brandl-Risi) the Handbuch Literatur & Performance (2021).


is a Greek-born artist-researcher and dance scholar who is currently residing in Italy. With a background as an architect, dance performer, and choreographer, her research is located at the crossover between corporeal, spatial and screen-based arts. Her projects explore alternative modes of archiving (“unstable archives”), as well as liminal spaces and in-betweenness, transformation processes, community making and site interventions. She has contributed as an author to book anthologies and her articles and reviews have been published in international peer-reviewed journals. In 2018, she was awarded her fully-funded PhD Degree in Interdisciplinary Choreographic Research from the University of Roehampton (UK). She holds a Master of Fine Arts in Dance from The Ohio State University (USA) supported by a Graduate Teaching Assistantship and the State Scholarships Foundation of Greece (IKY/Erasmus/Erasmus+). She is co-founder of futuremellon/NOT YET ART, a collective that enables her to expand her choreographic practice as well as to experiment with the curation of screendance. Currently, she is a Fellow Artist for Creative Europe’s mAPS-Migrating Artists Project_Challeging Dance and Cinema Across Europe and a Research Fellow at Ca' Foscari University of Venice for the action-research project Dancing Museums - The Democracy of Beings. She also collaborates as an Editor for the global theatre portal The Theatre Times.

meet the contributors


Panagiotis Andrianos (photographer of Creo Dance Company's Commun)

Marco D'Agostin (choreographer and performer)

Ian Douglas (photographer of Nora Chipaumire's choreographic trilogy #PUNK 100% POP *NIGGA)

Sara Lando (photographer)

Marzia Migliora (visual artist)

Sitawa Namwalie (performer, writer, curator)

Ricardo Panozzo (photographer of Silvia Gribaudi's Graces)

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