CREATIVE CHARLES O. ANDERSON (Co-Artistic Director, Choreographer—(Re)current Unrest pt. 2: In D’Nile) is head of the dance program and producing artistic director of Dance Repertory Theatre. Born and raised in Richmond, Virginia, Anderson earned his B.A. in Choreography and Performance with a minor in African Studies from Cornell University and his M.F.A. in Dance from Temple University where he specialized in African Diasporic dance. Professionally, Anderson is artistic director of the criticallyacclaimed dance theatre X which he founded in 2003. He has performed in the companies of Ronald K. Brown, Sean Curran, Mark Dendy and Miguel Gutierrez, among others. His work has been presented nationally and internationally and has earned recognition from numerous and organizations such as the Pew Fellowship for the Arts, one of “25 to Watch” by Dance Magazine and one of “12 Rising Stars in the Academy” by Diverse: Issues in Higher Education magazine. JEREMY ARNOLD (Co-Artistic Director, Choreographer—Bach in Time) is currently in his second year as an adjunct professor of tap dance at The University of Texas at Austin. He received his B.A. cum laude from Muhlenberg College in 2012. In September 2014, Arnold moved to Austin, Texas to join Tapestry Dance Company where he is a principal dancer in his third season. Arnold has served on the faculty of Revive, Dance Master of America, Dance Olympus and the Soul to Sole Festival.
of Theatre Arts & Dance, locates her research and teaching at the intersection of creative and scholarly research. She is the founder and artistic director of Ananya Dance Theatre, a company of female artists of color committed to social justice choreography and to making “people-powered dances of transformation.” Trained originally in classical and folk Indian dance forms, Chatterjea specialized in the classical tradition of Odissi under the tutelage of Sanjukta Panigrahi. Vitally interested in the creation of a contemporary Indian dance mode, Chatterjea began her explorations of form and theme in dance and has now formalized a contemporary Indian dance language, Yorchha, TM based on deconstructions and extensions of the movement principles of Odissi, vinyasa yoga and Mayurbhanj Chhau. Through her study of street theatre and feminist praxis across the world, she arrived at her fierce commitment to the immediate relationship between bodily artistic practices and the social justice movement. ananyadancetheatre.org
GIANINA CASALE (Choreographer—A-peeling, Performer—Lec/Dem or How Do You Spell Femaphobic, (Re)current Unrest pt. 2: In D’Nile, Second to Khan) began performing in high school in the Dallas Area. Most recently, she performed as “Zuli” in In the Red and Brown Water and in Charles O. Anderson’s (Re)Current Unrest (Bodies & Souls, Texas Theatre and Dance, 2016). After graduating in May 2017 with a B.F.A. in Dance, she plans to pursue a career in choreography.
RENNIE HARRIS (Choreographer—Second to Khan) is an artistic director and celebrated choreographer who creates hip-hop culture on his own terms by using some of the world’s most influential forms of movement, music and storytelling to revolutionize contemporary concert dance. Since the age of 15, Harris has been teaching workshops and classes at universities around the country and is a spokesperson for the significance of “street” origins in any dance style. He was voted one of the most influential people in the last 100 years of Philadelphia, his hometown, and has been compared to twentieth century dance legends Alvin Ailey and Bob Fosse. In 1992 he founded Rennie Harris Puremovement, a hiphop dance company dedicated to preserving and disseminating hip-hop culture through workshops, classes, lectures, residencies, mentoring programs and public performances.
ANANYA CHATTERJEA (Choreographer— Walking with Natasha), a professor of dance at the University of Minnesota’s Department
ADRIENNE HURD (Choreographer—Hand in Heart), a native New Yorker, began her training at the Joffery Ballet School, School of American