Wendy Arons is professor of drama and Director of the Center for the Arts in Society at Carnegie Mellon University in Pittsburgh, PA, USA. Her research interests include performance and ecology, 18th- and 19th-century theatre history, feminist theatre, and performance and ethnography. She is author of Performance and Femininity in Eighteenth-Century German Woman's Writing: The Impossible Act (Palgrave Macmillan 2006), and co-editor, with Theresa J. May, of Readings in Performance and Ecology (Palgrave Macmillan 2012). She is also co-translator, with Sara Figal, of a new edition of G. E. Lessing’s Hamburg Dramaturgy, edited by Natalya Baldyga, which received the 2018 ATHE/ASTR Award for Excellence in Digital Scholarship (Routledge 2018; also available online at http://mcpress.media-commons.org/hamburg/). In addition, Arons has published articles in Theatre Survey, Theatre Topics, The German Quarterly, Communications from the International Brecht Society, 1650-1850, Text and Presentation, Theatre Journal, TDR, and Journal of Contemporary Drama in English, as well as chapters in a number of anthologies, including “Climate Change and the Capitalocene in Colleen Murphy’s The Breathing Hole” in Critical Perspectives on Contemporary Plays by Women (ed. Penny Farfan & Lesley Ferris; “Ecodramaturgy in/and Contemporary Women’s Plays” (co-authored with Theresa J. May, and published in Contemporary Women’s Playwriting, ed. Penny Farfan & Lesley Ferris); and “Beyond the Nature/Culture Divide: Challenges from Ecocriticism and Evolutionary Biology for Theatre Historiograpy” in Theatre Historiography: Critical Questions (ed. Henry Bial & Scott Magelssen). She writes regularly about theater and culture in her blog, “The Pittsburgh Tatler” (http://wendyarons.wordpress.com).

Melissa Blanco Borelli is a writer, dancer, cultural critic, Associate Professor of Theatre and the new director of the dance program at Northwestern. She has been faculty at MIT, University of Surrey (UK), Royal Holloway, University of London (UK) and the University of Maryland, College Park. Her research interests include Blackness in Latin America, critical dance studies, performance studies/performative writing, popular dance on screen, feminist (auto)ethnography, historiography, and the digital humanities. She was the Principal Investigator in a UK Arts and Humanities Research Council-funded grant project (2018-2020) that focused on embodied performance practices, memory, and archives. Blanco Borelli and her co-researchers at the Universidad de Antioquia worked with Afro-Colombian and indigenous communities affected by the Colombian armed conflict and created a web-based digital archive that highlights their worldmaking creative practices. The archive can be found at www.corpografias.com and her collaborative research on performance, embodiment and the digital continues via www.perbodigital.com. She is the author of She is Cuba: A Genealogy of the Mulata Body which won the De la Torre Bueno Prize for best book in dance studies in 2016. She is also the editor of The Oxford Handbook of Dance and the Popular Screen (2014). Her scholarly work appears in journals such as The Black Scholar, Contemporary Theatre Review, Women & Performance: a journal of feminist theory, The International Journal of Screendance and in numerous anthologies including Black Performance Theory, The Oxford Handbook of Dance and Competition, Zizek and Performance and The Oxford Handbook of Screendance. She is the current President of the Dance Studies Association.

Elizabeth W. Son is an Associate Professor in the Department of Theatre and Director of the Interdisciplinary PhD in Theatre and Drama Program at Northwestern University. Her research focuses on the interplay between histories of gender-based violence and transnational Asian and Asian American performance-based art and activism. She is the author of Embodied Reckonings: "Comfort Women," Performance, and Transpacific Redress, which received four accolades: the Book Award in Humanities and Cultural Studies from the Association for Asian American Studies; the Bonnie Ritter Outstanding Feminist Book Award from the National Communication Association, Feminist and Gender Studies Division; the Outstanding Book Award from the Organization for the Study of Communication, Language, & Gender; and Finalist for the George Freedley Memorial Award from the Theatre Library Association. Son’s new book project titled Holding Histories examines contemporary Korean diasporic women’s aesthetic practices in relation to social and political violence. Her essays have appeared in Asian Theatre Journal, Theatre Survey, Theater, e-misférica, Oxford Research Encyclopedia of Literature, Race and Performance After Repetition, and The Routledge Companion to Theatre and Performance Historiography. She also writes op-eds, which have appeared in such publications as the Los Angeles Review of Books and The Hill. Son also serves on the editorial board for Theatre Survey. As an inaugural Mellon/ACLS Scholars & Society fellow, she was a scholar-in-residence at KAN-WIN: Empowering Women in the Asian American Community, merging her interests in social justice and the public humanities. Son continues to partner with KAN-WIN as a co-founding member of their "comfort women" justice advocacy team.

Colleen Kim Daniher is an Assistant Professor in the Department of Communication Studies at Wilfrid Laurier University in Ontario, Canada. Her research spans Asia and the Americas and focuses on the consolidation and contestation of categories of race, gender, and nation through performance practices from the age of 19th-century “new” imperialisms to the present. Her writing has appeared in Theatre Journal, TDR, Women & Performance, e-misférica, Theatre Research in Canada, and Canadian Theatre Review. She recently co-edited a special issue on “Race and Performance in the US-Canada Borderlands” in Theatre Research in Canada, and her article “Looking at Pauline Johnson: Gender, Race, and Delsartism’s Legible Body” won the 2021 Outstanding Article Award from the Association for Theatre in Higher Education. She is currently completing a book manuscript on the mixed-race femme performer and the colonial cartographies of popular American entertainment.

Marlis Schweitzer is Professor of Theatre and Performance Studies at York University. She is the author of When Broadway Was the Runway: Theater, Fashion and American Culture (2009) and Transatlantic Broadway: The Infrastructural Politics of Global Performance (2015). Her most recent book, Bloody Tyrants and Little Pickles: Stage Roles of Anglo-American Girls in the Nineteenth Century (2020), received the George Freedley Memorial Award from the Theatre Library Association. With Laura Levin, Marlis is co-editor of Performance Studies in Canada, recipient of the 2018 Patrick O’Neill Award from the Canadian Association for Theatre Research for best edited book. She is a member of the Royal Society College of New Scholars, Artists, and Scientists, and a Tier 2 York Research Chair in Theatre and Performance History. Marlis is past editor of Theatre Research in Canada and Theatre Survey, and a former President of the Canadian Association for Theatre Research.

Indu Jain is an Associate professor in the Department of English at JDMC, Delhi University, India. She has a teaching experience of more than 15 years and has published in the areas of feminist theatre, theory and performance studies. She is deeply interested in probing the lacunae that exists in the feminist theatre historiography within the performance space. She is the convener of the Feminist Research Working Group for the International Federation for Theatre Research since 2019, and is an editorial board member for the peer reviewed journal, Theatre Research International (TRI) published by Cambridge University Press. She recently completed her research fellowship at the Eric Auerbach Institute of Advanced Studies, Cologne (Germany, 2022).

Jill Lane is Associate Professor of Spanish & Portuguese and Latin American and Caribbean Studies at New York University, where her research and teaching focus on Latin American performance and visual culture. She is author of Blackface Cuba, 1840–1895 (U Penn Press, 2005), past editor of e-misférica, and has written recent articles on Latin American performance art.

Elliot Gordon Mercer is an ACLS Emerging Voices Fellow in the Humanities at the University of Chicago. He is an interdisciplinary artist, curator, and performance scholar. Mercer’s research and creative practice investigate the intersections of dance and visual art, with an emphasis in postmodernism, feminist art, and queer theory. As a dancer, he teaches and performs the repertoire of Yvonne Rainer. In 2016 he curated the exhibition "Mapping Dance: The Scores of Anna Halprin" at the San Francisco Museum of Performance Design. A practitioner of Halprin's work, he is a Registered Somatic Movement Therapist. His scholarship appears in Dance Research Journal, TDR: The Drama Review, the Routledge Encyclopedia of Modernist Dance, and the proceedings of the International Council of Kinetography Laban. Mercer is a member of the Dance Studies Association Board of Directors and the convener of DSA’s Practice-as-Research Working Group.

Dr. Greer Crawley is an Honorary Research Fellow and Lecturer in Scenography in the Department of Drama, Theatre and Dance. She received a MAS (Masters of Advanced Studies in Scenography) The University of the Arts, Zurich and a DrPhil Institute for Theatre, Film and Media Studies, University of Vienna for her dissertation Strategic Scenography-Staging the Landscape of War. She is an Associate of the Museums Association, Director of the Society of British Theatre Designers, editor for the journal of the Society of British Theatre Designers and UK commissioner for OISTAT Publications commission. She curated Traces of the Future: archaeology of modern science in Africa, The Nunnery Bows Arts in 2017; was co-curator Scenofest Architecture WSD 2013, UK and co-curator for Costume at the Turn of the Century at the Bakhrushin State Central Museum in Moscow. She was on the Selection panel for SBTD Staging Places exhibition at the Prague Quadrennial 2019, V&A Theatre and Performance Galleries and The National Centre Craft and Design 2020.

Carolina E. Santo is an independent researcher and performance designer. She is curator for Performance at the Prague Quadrennial of Performance Design and Space in 2023. Addressing scenography from a philosophical point of view has redefined her work as Geoscenography, suggesting that performance can rewrite narratives of space, place and territory. Her performances trigger participatory spatial dramaturgies that call for alternative productions of knowledge. Her work has been presented at the Teatro Nacional D. Maria II in Lisbon, Nuit Blanche in Paris, Magasin des Horizons in Grenoble and Prague Quadrennial. She has participated in several international conferences specialized in theatre and performance and published internationally. She has lectured at the Haute École de Théâtre de Lausanne - La Manufacture; Université Paris 8 – Vincennes - Saint-Denis; the University of Regina and the Bratislava Academy of Fine Arts and Design.

Eva Aymami Rene is a scholar, a dancer and choreographer. A Senior Lecturer of dance at Anglia Ruskin University, Eva’s research focuses in performance of political identities and the construction of gender identity in contemporary Europe. She fulfilled her PhD thesis ‘Choreographing the Silence, Women Dancing Democracy in Post-Franco Spain’ at University of Surrey, Guildford. A Fulbright Scholarship recipient, Eva researched dance as a construction of social protest at UCLA's Department of World Arts and Culture. Eva has danced and choreographed in different theatre productions in Barcelona with La Fura dels Baus and Less 4 Souffles; in Los Angeles with Maria Gillespie and Victoria Marks, while she also developed community projects with the American Veterans Association in L.A., Pina Bausch in Germany and Rosas Dance Company in Brussels.

Anita Gonzalez believes the art of storytelling connects people to their cultures. She extends the reach of her scholarship through public engagement. Her massive open online courses Storytelling for Social Change and Black Performance as Social Protest have reached over 50,000 learners to date. As a co-Founder/Leader of Georgetown’s Racial Justice Institute, Gonzalez contributes to projects which foreground experiences and histories of the under-represented. She has published articles about performance histories and cultures in the Radical History Review, Modern Drama, Theatre Research International, and Dance Research Journal. She has edited and authored four books: Performance, Dance and Political Economy (Bloomsbury), Black Performance Theory (Duke), Afro-Mexico: Dancing Between Myth and Reality (U-Texas Press), and Jarocho’s Soul (Rowan Littlefield). Additional essays about intercultural performance appear in the edited collections African Performance Arts and Political Acts, Black Acting Methods, Narratives in Black British Dance, The Community Performance Reader, and the Oxford Handbook of Dance and Theatre. Gonzalez’ theatre practice includes developing theatrical works focused on telling women’s stories and histories. She is a producer/director/librettist who encourages artists to develop beautiful art crafted for social activism and consciousness raising. Recent works include the libretto Courthouse Bells about voting rights to be produced by Boston Opera Collaborative, Zora on My Mind about Black women’s empowerment and Ybor City the Musical about Afro-Cuban cigar rollers in Tampa, Fl. Dr. Gonzalez (Ph.D. University of Wisconsin) is a member of the National Theatre Conference, the Lincoln Center Director’s Lab, and the American Society for Theatre Research.

Kimberly Jew is an Associate Professor of Theatre & Ethnic Studies at the University of Utah. She is also the current Area Head of Theatre Teaching. Kimberly teaches courses in script analysis, dramatic literature, Asian Pacific American women, ethnic American creative story-making, as well as courses in ethnic American theatre. She has also directed university productions. Currently a co-editor for Frontiers, a Journal of Women Studies (housed at the University of Utah and the University of Nebraska), she was pleased to serve as a past faculty coordinator for the U’s Diversity Scholars program. Her current research interests include Asian American and Pacific theatres, women’s theatre, modern and contemporary drama. She also has a special interest in performance art and community-based performance.

Jessica Friedman is a PhD Candidate in the Interdisciplinary PhD in Theatre and Drama program at Northwestern University. Her research focuses on performances of national identity, race, and female corporeality in midcentury modern dance and dance theatre. She is the recipient of a Dance Studies Association Selma Jeanne Cohen award, the American Society for Theatre Research Selma Jeanne Cohen Presentation Award, and Honourable Mention for the International Federation of Theatre Research’s New Scholar Award. Her work has been published in Dance Chronicle and Dance Research Journal.