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Jessica Anthony is a performer, choreographer, and educator. She is interested in the ways that dance can empower us to tell our stories, create community, and practice new ways of being in the world. She considers herself a researcher of "circles," using movement to explore what can happen in these third spaces of creation and community building and has been facilitating circles in rehearsals, classrooms, and diverse community settings since 2011. From 2004-2010 Jessica performed nationally and internationally with Jane Comfort and Company (NYC) and presented her work at The Field (NYC) and The Invisible Dog Center (Brooklyn). She received an M.F.A. in dance from the University of Iowa.

Contramestra Eva Agbada started training in the Afro-Brazilian martial art form of Capoeira Angola in 2000 with the International Capoeira Angola Foundation (FICA). Since then, she has continued to train with Mestre Kamau (responsible for the Philadelphia Chapter of FICA) as well as regularly traveling within the U.S.A. and to Brazil in order to train with the founding mestres of FICA (Mestres Cobra Mansa, Valmir and Jurandir). She has been teaching Capoeira Angola for more than 10 years and received the title of Contramestra in 2019 from the FICA mestres at the FICA International Conference in Bahia, Brazil.

 is a dancer, scholar, and educator currently based in Philadelphia who joins the Dance Program faculty in fall 2020. Bergman recently earned a Ph.D. in dance from Temple University (2019) and also holds an M.F.A. in dance performance from The University of Iowa (2009) and a B.A. in dance from DeSales University (2004). Her areas of research include histories of U.S. concert, vernacular, and commercial dance, and the racial politics and ideologies of the commercial dance industry in the late twentieth century. Bergman has more than a decade of experience teaching ballet, modern/contemporary, and improvisational forms and has taught a variety of undergraduate dance theory/history courses at both The University of Iowa and Temple University and has been an invited guest lecturer on topics including American social dance, Hollywood film and music videos, and the history of modern yoga.

Madeline Cantor (Interim Co-Director and Director Emeritus) received a B.A. from Barnard College and an M.F.A. from the University of Michigan. She performed and choreographed as a member of Dance Conduit from 1980 to 1989 and continues to work independently. She has been awarded grants for her choreography and is active as a guest choreographer with college and youth companies, community groups and professional companies, including Nimbus Dance Works which currently has several of her dances for young audiences in its repertory. At Bryn Mawr she teaches technique, composition, repertory, and praxis courses in arts teaching and dance appreciation and has received the College’s Rosalyn R. Schwartz teaching award. Outside of Bryn Mawr, she directs  (Teaching Artists Group), serves on the national board of , and guest teaches at a charter school in Chester, Pa.

Tammy Carrasco (Interim Director and Visiting Assistant Professor of Dance) is a dance artist and educator recently relocated to Philadelphia. She received an M.F.A. from Ohio State University and a B.F.A. from the University of North Carolina School of the Arts and is an alum of the Walnut Hill School of the Arts. Her professional work has been presented by the Boston Contemporary Dance Festival, Dixon Place, Dumbo Dance Festival, Houston Ballet’s Frame x Frame Film Festival, Movement Research at Judson Church, and Triskelion Arts, among others. In academic settings, her work has been featured in the American College Dance Association’s Gala and National showcases. She has taught and staged work as a guest artist nationally and internationally and served as a full-time faculty member for SUNY Brockport’s Dance Department. Outside of teaching, Carrasco imagines, creates, and clears space for possibility. She makes dances and fosters collaborations under the umbrella of Wild Beast Dance and is co-organizer of The Landingspace Project, a virtual maker’s space created for and by artists during the COVID-19 pandemic.

Linda Caruso Haviland is a Professor Emerita at 91���˶������ and the founder and Director of the Dance Program, and served as the Alice Carter Dickerman Chair for the Director of the Arts. Prior to her roles at Bryn Mawr, she founded the dance program at SUNY/Westchester CC and taught in several colleges and universities. She also teaches in and directed 91���˶������’s critical thinking and writing program for first year students and has received Bryn Mawr's the College’s Rosalyn R. Schwartz teaching award and was the faculty recipient of the College's McPherson Award for Excellence. She received her undergraduate degree in dance from Adelphi University, continued studying technique in NYC, and went on to complete her doctorate in the areas of dance and philosophy at Temple University. She has performed with companies in New York and Philadelphia, principally with ZeroMoving Company under the direction of Hellmut Gottschild, and continues to dance and choreograph. Her professional activities include panel presentations, interdisciplinary arts collaborations, and projects focusing on mediating the multiple perspectives that arise from the observation of and writing about dance. Her scholarly research has included preserving the work of significant Philadelphia dance artists through oral histories and video documentation. Her recent writing projects include a focus on the rise of a professional class of dancers in turn of the century Philadelphia and the role of bodiedness in both historiography and the archive, including co-editing, with Bill Bissell, The Sentient Archive: Bodies, Performance and Memory.

Jennifer Chipman Bloom trained at Pittsburgh Ballet Theatre School and the School of American Ballet. At 15 she was chosen by Jerome Robbins to perform a principal role in his original work, 2&3 Part Inventions. Jennifer joined the New York City Ballet in 1994 where she would go on to perform a wide range of Balanchine and Robbins ballets, as well as originating roles for Christopher Wheeldon, Peter Martins and Mr. Robbins. After leaving the NYCB in 1998 Jennifer danced with Eliot Feld’s Ballet Tech, Suzanne Farrell Ballet, and Pennsylvania Ballet. Jennifer has taught at Point Park College, Pittsburgh Ballet Theatre School, Ballet Hawaii, and Swarthmore College. She also teaches private and semi-private lessons, and does pre-professional coaching. Jennifer earned a bachelor's degree in political science from Hunter College.

Melanie Cotton is a Philadelphia-based choreographer, dancer, and theater artist. Her work as a principal dancer and contributing choreographer for Montazh PAC and as a principal dancer with Rennie Harris Puremovement has shaped her unique approach to hip hop dance. Melanie’s performance credits include Bill Irwin’s Happiness Lecture, 1812 Productions' It’s My Party: The Women in Comedy Project, and Walnut Street Theater’s In The Heights. Choreographer credits include Red 40’s The Best Songs in the World for the Polyphone Festival and the Arden Theater’s productions of The Legend of Georgia McBride and Touch Tones, and Lightning Rod Special's The Appointment.

Felicia V. Cruz started training in ballet in Allentown, Pennsylvania, at the age of three. She studied in various summer programs including the Rock School of Philadelphia and received a scholarship to study with the Richmond Ballet of Virginia. After high school, Felicia studied at Steps on Broadway in NYC. She joined Jay-T Jenkins’ company Jeté Performance Company while completing studies for a B.F.A. in Ballet Performance from University of the Arts. She performed with Carbon Dance Theater from 2010 to 2013 under the direction of Meredith Rainey of the Pennsylvania Ballet. Cruz is a founding member, assistant director, and resident choreographer for Dancespora, a non-profit dance company committed serving communities and audiences often lacking the resources and accessibility for participation in the performing arts.

Britt Whitmoyer Fishel is a dance artist, choreographer, dance filmmaker, and educator. She holds a B.F.A. in dance performance from East Carolina University and an M.F.A. in dance (screendance) from the University of Michigan. Fishel has led company tours throughout New York City, Philadelphia, D.C., Richmond, Asheville, Charlotte, Atlanta, Chicago, and London. Her screen work has been seen in Greensboro Dance Film Festival, Y’allywood Film Festival, Detroit Dance City Festival, EnCore Dance on Film Festival, DanceBARN, Dance for Reel, FilmFest by Rogue Dancer, Women in Dance Leadership Conference, as well as several gallery exhibitions across the country. Fishel currently resides in Philadelphia where she teaches at Drexel University as well as 91���˶������. She continues to make both live performance and dance film independently and collaboratively under the umbrella of . Through research and performance, Fishel aims to foster socioeconomic, political, and identity-driven conversations that are diverse, inclusive and intersectional.

Bethany Formica has a B.F.A. in dance from Mason Gross School of the Arts at Rutgers University. She has experience with several New York City-based companies including Sean Curran and Company, Pearson/Widrig Dance Theatre, the Kevin Wynn Collection, Michael Foley, David Gordon, and Martha Bowers Dance Theatre; and Philadelphia-based choreographers and companies Cardell Dance Theater, Boan Danz Action, Megan Mazarick, Nichole Canuso Dance Company, and Melanie Stewart Dance Theatre, and internationally with Dada von Bzdulow Theatre and Koncentrat in Poland. Bethany has received grants and fellowships from the Independence Foundation and the Pew Center for Arts & Humanities through Dance Advance. Her dances have been presented in Philadelphia and New York City, as well as in Italy, Poland, Bulgaria and England.

Clarricia Golden began dancing at Miss Libby's School of Dance under the direction of Libby Singleton and Jennifer Alford-Reimer in Sumter, S.C. She continued her training under Gaynell Sherrod at Florida A&M University. Clarricia was a scholarship recipient at the Alvin Ailey summer program and spent summers training at Philadanco. After receiving a B.S. in health, physical education, and fitness with a concentration in dance she decided to move to Philadelphia where she initially joined D/2 under the artistic direction of Donald Lunsford before becoming a member of Philadanco in 2017 with which she continues to perform nationally and internationally.

Joe Gonzalez, a Boston native, started dancing at the age of 13 at the Roxbury Center Performing for the Arts. He graduated from Boston Arts Academy as a dance major and received a B.F.A. from Boston Conservatory. Joe participated in programs such as American Dance Festival, Bates Dance Festival and SpringBroad Danse Montreal. Joe currently tours nationally and internationally as performing artist with Philadanco! (The Philadelphia Dance Company) where he also directs Philadanco’s 3rd company (D/3). He co-founded and directs Jo-Mé Dance Arts and has also toured and performed with Anna Myer and Dancers, Prometheus Dance, #DBdanceProject, Putty Dance Project, Dance IQUAIL, and Waheed Works. In addition to his work at 91���˶������, he teaches at Temple University and the Boston Arts Academy, a high school for the visual and performing arts.

Yasmin Goodman trained extensively in gymnastics and in Shotokan Karate before turning to dance. She studied at Temple University and with top area jazz teachers and has taught and performed in the greater Philadelphia area for more than 20 years. She founded and directed Yazzu Dance Company and was director at the Main Line YMCA Jazz Dance programs.

Ama Ma'at Gora is a Philly-based artist, educator, and choreographer. She received a B.F.A. in dance from Georgian Court University and an M.F.A. from Temple University. These experiences lent her opportunities to work with choreographers such as Kariamu Welsh, Lela Aisha Jones, Earl Mosley, Sidra Bell, Gregory King, among others. She now serves as community-based learning director at Drexel University overseeing artistic civic engagement. She has been artistic director of Ma'at Works Dance Collective since 2017 and believes that her works allow space to converse about controversial topics surrounding identity, trauma, restoration and modality. Adamant about building safe spaces, Gora is a co-founder of The Juba House, a co-creation space for black, queer artists living near and around the West Philadelphia community.

Lela Aisha Jones (LAJ), Assistant Professor and Director of Dance, is a movement performance artist, community-based curator/organizer, an inter-arts collaborator, and embodied researcher. For her elegantly daring offerings, LAJ has earned a New York Dance and Performance | Bessie nomination, Leeway Transformation Award, and a Pew Fellowship in the Arts. Some of her most recent artistic engagements and projects include a feature film and virtual ceremony titled Revivals of Blackness (2021) commissioned by World Cafe Live, Olney Embrace Project Revival Walks (2020/2021) commissioned by Olney Culture Lab, Modupúe | Ibaye: The Yoruba Performance Project commissioned by Intercultural Journeys and supported by the Pew Center for Arts and Heritage (2017-2019), and commissioned work titled we all gon’ die into revivals for Red Clay Dance in Chicago, IL (2021). Her intricately archived and most essential professional experiences over her career have been in performance, practice, and guidance with nia love, Margo Blake, Akosua Graham, Dr. Nzinga Metzger, Christal Brown | Inspirit, Jawole Willa Jo Zollar and the Urban Bush Women family, Barak Ade Sole, Moustapha Bangoura, Sulley Imoro, Anssumane Silla, Ronald K. Brown, Dandha Da Hora, Jelon Viera, Ediluesa Santos, Iya Oyin Hardy, and Mama Dorothy Wilkie.

LAJ is also the Associate Artistic Director of Brownbody, a St. Paul Minnesota-based organization that manifests embodied blackness on ice and on stage. She earned a B.S. at University of Florida, an M.F.A. at Florida State University, a Ph.D. at Texas Woman’s University, and is the Director of Dance at 91���˶������. LAJ was born and raised in the wonderful Tallahassee (a Muskogee word for old fields), FL and is based in Philadelphia, PA. She would like to give honor to her ancestors known and unknown…black folks who worked and fertilized the land we know live on and the economy we rely on. LAJ thanks her parents for always being good with her artistry and is enormously grateful for the continual grounding support offered by her sister, her life partner, the young kinds she is honored to collectively raise, her committed dear loves, her sister, nieces, and nephews.

Patricia “Peaches” Jones is a movement artist specializing in dances and rhythms of the African Diaspora. She has performed with Batoto Yetu, Les Ballet Shango, and Troupe Dada, and currently dances with artist-activist Lela Aisha Jones | FlyGround and Kulu Mele African Dance and Drum Ensemble, Philadelphia’s premier African dance ensemble. She is a program associate for Young Artists of New Jersey and Eastern Pennsylvania, and is working to develop choreography, classes, workshops, and experiences that utilize the healing properties of diasporic rhythms and movement to cultivate physical, emotional, and spiritual well-being for individuals and community.

Linda Karash Mintzer studied on scholarship at the School of the Pennsylvania Ballet, making her professional debut at age 13 in that company's production of Balanchine’s Symphony in C. She also performed with New York City Ballet and the Bolshoi Ballet when they toured Philadelphia. Mintzer was a Pennsylvania Ballet Company member from 1971 through 1982, except for a two-year break, during which she attended Harvard University as an English and American literature major. Favorite principal roles included The Nutcracker "Snow Pas de Deux," Divertimento #15, Pas de Dix, Senta Driver's Resettings, and Chou San Goh's Casella 1,3,4. After retiring from PA Ballet, Mintzer completed a B.A. at New York University’s Gallatin Division. In addition to the expertise acquired as a dancer in a Balanchine-based company, she has trained and taught extensively in the Vaganova (Russian) style. She is also on the faculty of Pennsylvania Academy of Ballet in Narberth, Pennsylvania, where she teaches both pre-professional and adult students.

Corinne Karon graduated from the University of the Arts in 1996. Since then, she has danced on every continent in the world, including Antarctica. Corinne is celebrating her 28th year with Tap Team Two, of which she is the executive director, and her 13th year as founder and artistic director of Uniting Colleges Through Tap. Corinne won a Rocky Award for her work with Men On Tap and received two University of the Arts Faculty Enrichment Grants. With Tap Team Two, Corinne is part of an assembly program that was selected and honored as the “Artist of the Year” by the national Young Audiences organization. Over the last decade, Corinne has been able to perform with and learn from tap artist Germaine Ingram as part of an initiative that focused on using movement to convey history and social issues. After engaging in this process, Corinne began a series of open discussions called “Philly Needs to Talk Tap!” which are based on tap dancing's place in Philadelphia history.  Corinne has traveled to Taiwan and Brazil to teach and perform tap and twice produced work for the Philadelphia Fringe Festival. Corinne teaches on a regular basis at the University of the Arts, Rowan University, the Chester Valley Dance Academy, and the Wissahickon Dance Academy, as well as Bryn Mawr.

Rebecca Malcolm-Naib danced professionally with ZeroMoving Dance Company, Karen Bamonte Dance Works, Chamber Dance Company, Freedman/Coleman Dance Company, Claudia Murphey Dance Company, and Battery Dance Company. She co-founded Travesty Dance Group and co-directed the company from 1997 to 2010. Rebecca's choreography has been performed in Cleveland, Seattle, Philadelphia, Maine, Toronto, Houston, and New York City. She has taught at the University of Washington and Kent State University, Bates Dance Festival’s Young Dancers Workshop, and at Swarthmore College. Malcolm-Naib’s research has been published in Impulse: The International Journal of Dance and Science, Medicine, and Education. She has been a member of the Board of Directors for BalletX since 2012. She received a B.A. from Mount Holyoke College and has an M.F.A. from the University of Washington.

Meredith Rainey began dancing at age 15. He joined the Pennsylvania Ballet where he was promoted to soloist in 1999 until his retirement in 2006. He also guested with the Dance Theatre of Harlem and Alvin Ailey Dance. He has performed works by famous 20th-century choreographers including George Balanchine, Alvin Ailey, Paul Taylor, Lar Lubovitch, José Limón, John Cranko, and William Forsythe. He also originated roles choreographed by Robert Weiss, Jorma Elo, David Parsons, Trey McIntyre, Kevin O’Day, Dwight Rhoden and Matthew Neenan. Upon retiring from performance, he turned to choreography, and has created works for Pennsylvania Ballet, Incolballet (Ballet Clásico Nacional de Colombia), BalletX, and Hubbard Street 2. He has won support from the Pennsylvania Council on the Arts the Mid-Atlantic Arts Foundation, the Independence Foundation Fellowship in the Arts, and Dance Advance.

Ann L. Renhard Cole studied as a scholarship student with Pacific Northwest Ballet School and the School of American Ballet with some of the world’s most esteemed dance teachers from companies such as Ballets Russes, Kirov, Joffrey, New York City Ballet, and Royal Danish Ballet. As a company member with the Pacific Northwest Ballet in Seattle and later, Alonzo King’s LINES Ballet in San Francisco, Ann enjoyed a career performing corps, ensemble, and soloist roles in classical and contemporary ballets. In addition to performing a core repertoire of Balanchine and Kent Stowell works, Ann had the opportunity to create original works with choreographers including Alonzo King, Lucinda Childs, Lynn Dally, and Ian Horvath, and to participate in gala performances with Mikhail Baryshnikov and Gelsey Kirkland. After a back injury forced her retirement from the stage, Ann earned her undergraduate and law degrees from the University of Texas at Austin while teaching and choreographing ballets in the Austin dance community. She practiced environmental law and served as an attorney for the U.S. Court of Appeals. In recent years, Ann found her way back to the dance studio and served as Executive and Artistic Director for the non-profit Wilmington Ballet Academy of the Dance. Her teaching is inspired by her varied background of experiences and a desire to help dancers enjoy a high-quality lifetime engagement with dance that enriches and informs their lives.

Denise Somrack D’Angelo began her ballet training in Cleveland, Ohio studying with Janice and Raymond Smith at the Fine Arts Association in Willoughby, Ohio. At 17 she was awarded a full scholarship to study at the School of the Pennsylvania Ballet under the direction of Lupe Serrano. She joined the Pennsylvania Ballet in 1982 with Barbara Weisberger and Benjamin Harkarvy as directors and became a soloist in 1987 under the direction of Robert Weiss. D’Angelo danced many soloist and principal roles in the classical and Balanchine repertoire such as Snow Queen and Dew Drop in The Nutcracker, Myrtha in Giselle, Prayer in Coppelia as well as principal roles in Balanchine’s Four Temperaments, Who Cares, Western Symphony and Rubies. Additionally, she worked with many noted choreographers including Robert Weiss, Peter Martins, Richard Tanner, Benjamin Harkarvy, Lynn Taylor-Corbett, and Jean-Pierre Bonnefoux. She retired from performing in 1988. A faculty member of the Metropolitan Ballet Academy in Jenkintown, Pennsylvania, since 1997, D’Angelo has choreographed several works for the Metropolitan Ballet Company, including Divertimento in F major (2012), Holberg Suite (2013), "Waltz of the Flowers" from The Nutcracker (2013), the fairy dance from Midsummer Night’s Dream (2016) and Schubert Impromptu (2018). D’Angelo was co-choreographer for MBC’s highly successful world premiere production of Cinderella (2010) and her work Evening Song was selected for performance at the Regional Dance America Festival (2010).

Viji Rao, the well recognized Bharathnatyam dancer and choreographer, is the founder and artistic director of Three Aksha, a dance company and educational institute located in the Philadelphia area. She began her initial training at the age of 5, encouraged by her father and first dance teacher, Shiva Rao. Over the course of 18 years, she mastered the form and eventually found the movement vocabulary with which she could explore contemporary themes in Kalakshetra Style of Bharathanatyam. Viji successfully developed a unique and personal Bharatanatyam style— one that is rooted in the language of tradition, but expressed in a modern dialect, and one that explores the inherent geometry of the form while also challenging its traditional musical score.  Viji has worked with various dance companies including, Chitraleka Dance Company, Shobana Jeya singh Dance Company, Moby Duck, Sampad, ​Sampradaya Dance Company, and the Arangham Dance Company. She also studied at the London School of Ballet and Contemporary Dance, and is trained in other forms, including aerial and ballroom dancing. Viji has been in the Philadelphia area since 2002 and has been actively involved in providing exquisite Bharathanatyam training to s youth in the area and has guest taught on Indian culture and aesthetics at the Moore College of Art and Design, Temple University, York College, and Penn State University. ​
She served as an adjunct faculty member at Temple University imparting Indian Classical Dance nuances and its depth to students who are pursuing bachelor's in dance for the year 2021-2022. She has been supported by Federal, State and Foundations in United States of America for funding resources.

Megan Bridge is an internationally touring dancer, choreographer, producer, and dance scholar based in Philadelphia. She is the co-director of Fidget, a non-profit organization that produces experimental performance projects and events. She has performed and presented her choreography at The Philadelphia Museum of Art, FringeArts, and many other venues throughout Philadelphia and the United States, as well as abroad in Austria, Bulgaria, Colombia, France, Germany, Georgia, Japan, Macedonia, Poland, South Africa, and Switzerland. Bridge holds a BFA in dance from SUNY Purchase, and an MFA in dance from Temple University, where is currently an adjunct professor teaching a variety of studio and lecture courses in dance. She is thrilled to be joining the team at 91���˶������ this spring. 

Saleana Pettaway, M.Ed is a force in the world of dance as an accomplished dance educator, seasoned performer, independent artist and emerging entrepreneur. She is best known for her distinction as the 3rd Master teacher of the acclaimed “Umfundalai Dance Technique” under the direct leadership, training and guidance of international scholar and artist, Dr. Kariamu Welsh. Saleana is recognized in the Tri-state region for her rigorous training practices and her active pursuit to empower all dancers to embody the historical, social-cultural and aesthetic traditions of African-based dance forms. As an educator and performer, she brings over 30 years of academic training and technical experience to the Bryn Mawr dance community and served as a principal dancer of Kariamu & Company: Traditions for 18 seasons. A native of Philadelphia, her roots in dance and theater began at the historic Freedom Theater and Philadanco and she had the privilege of training with iconic legends in Black Dance such as Pearl Primus, Jawole Willa Jo Zollar of Urban Bush Women, Deborah Chase of Alvin Ailey, Kartherine Dunham, Baba Chuck Davis and Prof Nii Yartey of Ghana. Her master classes and lecture-demonstrations are recognized at national conferences and festivals. She has been cited in dance publications, like Dance Teacher Magazine, featured among Who’s Who of American Dance Teachers and contributed to the official Umfundalai Teachers Manual “Iwe Illanan: Step by Step” and evolution of the technique in the Philadelphia phase. Beyond her role as a Master Teacher, Saleana is a visionary leader, tirelessly working to elevate the Umfundalai Dance technique to new heights with her business, Umfundalai X, LLC, offering the “Umfundalai Xperience” innovating wellness through Contemporary African Dance. Her dedication to expand its reach has touched countless lives, inspired diverse communities and empowered individuals to embrace their unique “Essence” capturing the very meaning of Umfundalai.

Joan Huckstep, a native of Detroit, Michigan is an educator with teaching experience in language arts and social studies from early childhood to undergraduate levels. She has worked professionally as an independent choreographer, dancer, actor, and designer. In addition to her studio work as a performing artist, she has worked in production, costume and apparel design, and arts administration. She has received grants and fellowships from the Pennsylvania Council on the Arts for independent dance productions, dance/video productions, interdisciplinary/collaborative projects, and was formerly on their Resident Artist Roster. The focus of her doctoral studies at Temple University pursued research in the sociopolitical function of the dance traditions of the African Americas. Her dissertation research investigated the nation-wide, compulsory political dance in the Democratic Republic of Congo (then Zaire) under Mobuto Sese Seko. The research methodology, participatory action research with the immigrant and refugee community and former members of Mobuto’s national dance companies

More recently, Dr. Huckstep worked on program design for an integrated art therapy/standards-based art education program for Tessie Cleveland Community Services Corporation, a mental and behavioral health clinic for children and families in South Central Los Angeles. She had to return to Philadelphia to become the sole caregiver of her mother beginning 2007. During that time, she was able to undertake a few projects including: a Dance/Video Installation—Ancestral Women, in a group show Surface Politics Looking Beneath Aesthetics and Formalism, at the Salon Joose Studio; Philadelphia and Curatorial consultant for exhibition Honoring Ancestors of Rhythm Movement, and Place—Philadelphia Folklore Project. She had to ultimately withdraw from her professional life through 2014 when her mother died. Prior to coming to Bryn Mawr, she was an adjunct professor at Temple University, resumed her agenda and writing projects focusing on dance and sociopolitical agency presenting at the Colloquium on African. American Diaspora Dance (CADD)—Duke University) and Centre de Danse International (CID—Nassau,Bahamas chapter) conferences.