Hi. I’m a dancer academically trained as an early modernist historian. My research coalesces around the cultural history of dance and embodied performance and critically addresses the entanglements of dancing bodies with colonial imaginaries and social/political modernisms. I tend to work in a highly interdisciplinary way. Toward that end, I often mix digital & data-based methods with historically rigorous storytelling. As you’ll see, along the way I keep working on contemporary practices of art across its “disciplines”, and in this I’m very influenced by performance art approaches. As an immigrant researcher in Germany, there is also the fact that I’m ever trying really hard improve my deutschkenntnisse.
Find me on Mastodon
What’s (relatively) New:
- I co-organised Logic, Limits, Contingency: A Critical/Digital Spring School, bringing twelve international PhD researchers to the Freie Universität for a weeklong intensive.
- Tbilisi-based 90’x Collective Online Exhibition “Visual Echoes” (co-curated with Sima Ehrentraut, designed by Lea Hopp) supported by EXC 2020 “Temporal Communities”
- Co-organizer of Einstein Forum “Scales of Temporality: Modeling Time and Predicability in the Literary and the Mathematical Sciences” with the Berlin Mathematics Research Center Math+.
- My article “Double Life of Pagan Dance” given the Honourable Mention for the 2022 Gertrude Lippincott Award for best English-language article in the field of dance studies.
- New article out in Dance Research Journal: “What’s in a Name? Somatics and the Historical Revisionism of Thomas Hanna”. Access accepted manuscript version here (Green Open Access)
- “The Blurred Bodies of Matachines: Warburg’s Notes on A New Mexican Colonial Dance Drama” in the exhibition catalogue Lightning Symbol and Snake Dance: Aby Warburg and Pueblo Art edited by Christine Chávez and Uwe Fleckner (Berlin: Hatje Cantz). News about the publication here.
lindsey drury 