Ninotchka bennahum biography templates

  • Ninotchka Bennahum is Professor of
  • Bio: Ninotchka Devorah Bennahum,
  • Ninotchka Bennahum is Professor

    • Ninotchka D. Bennahum

    Specialization: 

    Dance Studies ~ Performance Studies ~ Intellectual History ~ Curatorial Practice

    Education: 

    Ph.D. New York University, Department of Performance Studies, Tisch School of the Arts

    M.A.  New York University, Department of Performance Studies, Tisch School of the Arts

    B.A.  Swarthmore College - European Economic History, Art History

    Bio: 

    Ninotchka Bennahum is Professor of Theater and Dance at the University of California, Santa Barbara. Her areas of teaching and research include dance history and theory: corporeality, embodiment and feminist historiographies of flamenco, ballet and contemporary performance. She is the author of Antonia Mercé, ‘La Argentina: Flamenco & the Spanish Avant-Garde (2000), a biohistory of Mercé’s Spanish dance modernism, and Carmen, a Gypsy Geography (2013), a transhistorical study of the Gitana in Middle Eastern and Spanish cultural history. She has co-authored two global dance anthologies: The Living Dance: A Global Anthology of Essays on Movement & Culture (2012), coedited with Judith Chazin-Bennahum (mom), and Flamenco on the Global Stage: Theoretical, Historical and Critical Perspectives (2015), coedited with Michelle Heffner-Hayes and K. Meira Goldberg. And she has co-curated three exhibitions with performance installations and accompanying books: Transformation & Continuance:Jennifer Muller & the Re-Shaping of American Modern Dance, 1959 – Present (2011); 100 Years of Flamenco on the New York Stage (2013) with K. Meira Goldberg; and Radical Bodies: Anna Halprin, Simone Forti and Yvonne Rainer in California and New York, 1955 – 1972 (2017) with Bruce Robertson and Wendy Perron. Bennahum curated an extension of Radical Bodies –Radical Pedagogy for Hunter College, New York City. The exhibition, now expanded to include histories of dance education in the U.S. is currently being installed at the University of Wisconsin – M

    Bennahum, Nina

    Bio:

    Ninotchka Devorah Bennahum, native of New Mexico, grew up watching the flamenco performances of María Benitez and Eva Encinas-Sandoval. Trained in ballet and music, Bennahum became a ballet dancer and choreographer and, subsequently, a dance historian and performance theorist. An Associate Professor of Theater & Dance at the University of California, Santa Barbara, she holds a Ph.D. in Performance Studies from New York University’s Tisch School of the Arts and a B.A. in History and Art History from Swarthmore College. Her first book, Antonia Mercé, ‘La Argentina’: Flamenco & the Spanish Avant-Garde (Wesleyan), is a biography of the great modernist Spanish dance artist La Argentina. Her second book, Carmen, a Gypsy Geography (Wesleyan 2013), traces a genealogical history of the Gypsy flamenca dancer from the lands of the ancient Middle East to Hispano-Arab and Sephardic Spain. In 2012, she co-edited with her mother, Judith Chazin-Bennahum, a global anthology of essays on movement and culture entitled The Living Dance (Kendall/Hunt). Currently she is writing a feminist history of American Ballet Theatre and co-editing an anthology of transatlantic flamenco scholarship on race and gender theory (McFarland 2015). She has written on dance and culture for The Village Voice, The New York Times, Dance Research Journal, The Denver Post, The Philadelphia Inquirer, The Albuquerque Journal/Tribue and Dance Magazine. Currently, she serves on the Board of Directors for the Society of Dance History Scholars, the field’s largest international body of artist-scholars.

    In 1996, with Artistic Director, Kevin McKenzie and former Soloist Christine Spizzo, she initiated courses in global dance history for American Ballet Theatre’s pre-professional dancers. She went on to design a dance history curriculum for American Ballet Theatre and ABT’s Studio Co., ABT II. From 1996 to 2003, she served as Contributing Editor for Dance Magazine and in 2008, she won

    About Ninotchka Bennahum

    Santa Barbara, CA

    Ninotchka Bennahum is Professor of Theater and Dance at the University of California, Santa Barbara. An interdisciplinary dance, art, and performance scholar, her areas of teaching and research include Spanish Modernism and feminist historiographies of flamenco, ballet, and contemporary performance. She is the author of two books: Antonia Mercé, ‘La Argentina: Flamenco & the Spanish Avant-Garde (2000), a biohistory of Mercé’s Spanish dance modernism, and Carmen, a Gypsy Geography (2013), a transhistorical study of the Gitana in Middle Eastern and Spanish cultural history. She has co-authored two global dance anthologies: The Living Dance: A Global Anthology of Essays on Movement & Culture (2012), coedited with Judith Chazin-Bennahum (mom), and Flamenco on the Global Stage: Theoretical, Historical and Critical Perspectives (2015). She co-curated Transformation & Continuance: Jennifer Muller & the Re-Shaping of American Modern Dance, 1959 – Present (2011); 100 Years of Flamenco on the New York Stage (2013); and Radical Bodies: Anna Halprin, Simone Forti and Yvonne Rainer in California and New York, 1955 – 1972 (2017). She has curated Radical Pedagogy: Margaret H’Doubler, Anna Halprin, and American Dance, 1916 – Present, a permanent installation for the University of Wisconsin-Madison (2019). Bennahum designed and taught the dance history curriculum for American Ballet Theatre from 1996 to 2012. Currently, she is writing a history of the company.

    Carmen, a Gypsy Geography

    "Exploring the story and dance of Carmen the opera and Carmen the woman, Bennahum—a dance historian, choreographer, and performance theorist—offers a readable historiographic examination of, as she writes in her preface, 'how the ancient Middle East, Islamic Spain, and nineteenth-century France viewed and treated women.'...Only someone with Bennahum's background could have written this book in such a way that it would appeal to dancers, historians, opera lovers, and those interested in Roma history, feminism, and issues of identity. Highly recommended (for) all readers."

    ~K. Lynass, Choice

    ""[Bennahum] is first and foremost a dance historian, but you wouldn't necessarily realize it, as she dissects her subject from the perspectives of mythography, ethnography, history, and geographyYou are not likely to find a more punctilious consideration of the historical backdrop to Bizet's opera.""

    ~James M. Keller, Santa Fe New Mexican

    ""Bennahum's informed and intelligent presentation of dance practices in many settings and her ability to look back through textual traces to discover their sources in material culture are excellent. To read these traces in this way requires the eye and heart of a dancer.""

    ~Evlyn Gould, Dance Chronicle

    ""Exploring the story and dance of Carmen the opera and Carmen the woman, Bennahum—a dance historian, choreographer, and performance theorist—offers a readable historiographic examination of, as she writes in her preface, 'how the ancient Middle East, Islamic Spain, and nineteenth-century France viewed and treated women.'Only someone with Bennahum's background could have written this book in such a way that it would appeal to dancers, historians, opera lovers, and those interested in Roma history, feminism, and issues of identity. Highly recommended (for) all readers.""

    ~K. Lynass, Choice

    ""This text, whole or in parts, is ideal for dance history, performance theory, or world performance cour

      Ninotchka bennahum biography templates
  • Great Professor who's nice and caring.