careers of our graduate alumni
Renee Alexander Craft
Renee Alexander Craft (PhD 2006) is a Postdoctoral Fellow at the University of North Carolina-Chapel Hill. Her research focuses on black identity, cultural performance, and nationalism(s) in the Americas. Based on six years of critical ethnographic and historical research with the Congo community of Portobelo, Panama, including a sustained one-year experience supported by a Fulbright Full Grant, she is completing a manuscript entitled When the Devil Knocks: The Congo Tradition and Politics of Black Identity in Panama.
Kimberly DaCosta Holton
Kimberly DaCosta Holton (PhD 1999) is Assistant Professor and Coordinator of Portuguese and Lusophone World Studies at Rutgers University-Newark.
Kim's research interests are in the areas of expressive culture in Portugal, Brazil and Spain; 20th century Portuguese and Brazilian Literature and Drama; Performance Theory; Urban Ethnography and Immigration; Oral History; theories of globalism, nation, diaspora and space; and Museum Studies. She teaches courses in Portuguese literature from the Medieval period to the present, 20th century Brazilian Literature, performance and culture in Portugal and Brazil, anthropology of Portugal and Brazil, and Portuguese language. Courses taught: Elementary Portuguese, Portuguese Literature in English Translation I and II, Oral History of the Ironbound, Post-Revolutionary Portuguese Literature and Culture, Performing the Nation in Portugal and Brazil.
She is ethnographer and Project Director (2001-present) of the \"Ironbound Oral History Project\" in Newark, New Jersey, conducting research and directing student ethnographic research into Portuguese and Brazilian immigrant communities of Northern New Jersey. The archive, which presently consists of over 100 qualitative interviews, will be housed in the CamÃÂµes Institute Center for Portuguese Lnguage and Culture in Rutgers-Newark's Dana Library.
Kim is co-editor, with Andrea Klimt, of a new volume entitled Portuguese in the Americas. This volume will feature an interdisciplinary array of monographs concerning the Portuguese immigrant population in the United States. Other recent publications include:
- "Bearing Material Witness to Musical Sound: Fado's L94 Museum Debut." Luso- Brazilian Review vol. 39, no. 2: 1-18, 2002.
- "Dressing for Success: Lisbon as European Cultural Capital." Journal of American Folklore. vol.111, no. 438: 174-96, 1998.
- "Like Blood in Your Mouth: Topographies of Flamenco Voice and Pedagogy in Diaspora." Text and Performance Quarterly vol.18, no.4: 300-18, 1998.
- "Upstaging the Nation: Revivalist Folklore Performance in Portugal and Its Diaspora," Lisbon: Celta Editora (forthcoming).
- Translator: "Saramago's Construction of Fictional Characters: From Terra do Pecado to Baltasar and Blimunda." By HorÃÂ¡cio Costa. On Saramago: Portuguese Literary and Cultural Studies 6; 33-48, 2001.
Derek Goldman (PhD 2001) is Associate Professor of Theater and Performance Studies and the Founding Artistic Director of the StreetSigns Center for Literature and Performance, an acclaimed, socially-engaged professional theater company founded in Chicago in 1992, and now based in Chapel Hill, NC.
Goldman has extensive professional credits as both a director and an adapter/playwright, including celebrated work Off-Broadway, with his own company, and with other major regional theaters such as Steppenwolf in Chicago. Under his leadership, StreetSigns has produced 57 productions, and been the recipient of numerous awards and honors. Recent adapting/directing credits include his adaptation of Studs Terkel's Will the Circle Be Unbroken which premiered in a concert reading at Steppenwolf and was remounted in at Chicago's Millennium Park for an audience of 10,000 with an all-star cast including Garrison Keillor. Most recently it was presented by Playmakers Rep and StreetSigns with David Strathairn. He directed the long-running Off-Broadway and internationally touring hit Sholom Aleichem -- Now You're Talking, and co-authored Haymarket Eight (with Jessica Thebus) which premiered at Steppenwolf and is published by Samuel French.
Other credits as writer/adapter and director include his adaptation of Agee's A Death in the Family (Jefferson Citation for best new work), Portrait of the Artist as Young Man, Let Us Now Praise Famous Men (Spectator Award), Turn of the Screw, Kaddish for Allen Ginsberg, Three Men in a Boat, Divine Days, Written on the Body, and Right as Rain, his award-winning play about Anne Frank and the Holocaust, which toured nationally for three years.
Other professional directing highlights include his Jefferson Award-winning Hamlet, the American premiere of Cixous' modern epic The Perjured City, The Seagull, Brecht's Antigone, As You Like It, Twelfth Night, DeLillo's Mao II, The Fever, Lorca's The Public, Tales of the Lost Formicans, Twilight: Los Angeles: 1992, the hit comedies Night of the Mime and Lovely Letters, and numerous Beckett plays.
In New York, he is currently developing the jazz musical My Swan: The Passions of F. Scott Fitzgerald with acclaimed recording artist Nancy Harrow. At UNC he won the Hettleman Award for Outstanding Scholarly and Artistic Achievement by a Faculty member, and he has been the recipient of major teaching awards, as well as many grants and fellowships. His scholarship on the politics of adaptation and performance ethnography has appeared in numerous journals, and in The Sage Handbook of Performance Studies. He lives in Takoma Park, MD with his wife Emily Hanford and their boys Chas and Oliver.
Judith Hamera (PhD 1987) is Professor and Chair of Performance Studies at Texas A&M University. She specializes in contemporary aesthetics, performance theory, literature in performance, performance art, and performance/dance and culture. She has authored more than 30 articles in scholarly journals and has conducted more than 50 presentations at conferences in her field. She was a recipient of the National Communication Association's Lilla Heston Award for Outstanding Scholarship in Performance Studies.
Shannon Jackson is Professor of Performance Studies at the University of California-Berkeley. Her areas of specialization include performance studies, contemporary theatre, American studies, sex/gender studies, adaptation, and performance historiography.
Selected publications: Lines of Activity: Performance, Histography, and Hull House Domesticity (University of Michigan Press) which received honorable mention for the John Hope Franklin Prize at the American Studies Association; Disciplining Performance (Cambridge University Press) and several essays in journals of theater and performance studies.
Selected performance work: White Noises, performed at theaters and galleries in Boston, New York, and Chicago; Beyond the Pale with Caravan Productions in Chicago.
Awards and fellowships include The Bunting Institute, Radcliffe College, the Kahan Scholar's Prize from the American Society for Theatre Research, the Spencer Foundation, the Black Theatre Network, the National Endowment for the Humanities.
Martha Lavey (PhD, 1994) is the artistic director of Steppenwolf Theatre Company, a position she has held since 1995. At Steppenwolf she has appeared in The House of Lily, Valparaiso, The Memory of Water, The Designated Mourner, Time of My Life, A Clockwork Orange, Slavs! and Aunt Dan and Lemon, among others. She has appeared on stage at the Goodman, Victory Gardens, Northlight and Remains Theatres. She has served on grants panels for the National Endowment for the Arts and the Theatre Communications Group. She is a recipient of the Sarah Siddons Award and the Alumni Merit Award from Northwestern.
Della Pollock (PhD 1986) is Professor in the Department of Communication Studies at the University of North Carolina at Chapel Hill, specializing in the area of Performance Studies. She is the author of Telling Bodies Performing Birth (Columbia University Press, 1999), editor of Exceptional Spaces: Essays in Performance and History (University of North Carolina Press, 1998), and co-editor of the international journal, Cultural Studies. Other publications include a special section on performance and culture in International Cultural Studies (forthcoming from Blackwell) and \"Performing Writing,\" The Ends of Performance, ed. Phelan and Lane (1998).
Pollock has participated in several collaborative performance projects with the Southern Oral History Program at UNC, including a regional tour of performances recounted in \"Telling the Told: Performing Like a Family,\" The Oral History Review 18.2 (1990), and most recently, a community-based event concerned with \"Desegregation and the Inner Life of High Schools.\" She is currently working on an edited volume concerned with performance and oral history (St. Martin's) and a manuscript tentatively titled, \"Maternal Monstrosities.\"
Eric Rosen (PhD 1999) is co-founder of About Face Theatre company in Chicago, where he has conceived, written, and directed several world premieres, including Whitman; Dancer from the Dance, based on Andrew Holleran's novel; Dream Boy, based on Jim Grimsley's novel (1998 and 1996 productions; Jeff Citations, Best Production and Director, with regional productions in Atlanta and San Francisco) and The Gift.
Directing credits include Neil LaBute's Bash (After Dark Award, Outstanding Production); the U.S. premiere of Christopher Shinn's Four; and Naomi Wallace's In the Heart of America. He also collaborated on the creation of About Face Youth Theatre production's In Real Life, Raising Voices, and First Breath. At Steppenwolf Theatre, he conceived and directed Words on Fire, which was taken to Theatre on the Lake, and is writing a new play, Winesburg, Ohio, based on Sherwood Anderson's novel, for production there this winter.
Other credits include work with the MCA, Court Theatre, Splinter Group, Chicago Dramatists, Chicago Opera Theatre, and the Goodman Theatre, where he began his career assisting Mary Zimmerman.
Rosen has taught at Northwestern University, DePaul, Brooklyn College, and the University of North Carolina, his alma mater. He is currently a fellow in the NEA/TCG Career Development Program for Directors.
Margaret Werry (PhD 2001) is currently Woodrow Wilson Postdoctoral Fellow at Pennsylvania State University's Institute for the Arts and Humanities. At Northwestern, her research was supported by grants from the American Association of University Women and the Wenner Gren Anthropological Foundation. She is presently working on two book projects, both extending her dissertation research on the early ethnic tourism industry of New Zealand. Werry is also a performer and has worked with Chicago companies Lookingglass, Naked Eye, and Cavity Lab.