Équipe

Laura Levin is Associate Professor of Theatre & Performance Studies and Associate Dean, Research in York University’s School of the Arts, Media, Performance and Design. She is author of Performing Ground: Space, Camouflage, and the Art of Blending In (Ann Saddlemyer Prize) and Co-Editor of Performance Studies in Canada , with Marlis Schweitzer (Patrick O’Neill Award). Laura has led and collaborated on several research-creation projects that explore political performance, site-specificity, archives, and digital technologies. Mostly recently she has served as dramaturg on Jess Dobkin’s Wetrospective (2021) and SpiderWebShow’s VR production, You Should Have Stayed Home (2022). Laura is Director and PI of Hemispheric Encounters.

Tracy Tidgwell travaille dans les plis du processus, de la connexion et du corps. Tracy est co-éditrice de The Future is Fat, une collection d'interventions savantes et artistiques qui réimaginent la compréhension du temps pour permettre de nouvelles expressions de l'expérience de l’embonpoint, créatrice de Anywhere Near Us, une collection de performances audio de textes queer, membre de Fat Rose, un incubateur d'art et d'activisme pour la libération de l’embonpoint, et productrice et gestionnaire de projet pour Rencontres Hémisphériques: Développer des pratiques de recherche création transfrontalières à l’École des arts, des médias, de la performance et du design de l'Université York.

Alina Peña Iguarán est membre du Système national des chercheurs, et est professeure-chercheuse au Département des études socioculturelles de l'ITESO, Universidad Jesuita de Guadalajara. Elle a obtenu son doctorat à l'Université de Boston, au Département d'études hispaniques. Sa thèse de doctorat portait sur la relation entre l'écriture, l'autobiographie et la guerre dans le contexte de la construction socioculturelle du Mexique postrévolutionnaire et de la représentation de la figure de l'intellectuel. es recherches portent sur l'esthétique et la (bio)politique, la mémoire et la subjectivité dans des contextes de violence, de frontières et de disparition. Son projet de recherche actuel s'intitule «Poéticas de las excedencias : discursos audiovisuales para habitar la frontera».

Amparo Marroquín Parducci est une professeure de département de la communication et de la culture à la Universidad Centroamericana (UCA) d'El Salvador depuis 1997. Elle a été professeure invitée dans des universités au Nicaragua, en Équateur, en Argentine et en Colombie, entre autres. Elle fait partie de l'équipe de coordination du groupe de recherche sur la communication politique et la citoyenneté du CLACSO et est chercheuse au Centre international d'études sur les épistémologies des frontières et l'économie politique de la culture au Chili. Elle travaille comme consultante pour des organisations internationales telles que la GIZ, le UNDP, la Fondation Ford et la Friedrich Ebert Stiftung, entre autres. Ses recherches ont porté sur l'examen de la manière dont les identités, les cultures et les récits dans les médias ont changé depuis que les processus migratoires ont pris de l'importance, sur la conformation de la mémoire et du patrimoine immatériel, et sur la manière dont sont nommées les différentes formes de violence, en particulier celles qui ont commencé dans les années 1990.

Jess Dobkin has been a working artist, curator, community activist, mentor and teacher for more than 25 years, creating and producing intimate solo theatre performances, large-scale public happenings, socially engaged interventions and performance art workshops and talks. Her practice extends across black boxes and white cubes, art fairs and subway stations, international festivals, and single bathroom stalls. She operated an artist-run newsstand in a vacant subway station kiosk, a soup kitchen for artists, a breast milk tasting bar, and a performance festival hub for kids. Her film and video works are distributed by Vtape and traces of her performance work are held in performance art archives internationally. jessdobkin.com

Kim Sawchuk is a Professor in the Department of Communication Studies at Concordia University, Montreal, where she holds a research chair in Mobile Media Studies. Trained in feminist cultural studies, since 2006 Dr. Sawchuk’s research has investigated aging, 'disability' and ICTs in the context of the transition to wireless, mobile, networked communications. She is committed to exploring research-creation to foment creative collaborations for social change. She is committed to working from a community-based perspective that includes looking at the structural and systemic barriers that perpetuate inequities and exclusion- and finding solutions from the ground up. Kim directs the ACT Lab at Concordia (Aging Communication and Technologies www.actproject.ca).

Marcial Godoy-Anativia is a sociocultural anthropologist and the Managing Director of the Hemispheric Institute of Performance and Politics at New York University. He is Editor of emisférica, the Institute's trilingual online journal. His publications include "Area Studies and the Decade after 9/11" (2016) with Seteney Shami; Religiones, matrimonio igualitario y aborto: Alianzas con y entre actores religiosos por los derechos sexuales y reproductivos en Argentina (2014) with Daniel Jones y Angélica Peña; Rhetorics of Insecurity: Belonging and Violence in the Neoliberal Era (2013) with Zeynep Gambetti; and Ciudades Translocales: Espacios, flujo, representación—Perspectivas desde las Américas (2005) with Rossana Reguillo. From 2000-2007, he worked in the Program on Latin America and the Caribbean and the Program on International Collaboration at the Social Science Research Council. He currently serves on the Board of Directors of the North American Congress on Latin America (NACLA).

Paolo Vignolo est professeur associé au Département d'histoire de l'Université nationale de Colombie, à Bogota. Ses domaines de recherche et de création portent sur l'histoire publique, le patrimoine culturel et les études sur la mémoire, avec un accent sur les arts vivants, la performance et les imaginaires géographiques. Il est titulaire d'un doctorat en histoire de l'EHESS (École des hautes études en sciences sociales) de Paris. En 2012-13, il a été chercheur invité au David Rockefeller Center for Latin American Studies (DRCLAS) de l'Université de Harvard et en 2023, il sera boursier au Kate Hamburger Centre for Apocaliptic and Post-Apcoaliptic Studies (CAPAS) de l'Université de Heidelberg. Il est membre de l'Hemispheric Institute of Performance and Politics de l'Université de New York et du Transformative Memory Network de l'Université de Colombie-Britannique, à Vancouver.

Selena Couture is a settler scholar and an Associate Professor in Drama at the University of Alberta in Treaty 6 territory / Métis Region No.4. Her research deconstructs conceptions of settler colonial white possession while foregrounding the maintenance of Indigenous places through performance. Publications include: Against the Current and Into the Light (2020) and On this Patch of Grass (2018). She is part of the Kule scholar cohort focusing on Climate Resilience in the 21st Century. Her research responds to the crisis of global warming, aiming to create responsible relations with Indigenous people, lands and all other-than-human beings.

Sérgio P. Andrade, PhD, is an artist, professor and researcher in dance, performance and philosophy. Since 2012, he has been a Professor at the Federal University of Rio de Janeiro, in the Department of Bodily Art, teaching at the Undergraduate and Graduate Dance Programs. He coordinates the Laboratório de Crítica (the "LabCrítica") at UFRJ, in which he develops several collaborative research-creation activities, training, publication, curatorship and exchange in dance and performance. Some recent results of this work are the book "Performar Debates" (2017) and the two editions of the conference and performance showcase "Trans-In-Corporados", which took place at Rio Art Museum in 2017 and 2018.
www.labcritica.com.br | sergio.andrade@eefd.ufrj.br

Alex de las Heras is a relational artist and engaged scholar. He is a Ph.D Candidate in Social Sciences and Humanities at the National University of Colombia and holds a MA in Fine Arts and Experimental Design from the University of Art and Industrial Design of Linz, Austria. His fields of research and creation deal with Participatory Action Research, Future Studies and Politics, with a focus on living heritage, happening and performance, time perception and immersive future scenarios. In 2021 he was visiting researcher at the Spanish National Research Council, CSIC; since 2022 he is Research Assistant with Hemispheric Encounters: Developing Transborder Research-Creation Practices, a SSHRC Partnership Project, co-leading the research-creation project ‘PAN’: A series of etnofictive microhistories ranging from memory storytelling to the representation of present community conflicts, and the projection of community based speculative futures through gesture, images, thought and oral expression. www.alexdelasheras.es

Anna Agazzi Migotto is a Brazilian-Canadian environmental activist, photographer, film-maker, and aspiring biologist, inspired by life’s manifestations though light. She is proudly the new Special Events Assistant for Hemispheric Encounters. Anna has worked across research, environmental education and design, as a part of the Institute of Ecological Research (IPE) in Brazil. She also produces diverse independent art projects such as her new forthcoming short-film: “The flood from sky to ground”. The “scientist side of Anna" is currently researching the migratory patterns of juvenile Wood Thrushes as her final thesis at York University’s Faculty of Science, under the supervision of Dr. Bridget Stutchbury.

Arseli Dokumaci is Canada Research Chair in Critical Disability Studies and Media Technologies and an assistant professor at Concordia University. She is also the director of the AIM (Access in the making) Lab. Arseli is an interdisciplinary scholar and creative practitioner. Her scholarly and creative work lies at the crossovers of disability studies, performance studies, media studies and medical anthropology. In her research and research-creation videos, Arseli explores how disabled people go about their everyday lives, and come up with micro, improvisational solutions that she theorizes as activist affordances. Arseli is particularly interested in exploring how disability can be a critical a method to rethink and practice media in new ways. Arseli is currently launching a four-year SSHRC-funded interdisciplinary team project, entitled "Mobilizing disability survival skills for the urgencies of the Anthropocene".

https://accessinthemaking.ca/

Beatriz Pizano (actrice, metteur en scène, dramaturge) est la fondatrice et directrice artistique du théâtre Aluna, une compagnie reconnue pour son approche unique de la création, son travail politique audacieux et son expérimentation en productions multilingues. Elle a reçu un certain nombre de prix prestigieux, dont le prix John Hirsch, la bourse Chalmers, le prix K.M. Hunter et de nombreux prix et nominations Dora. Elle est la première actrice latino-américaine à avoir remporté un prix des critiques de Toronto et un Dora pour sa performance dans Blood Wedding. En 2019, elle a été nommée parmi les 10 Canadien.ne.s hispaniques les plus influent.e.s de la TD. Elle est passionnée par le fait de nourrir la prochaine génération d'artistes qui créent avec une vision transaméricaine.

Carlota McAllister est professeure associée à la Faculté des changements environnementaux et urbains de l'Université York à Toronto, au Canada. Anthropologue politique et historique, elle étudie la formation de l'agentivité politique et morale dans des situations de conflit ou de crise dans les communautés agraires du Guatemala et du Chili, en utilisant des outils théoriques tirés de l'anthropologie de la religion, de la théorie de l'acteur-réseau, des études de performance, de l'anthropologie féministe et de l'écologie politique. vec Diane Nelson, elle a coédité War by Other Means : Aftermath in Postgenocide Guatemala (Duke UP, 2013), et sa monographie The Good Road : Conscience and Consciousness in a Post-Revolutionary Mayan Village in Guatemala est à paraître chez Duke University Press.

Daiana Bruzzone has a doctorate in Social Communication from Universidad Nacional de La Plata, Argentina. She is a teacher and researcher at the department of Journalism and Social Communication, director of the Specialization in Communication and Youth, and member of the Aníbal Ford Institute for Communication Studies. She is also a member of the CLACSO Working Group on Communication, Politics and Citizenship in Latin America and of the CLACSO Working Group on Youth and Childhood. She teaches at the Universidad del Este, Argentina, and in the PhD in Communication at the Universidad de la Frontera, Chile. One of her salient publications is the book Todos duros. Hijos del neoliberalismo: claves de las relaciones entre jóvenes, afectos y subjetividad corporal en los consumos de drogas (published
in 2020 by Editor Grupo Universitario, available through the publisher,
Editor Grupo Universitario .

Dan Pon manages the archives at grunt gallery where he works to preserve and activate material and non-material culture. He is interested in the practice of artists intervening in archives, liberatory community archives, and imaginative models at the intersection of visual arts and information science. He also works as a librarian at Langara College. His writing and work has been published by grunt gallery, VIVO Media Arts, Other Sights for Artists' Projects, UNIT/PITT Projects, and the BC Libraries Association. Dan holds an MLIS from the University of British Columbia.

https://archivesweek.ca/
https://grunt.ca/

Daniella Castillo Chen est étudiante au baccalauréat en beaux-arts avec spécialisation en réalisation de films à l’université de York. En 2021, elle a quitté le Panama pour s’installer à Toronto, au Canada, afin d’entreprendre une carrière de cinéaste. Depuis sa jeunesse, elle est passionnée par l’art de raconter des histoires et par les multiples possibilités artistiques comme vecteur de changement. Après avoir entrepris une carrière de jeune romancière à l’âge de 13 ans, elle a décidé d’apprendre et d’expérimenter les approches visuelles dans le cadre de ses études postsecondaires. Au cours des deux dernières années, dans le cadre de son programme, Daniella a su développer ses compétences en production audiovisuelle, tout en apprenant entourée de pairs talentueux. Aujourd’hui, enthousiaste à l’idée de faire partie d’une équipe d’artistes et d’universitaires aussi créative et diversifiée, Daniella se joint à l’équipe de Rencontres Hémisphériques en tant que gestionnaire de projets Internet et numérique.

Diana Taylor est professeure d'université et professeure d'études de performance et d'espagnol à l'université de New York. Elle est l'autrice primée de multiples ouvrages, parmi lesquels: Theatre of Crisis (1991), Disappearing Acts (1997), The Archive and the Repertoire (2003), Performance (2016), et ¡Presente! The Politics of Presence (2020), et co-éditrice de Holy Terrors (2003), Stages of Conflict (2008) et Lecturas avanzadas de Performance (2011), entre autres. Taylor a été la directrice fondatrice de l'Hemispheric Institute of Performance and Politics de 1998 à 2020. Elle est lauréate d'une bourse Guggenheim et de plusieurs autres prix importants. En 2017, Taylor a été présidente de la Modern Language Association. En 2018, elle a été intronisée à l'Académie américaine des arts et des sciences. En 2021, elle a reçu le prix Edwin Booth pour «sa contribution exceptionnelle à la communauté théâtrale de NYC et pour promouvoir l'intégration du théâtre professionnel et universitaire.» Elle codirige le projet Mémoire des codes postaux.

Dot Tuer is a writer and cultural historian whose scholarly and creative work explores artistic practices of memorialization and visual storytelling in a hemispheric context. She also has a long-standing research interest in the history of Guaraní-Spanish transcultural practices in north-east Argentina and Paraguay. Tuer is the author of Mining the Media Archive (2005) and numerous museum catalogue, book anthology, and journal essays; her curatorial projects include Frida and Diego: Passion, Politics, and Painting (Art Gallery of Ontario, 2012-13). Since the 2000s, Tuer has divided her time between Corrientes, Argentina, and Toronto, Canada, where she is Professor of Visual and Critical Studies at OCAD University.

https://www.embassyculturalhouse.ca/alberto-gomez-and-dot-tuer.html
https://ocad.academia.edu/DotTuer
https://www2.ocadu.ca/bio/dot-tuer

Fernando Codeço is an artist and a researcher. He investigates performance as a form of listening, production of oral knowledge, space for meeting and collective learning. Fernando is interested in the ecopolitics of arts in the context of climate emergency and forms of resistance to processes of extractivism and environmental degradation. He develops performative, transmedia and transdisciplinary research as co-founder of CasaDuna - Center for Art, Research and Memory and director of the theatre company Grupo Erosão. Fernando has a doctorate in Performing Arts from the UNIRIO (Brazil) in co-supervision with the UPJV (France). At UNIRO, he studied theatre, theory, visual arts, and contemporary dance. His thesis ‘Teatralidades da Erosão’ was nominated for the Capes 2022 award. His video, ‘Museu Ambulante’ won the Jean Rouch award for best medium-length film at the 2022 Pará International Ethnographic Festival. He has participated in several art festivals in Brazil and abroad.

Fernando develops works based on the socio-environmental phenomenon of marine erosion that has affected Atafona beach, located in the north of Rio de Janeiro State, for more than 70 years. From the popular idea that "the sea consumes the houses" and the territory of Atafona, he created the concept of "ecophagy" as an existential metaphor, a field of aesthetic experimentation, and a mode of cultural criticism in times of environmental collapse. For his postdoctoral project, Fernando will build on this research while studying other territories in Brazil and across the Americas facing similar situations of extreme destabilization, and develop a performative work in collaboration with Grupo Erosão weaving together a collage of fragments of the life stories of people whose territories were threatened by neo-extraction processes and/or resulting environmental changes. As a Postdoctoral Fellow, he will be hosted by the Postgraduate Program in Dance at UFRJ (Brazil) and supervised by Sérgio Andrade.

https://www.fernandocodeco.com/
https://www.casaduna.org/

Guilherme E. Meyer est candidat au doctorat au Département d'anglais de l'Université de New York et étudiant-organisateur syndical au sein du GSOC-UAW Local 2110 Ses principaux centres d'intérêt sont le théâtre et la poésie des années 1960 à aujourd'hui (aux États-Unis et au Brésil), le marxisme, le féminisme et l'utopisme. Sa recherche doctorale porte sur les modes d'utopisme qui ont émergé au Brésil depuis les années 1960 et leur pertinence pour la pratique révolutionnaire. Il est titulaire d'une bourse d'études supérieures en sciences humaines et arts publics dans le cadre du projet Mémoire des codes postaux et assistant de recherche dans le cadre de Rencontres Hémisphériques.

Jehan Roberson est écrivaine et artiste queer, travailleuse de la mémoire. Sa pratique artistique interdisciplinaire est basée sur le texte. Née et élevée à Memphis, au Tennessee, Jehan explore les pratiques textuelles queers noires en tant que sites de libération, de création d’espaces et d’interventions archivistiques. Ses écrits ont été publiés (ou le seront), entre autres, dans Criticism, Recess Art, Public Books, Apogee, ZORA, Women & Performance, et Autostraddle. Elle réside actuellement à Ithaca, dans l’État de New York, où elle est doctorante au département de littératures anglaises de l’université Cornell.

Dr. Jennifer Willet is a Canada Research Chair in Art, Science, and Ecology and an Associate Professor in the School of Creative Arts at the University of Windsor (Canada.) Willet is Director of INCUBATOR Lab an art/science research laboratory and studio in downtown Windsor. She is an internationally successful artist and curator in the emerging field of bioart. Her work resides at the intersection of art and science, and explores notions of representation, the body, ecologies, and interspecies interrelations in the biotechnological field.

www.incubatorartlab.com
https://visualartsnews.ca/2021/07/life-in-silos/
https://www.covidcreative.ca/

Jesusa Rodríguez (México 1955) is a theatre creator whose work is characterized by humor and political parody. She has written, directed, and acted in endless political farces and revues. She has also directed adaptations of Shakespeare and Yourcenar, as well as Mozart operas and pieces by Mexican authors such as Sor Juana Inés de la Cruz. Rodríguez has also performed, created theatrical installations, organized workshops with Indigenous groups and actions for the protection of native corn. She is currently a Senator of the Republic. Her greatest achievement: accumulating discredit.
https://jesusa.mx/

Jimena Ortúzar été boursière de recherches postdoctorales au sein de Rencontres Hémisphériques à School of the Arts, Media, Performance & Design de l’université York. Elle est titulaire d’un doctorat du Centre for Drama, Theatre and Performance Studies et du Centre for Diaspora and Transnational Studies de l’Université de Toronto. Ses recherches explorent le travail et la migration à travers le prisme de la performance et des études de genre. Ses écrits sont publiés dans des revues internationales, ainsi que dans des collections publiées sur l’art et l’activisme, le théâtre contemporain et les performances latino-américaines. Elle contribue également à Gatherings, un projet sur les archives et les histoires orales sur la performance.

Juan Carlos Saavedra, producer, stage director and actor, is the founder of Teatro Ciego MX, a company that promotes the labor inclusion of visually impaired people in the performing arts; General Director of Arte Ciego A.C., a non-profit association dedicated to the creation, research, promotion, development and dissemination of inclusive performing arts at national and international level; and Director of the Encuentro Otros Territorios, a space that promotes research, professionalization and dissemination of inclusive artistic proposals from different latitudes. He is currently working on the project "Methodology of training, creation and stage production based on blindness. Disarticulation of aesthetic constructs on the scene."

Juma Pariri cherche à écouter et à apprendre des secrets des plantes. Iel se déplace dans la friction entre les arts du corps, la pédagogie indisciplinée et la lutte autochtone pour la justice environnementale.
Iel fait partie des mouvements sociaux Retomada Kariri et de l'Association Cariri autochtone de Poço Dantas-Umari. Entre autres, iel active la plateforme AGITPORN! –, non aux inégalités, pour la décolonisation sociale!, pour apprendre des ancêtres autochtones les sexualités, les cuisines et les cultures anti-monoculturelles, et le tremplin audiovisuel Uni.e.s contre la colonisation: plusieurs yeux, un seul cœur pour la création collective d'autres formes symboliques d'autoreprésentation des peuples des premières nations d'Abya Yala. www.hemisphericencounters.ca/projects/ativacoes-performagicas Juma a été Juma chercheur-créateur et titulaire de bourse de recherche postdoctorale des Rencontres Hémisphériques en 2021-2022 et continue de collaborer avec le projet.

Kimberly Skye Richards est une spécialiste de la colonisation dont les écrits, l'enseignement, le militantisme et le travail artistique font de la performance un moyen de résister à l'extractivisme et d'inspirer une transition énergétique juste. Elle a récemment coédité un numéro de Canadian Theatre Review à propos de l'extractivisme et de la performance (avril 2020). Elle a également publié dans TDR: The Drama Review, Theatre Journal, ISLE: Interdisciplinary Studies in Literature and Environment, Sustainable Tools for Precarious Times, et An Ecotopian Lexicon: Loanwords to Live With. Kim enseigne actuellement à l'École de journalisme, d'écriture et de médias de l'Université de la Colombie-Britannique. Elle est membre du Cercle SCALE- Sectoral Climate Arts Leadership for the Emergency.

Lee Rodney is Associate Professor of Media Art and Cultures in the School of Creative Arts at the University of Windsor. She has been involved in borderlands-related research since 2008 when she held a Fulbright fellowship to comparatively study relationships between contiguous urban regions along the U.S.-Mexico border and the Canada-U.S. border. Her publication, Looking Beyond Borderlines: North America’s Frontier Imagination examines the shifting relationship between borders and frontiers in North America as they have been represented and undermined through a variety of cultural practices (Routlege’s Advances in Visual Studies series, 2017). She has also organized community-based borderlands research through two SSHRC funded multi-year projects (2010-2013) The Border Bookmobile, and “Buoyant Cartographies: Alternative Mapping Practices on the Detroit River” (2018-2019).

http://frontierfiles.org/
http://www.buoyantcartographies.com/about

Lucas Liu est titulaire d'un baccalauréat ès arts en psychologie de l'Université York et d'un baccalauréat ès arts en commerce mondial et en arts numériques de l'Université de Waterloo. Leurs connaissances en conception de sites Web et d'applications éclairent leur travail sur l'impact de la conception des médias sociaux sur le bien-être des adultes émergents.

María Jose Contreras Lorenzini is a Chilean performance artist and scholar. She holds a Ph.D from Università di Bologna and is Associate Professor at the Theater School at Universidad Católica de Chile. She is currently a Visiting Scholar at the Hemispheric Institute of Performance and Politics at New York University. Using a wide range of formats, from massive public interventions to intimate actions of resistance, Contreras creatively explores the relation between the body and memory. Her work, presented throughout the Americas and Europe, include theatre productions, site-specific performances, durational performances, and urban interventions. She is one of 70 international artists featured in The Twenty-First Century Performance Reader (Routledge 2020). More info at www.mariajosecontreras.com

Marion Velasco é artista transdisciplinar, trabalha com o atravessamento da performance com vídeo, fotografia, arte sonora, música e poesia. É doutora em Artes Visuais pelo Instituto de Artes/UFRGS com estágio doutoral em Arte Sonora e Performance pela Facultad de Bellas Artes da UPV/Valencia/ES (2019). Especialista em Performance (CNPq/UFRGS 1990) e graduada em Artes Plásticas (1989). Participou de exposições coletivas e individuais presenciais e virtuais, nacionais e internacionais (Brasil, Espanha, Alemanha, Canadá, Argentina, Uruguai). Tem obra de videoperformance na coleção do MACRS. Recebeu os prêmios: Intercâmbio MINC/BR 2013 (Lisboa/PT); Edital LABPOA 2020_Lei Aldir Blanc_Artes Plásticas; Destaque Artista Trajetória e Publicações Online/Estúdio 88-documentação de videoperformances no XIV Prêmio Açorianos de Artes Plásticas, 2021. Editou, produziu e apresentou programas de rádio FM e webradio. Foi responsável pela voz e líricos da banda de indierock Plastic Dream (1990-91), do duo eletrônico Adventure (1992-96) e pela concepção e bases eletrônicas da IBG_Banda de Garotas Instantâneas (2017-21), entre outros projetos sonoros. Marion tem sede no Brasil.

Mark Sussman is a theatre artist and scholar working on the animation of public space, material dramaturgies, and the integration of old and new technologies in live performance. A graduate of the Department of Performance Studies at New York University, he joined Concordia's Faculty of Fine Arts in 2005. He is Professor in the Department of Theatre and advises graduate students in the PhD Humanities and Individualized interdisciplinary programs. In Summer, 2020, he was appointed Director of Concordia's Centre for Interdisciplinary Studies in Society and Culture. Sussman is a founder and Co-Artistic Director of Great Small Works , an award-winning theatre collective in New York City. Since 1995, Great Small Works has been producing new theatre on a variety of scales, from miniature toy theatre pieces using two-dimensional cutouts and live montage, to giant parades, community processions, and circuses. The company produces variety evenings, international festivals, and community-based projects. In Montreal, he founded Café Concret , an occasional cabaret of experimental puppetry and object-based performance. With the Café Concret collective, he organized Moving Parts: Articulated Bodies and Objects in Performance , a performance residency, interdisciplinary symposium, and book project exploring vocabularies shared across the fields of puppetry and dance. Sussman is a proud Co-Investigator of Hemispheric Encounters, and serves on the Artistic Committee of Casteliers and the Board of Directors of Montreal's Studio 303.

Natalie Álvarez est professeure de théâtre et d'études de la performance à l'École de la performance et doyenne associée, Activités universitaires, de recherche et de création à la Faculté de communication et de design de l'Université Ryerson à Toronto, Ontario, Canada. Elle est l'autrice, la corédactrice et l'éditrice de quatre livres primés : Immersions in Cultural Difference : Tourism, War, Performance (U of Michigan Press, 2018), Sustainable Tools for Precarious Times : Performance Actions in the Americas (Palgrave Macmillan 2019), Essays on Latina/o Canadian Theatre et Fronteras Vivientes : Eight Latina/o Canadian Plays (Playwrights Canada Press, 2013).
Son livre le plus récent, Theatre & War, est actuellement sous presse chez Bloomsbury. Ses travaux sur la performance immersive dans la sphère publique et la performance militante contemporaine dans les Amériques ont été largement publiés dans des revues internationales et des collections d'essais.

Nicole Cartier Barrera est chercheuse, écrivaine et conservatrice torontoise originaire de Bogota. Elle s’intéresse à la culture visuelle contemporaine en Amérique latine, en particulier à la relation entre l’art et les mouvements sociopolitiques, le chevauchement des pratiques numériques et personnelles, et la construction de l’action politique dans des contextes d’intimité et de sphère privée. Sa pratique explore les processus éditoriaux expérimentaux et collaboratifs dans un cadre de conservation. Son projet le plus récent, A Guide for the Afflicted and Defiant, est une archive de gestes de résistance sous formes de publication, d’un site web et d’une exposition itinérante. Nicole est titulaire d’une double licence en arts et en histoire de l’art de l’université de los Andes et d’une maîtrise en Visual Studies in Curatorial Studies (études visuelles et pratiques curatoriales) de l’université de Toronto.

Patricia is a PhD student in the Communications Department at Concordia University. She is investigating Brazilian women artists who engaged in art-making and artistic practices under censorship and conservative societal values during Brazil’s military dictatorship (1964-1985). Patricia employs the oral history methodology, integrating a feminist and decolonial perspective, to uncover women’s life experiences and their contributions to Brazil’s 1960s-1970s avant-garde art movement. She holds an MA in Art History from the University of São Paulo (MAC-USP), focusing on Teresinha Soares and Wanda Pimentel's artworks and examining how specific art exhibitions supported the circulation of women’s art in the 1960s-70s under Brazil’s dictatorship.

Peter Kulchyski is a Professor and former Department Head of Native Studies at the University of Manitoba. His books include the award winning Tammarniit [Mistakes] with Frank Tester (American Society for Ethnohistory book of the year) and Like the Sound of a Drum (Manitoba non-fiction book of the year) as well as Kiumajut [Talking Back] also with Tester, The Red Indians; Aboriginal Rights are not Human Rights; and Report of an Inquiry into an Injustice. Kulchyski has engaged in research and social justice activism in a wide range of arctic and subarctic Indigenous communities. From 2013 to 2020 he was Co-Director of the Canadian Consortium on Performance and Politics in the Americas.
https://umanitoba.ca/faculties/arts/departments/native_studies/people/kulchyski.html
http://hemisphericinstitute.org/hemi/en/enc14-5-minute-manifestos/item/2606-enc14-5min-kulchyski
https://sixgestures.hemi.press
https://canadiandimension.com/articles/view/personal-dimension-bush-life

Peter Morin est un petit-fils d'artistes ancêtres des Tahltans. Il a entamé des études d'art en 1997, a obtenu un baccalauréat en beaux-arts à l'Université Emily Carr de Vancouver en 2001 et une maîtrise en beaux-arts à l'Université de la Colombie-Britannique, Okanagan, en 2010. Initialement formé en lithographie, Morin passe de la gravure à la poésie, de la fabrication de tambours à la broderie perlée, de la fabrication de couvertures à boutons à l'installation et à la performance. Tout au long de son histoire d'exposition et de création, Peter s'attache à honorer les matriarches de la nation Tahltan. Peter Morin est actuellement titulaire d'un poste à la Faculté des arts de l'Ontario College of Art and Design University à Toronto.

Pilar Riaño-Alcalá is a professor at the Social Justice Institute. She is an anthropologist and interdisciplinary scholar. Her research interests are on historical memory and the lived experience of violence; the afterlives of political violence, the ethnography of living traces of memory and social repair; oralities and sound memory and social practice art. Pilar also has an interest in exploring the politics of knowledge and epistemic justice through the use of emplaced and creative research methodologies that draw on other knowledges and that centrally locate action and change in knowledge production. Pilar is the author of “Dwellers of Memory. Youth and Violence in Medellin, Colombia” and “Poniendo Tierra de por medio. Migracion forzada de colombianos en Colombia, Ecuador y Canadá and is currently working on the book manuscript, “In the Interstices of War and Peace: Memory and Social Repair in Colombia.” Her articles have appeared in Memory Studies, the International Journal of Transitional Justice, Anthropology Quarterly, Revista Colombiana de Antropología, Refugee Survey Quarterly, Estudios Politicos among others. She is currently working on three projects, Transformative Memory: An International Network (with Erin Baines, UBC); Exhumations and burial in Colombia (with the Committee of Victims of the Middle Atrato River) and Sacred Responsibilities to Water. Indigenous Knowledge Exchanges, Canada-Colombia (with Aimée Craft, University of Ottawa).

Roewan Crowe is an artist, writer, and professor. Through the use of performance, installation, video, text, and theory, Crowe creates intimate landscapes, making space for connection and stange encounters. Their practice engages in material explorations, questions of form, site-specificity, and collaborative processes. Work includes: digShift, an environmental reclamation project; Lifting Stone, a queer femme performance/installation creating intimate poetic encounters; and the book Quivering Land, a gritty feminist meditation on the possibilities of art. Crowe co-edited with Helen Vosters, the Hemi Press digital book, Return Atacama: Engaging Histories of Political Violence Through Performance and Durational Witnessing, documenting the return of artist Monica Martinez and the artist collective, CONSTELACIONES, to the Atacama Desert in Chile. Alongside co-pollinatrix Dallas Cant they recently launched the SWARM arc.hive www.swarm.greenhouseartlab.com , a sympoetic, more-than-human, artistic encounter with bees. Crowe’s paid gig: Associate Professor, WGS at the University of Winnipeg. Visit www.roewancrowe.com .

Shannon Cochrane is a Toronto based performance artist. Her performance work has been presented in festivals, theatres and at various events across Canada and the USA, and in over 20 countries across Europe, UK and Asia. She is also the Artistic Director of FADO Performance Art Centre (www.performanceart.ca/), a Toronto-based artist-run centre established in 1993 with the mission to support and present the work of contemporary performance artists from across Canada and around the world. As a platform, FADO exists nomadically, utilizing venues and sites that are appropriate to individual projects. Shannon is also a co-founding member of the Toronto Performance Art Collective. Established in 1997, TPAC is the producer of one of Canada’s oldest biennial performance art festivals, the 7a*11d International Festival of Performance Art (www.7a-11d.ca ).

Shauna Janssen is Assistant Professor of Performance Creation in the Department of Theatre at Concordia University, where she holds a Concordia University Research Chair in Performative Urbanism (2018-2023). Her teaching, research and creative practice are consonant with urban humanities, critical, interdisciplinary, and collaborative practices, and performative explorations with and within contested sites of the urban realm. Current research-creation projects include Feminist Performance Creation & the City (SSHRC PEG) and Situating Critical Performance Design in the City (SSHRC IDG).

www.performativeurbanism.com
www.shaunajanssen.ca

Smaro Kamboureli is the Avie Bennett Chair in Canadian Literature at the University of Toronto. Prior to this appointment, she was Canada Research Chair Tier 1 in Critical Studies in Canadian Literature at the University of Guelph, where she founded and directed TransCanada Institute. Her most recent publications include her articles “Literary Solidarities: ‘Should I be here?’,” her introduction to the University of Toronto Quarterly special issue that she co-edited with Tania Aguila-Way, and “Diaspora” in Oxford Research Encyclopedia of Literature, as well as the bilingual English / Italian edition of her poetry book, in the second person, in seconda persona. She is the author of numerous books, including Scandalous Bodies: Diasporic Literature in English Canada, winner of the Gabrielle Roy Prize for Canadian Literary Criticism. Her collection of essays, co-edited with Larissa Lai, Land / Relations: Possibilities of Justice in Canadian Literatures, is forthcoming. For a full list of her books and publications, visit www.smarokamboureli.ca

Sofía Acosta Varea (Quito,1988) is a visual artist. Her work encompasses an interdisciplinary practice that ranges from installation, through intervention of photographs, archives, cartographies, and testimonies, to graphics and murals. Her work is an aesthetic-political commitment that, on the one hand, questions established gender narratives and, on the other hand, seeks post-extractivist art approaches, putting contemporary notions of territory in debate. She has participated in several solo and group exhibitions in different independent galleries, inside and outside Ecuador, curated (Ordinaria, Arte Actual FLACSO (2018) and worked as illustrator in multiple independent publications. Recently, together with Adrián Balseca, she created the project Mirador: Visiones sobre el extractivismo (Mirador: Visions on Extractivism, 2019), a book that investigates the different visual memories of peasant and Indigenous leaders who have been criminalized since the arrival of the Ecuador’s 6 mega-mining projects.
Links: www.lasuerte.art
IG @l_a_s_u_e_r_t_e

Sol Pérez Jiménez has a doctorate in Environmental Geography from the Universidad Nacional Autónoma de México. In the past decade she has worked as an activist, academic and independent consultant with national and international civil society organizations, on issues such as environmental and social impact of mining, environmental conflicts and alternatives to extractivism. Currently, since 2021, she is a researcher in the Land and Territory Program of Fundar Center for Analysis and Research.
AChttps://fundar.org.mx/

Sophia Zhou is a fourth year in her Honours Bachelor of Design program at York University. She is interested in web design and UX/UI. A curious individual looking for ways to connect with the local community and pick up new knowledge. She uses her experiences to create stronger and more meaningful designs.

Stephanie Sherman is a queer, bilingual, bicultural, interdisciplinary feminist educator, choreographer, dancer, poet, and activist who creates collaborations between artivists across the Américas. She has been faculty at Mills College, the University of Texas El Paso, la Academia de la Danza Mexicana, Instituto Nacional de Bellas Artes y Literatura (Mexico), la Universidad de las Américas Puebla (Mexico). She has been a guest teacher at the Centro Universitario de Teatro at the Universidad Nacional Autónoma de México (UNAM) (Mexico) and the Universidad Central del Ecuador. She is currently a Hemispheric Encounters Postdoctoral Fellow at Concordia University, where she is creating a transborder video-dance about accessibility with Deaf and disabled artists from Montreal and Mexico City. She will become faculty at California College in the Spring. She has a PhD in Performance Studies from UC Berkeley, an MFA in Dance from NYU, a BA in Hispanic Studies from Vassar College, and has received two Fulbright Awards (Mexico, Postdoctoral, 2018; Ecuador, 2006). During her Mexico Fulbright at the UNAM, she collaborated with Teatro Ciego, a blind theater company, on deconstructing gender through movement. www.stephanie-sherman.com

Stephen Lawson is a Montreal artist, activist, and educator that creates poetic transdisciplinary interventions within the fields of live art (music, theatre, cabaret), print, installation, and video. Since 2001, as one half of the collaborative art duo 2boys.tv, he has produced a wide repertoire of queer art works that have toured internationally. Stephen is a PhD candidate in the Department of Theatre & Performance Studies at York University and his research is centred on radical drag praxis throughout the Hemispheric Americas. He is the Co-Managing Editor of the research site Cabaret Commons and a frequent part-time instructor at Concordia University. www.2boys.tv
https://cabaretcommons.org/
https://theatre-studies.gradstudies.yorku.ca/

Tamara Toledo est conservatrice, artiste, écrivaine et candidate au doctorat à l’Université York. Elle est née au Chili et réside actuellement à Toronto. Toledo est cofondatrice de l’Allende Arts Festival et du Latin American Canadian Art Projects. Depuis plus de dix ans, elle organise de nombreuses expositions qui offrent aux artistes de la diaspora latino-américaine des espaces et des possibilités de présenter leur travail. Elle a conçu et organise les Latin American Speakers Series, invitant à Toronto des artistes contemporains et conservateurs de renommée internationale dans un espace d’expression et de discussion de questions liées à la dynamique transculturelle dans l’art contemporain. Toledo a présenté son travail à diverses conférences à Montréal, New York, Vancouver, Chicago, Mexico et Toronto. Ses écrits ont été publiés dans ARM Journal, C Magazine, Fuse, Canadian Art et, plus récemment, dans le Latin American & Latinx Visual Culture Journal de l’Université de Californie. Toledo est actuellement directrice/conservatrice de Sur Gallery, le seul espace dédié à l’art contemporain latino-américain au Canada.

Tatiane Reis est engagée dans une constante poursuite de connaissances théoriques et d’expériences pratiques de lutte pour la justice sociale, en particulier dans les pays du Sud. Son expérience de professeure d’histoire au Brésil lui a permis de découvrir des possibilités de partage des connaissances tout en encourageant des actions orientées vers la communauté. En tant que doctorante afro-brésilienne aux études centrées sur le féminisme, le genre, et la condition féminine à l’université de York, elle s’est engagée à accroitre la visibilité des contributions intellectuelles et artistiques de femmes racialisées au-delà du cadre universitaire.
Sa thèse explore les impacts des activités minières sur le travail rémunéré et non rémunéré des femmes en Afrique australe. Depuis 2022, Tatiane a soutenu différentes activités de Rencontres Hémisphériques, principalement par le biais d’interprétations et de traductions.

Trevor Schwellnus est un artiste interdisciplinaire et un scénographe qui conçoit des décors, des lumières et des vidéos pour des spectacles avec des compagnies et des artistes indépendants. Il est né sur des terres algonquines non cédées. L'une de ses principales obsessions est l'intersection entre le design, la dramaturgie et la création artistique interculturelle. Il a dirigé et conçu Dividing Lines, What I learned from a decade of fear, Nohayquiensepa (No one knows) avec Aluna Theatre. .< wpml_linebreak >
Depuis 1999, il a conçu plus d'une centaine de spectacles pour des dizaines de compagnies, notamment : The Theatre Centre, Cahoots, Modern Times Stage Company, Obsidian Theatre, Buddies in Bad Times, Theatre Passe Muraille, La Corporación Colombiana de Teatro, Ame Henderson, Dancemakers, et d'autres. .< wpml_linebreak >
Il a redessiné la statuette du prix Dora de Toronto en 2019, a remporté 6 prix Dora (sur 18 nominations), et a été présélectionné pour le prix Siminovich 2015.

Véro Leduc is an artist, engaged scholar, and a professor in Communication Studies at the University of Quebec in Montreal, where she teaches in cultural action program as well as in the program Disability and Deafhood: Rights and Citizenship, which she co-founded. First Deaf university professor in Quebec, and Canada Research Chair in Cultural Citizenship of Deaf People and Cultural Equity Practices, her recent investigations focuses on Deaf and disability arts practices in Canada and Deaf music. In 2020, she received the Governor General's Medal of Canada for her commendable work in breaking down barriers to social exclusion and enhancing accessibility to university and culture for people who are deaf and hard of hearing.
Links:

- www.professeurs.uqam.ca/professeur/leduc.veronique
- Musiques au bout des doigts / Music at the fingertips: https://actproject.ca/act/musique-au-bout-des-doigts/
- Nos mains qui vibrent / Our vibrant hands: https://vimeo.com/showcase/8777738
- On vous fait signe / We're waving hands : https://www.signe.media/
- Chaire de recherche / Research chair: https://equite-culturelle.uqam.ca/

Warren Cariou is a writer, photographer and professor based in Winnipeg, Manitoba. His work focuses on the environmental philosophies and oral traditions of Indigenous peoples in western Canada, especially in relation to his Métis heritage. He has published works of criticism, memoir, fiction, poetry and film, and his bitumen photographs have been exhibited and published widely. He has also edited numerous books of Indigenous literature and storytelling. He teaches in the Department of English, Theatre, Film & Media at the University of Manitoba.

For more information visit www.warrencariou.com

Zoë Heyn-Jones is a settler researcher-artist and cultural worker who grew up on Saugeen Ojibway land in Ontario, Canada and on Tz’utujil/Kaqchikel Maya land in Guatemala. Zoë holds a PhD in Visual Arts from York University and a graduate diploma in Latin American Studies from CERLAC (the Centre for Research on Latin America and the Caribbean, York University). Zoë is currently a SSHRC postdoctoral fellow at the Centre for Sustainable Curating in the department of Visual Arts at Western University where she is developing an interdisciplinary arts-based project on food security, sovereignty and justice in Canada and Mexico. She lives and works in Tenochtitlán/Mexico City and Tkaranto/Toronto.

www.zoeheynjones.com