
I am an academic and dancer whose research on performing bodies combines dance history, performance studies theory, cultural studies, experimental practice, and technology. In 2009, I received my doctorate from the University of Cambridge as a Marshall Scholar and joined the Andrew W. Mellon Fellowship of Scholars in the Humanities at Stanford University, and then CalArts and the University of Bristol. I am now Head of Digital Research and Professor of Performance and Technology at the Royal Central School of Speech and Drama, University of London, where I am Co-Director of the Centre for Performance, Technology, and Equity. I sometimes explain that I teach bodies and performance to theorists and historians, and history and theory to performers, but I like it best when those get mixed up together. I am committed to multiple possibilities, both implicit and explicit, for working between practice and research.
Together with Harmony Bench, I've been working for over ten years on the kinds of questions and problems that make the analysis and visualization of data meaningful for dance historical inquiry, funded by a Battelle Engineering, Technology, and Human Affairs (BETHA) Endowment Grant, and subsequently a project grant from the Arts and Humanities Research Council (AHRC) for Dunham's Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry (AH/R012989/1, 2018-22), which is winner of the joint ATHE-ASTR Award for Excellence in Digital Theatre Scholarship. The next step building on this research is an AHRC Research Development and Engagement Fellowship for Visceral Histories, Visual Arguments: Dance-Based Approaches to Data (AH/W005034/1, 2022-2025). Based on this body of digital research, we were commissioned by the Whitney Museum of American Art to produce dance history visualizations as part of their upcoming Edges of Ailey exhibition (September 2024).
My first book Watching Weimar Dance (Oxford University Press, 2014) is about the strange things people claimed to see while watching dances in and from the Weimar Republic, and received both the Oscar G. Brockett Book Prize for Dance Research for best book in dance and the Joe A. Callaway Prize honorable mention for best book on theatre or drama. I also have a small book on the interdependence between Theatre & Dance (Theatre& series, 2018). My major awards for scholarly publications also include the Biennial Sally Banes Publication Prize for best publication at the intersections of theatre and dance/movement and the Gertrude Lippincott Award for best article in dance studies, which I received twice. These books as well as my seventeen peer-reviewed essays touch on exile and migration, spectatorship, bodies in technology and medicine, digital humanities, archives and reenactment, interdisciplinary performance, infrastructures of circulation, and modernism in and beyond Europe. My other major current project deals with the intersections of breath, performance, and measurement from the Victorian era to the present.
As an artist, my recent collaborations include Future Memory, as dramaturg with Rani Nair, which has been presented internationally, among other places at ImPulsTanz (Vienna), the Singapore International Festival of Arts (Singapore), Ignite! Festival of Contemporary Dance (New Delhi), and Dansenshus (Stockholm). I am also co-director of the Breath Catalogue project that combines dance, medicine, and technology to create a cabinet of breath curiosities in performance. I was on the commission for Germany's first practice-based masters degree in dance, MA Solo/Dance/Authorship at Hochschulübergreifendes Zentrum Tanz Berlin, and I also produce and convene events in the arts, including as curator for Dansbyrån (Gothenburg) and The Garage (San Francisco). I am co-editor of the New World Choreographies book series, on the editorial boards for Performance Matters and ASAP/Journal, and an advisor for Good Form and Spectacle, a design shop in service of cultural heritage.
I live and work in San Francisco and London.
Selected Awards, Grants, and Commissions: | |
2024-30 | Research England, Expanding Excellence in England (E3) to found the Centre for Performance, Technology, and Equity |
2023-25 | Whitney Museum of American Art, Commission |
2023 | Dance Studies Association, Gertrude Lippincott Award |
2022-25 | Arts and Humanities Research Council (AHRC), Research Development and Engagement Fellowship for Visceral Histories, Visual Arguments: Dance-Based Approaches to Data |
2021 | Association for Theatre in Higher Education and American Society for Theatre Research, ATHE-ASTR Award for Excellence in Digital Theatre and Performance Scholarship |
2018-22 | Arts and Humanities Research Council (AHRC), Three-Year Standard Project Grant for Dunham’s Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry |
2020 | American Society for Theatre Research, Biennial Sally Banes Publication Prize Honorable Mention |
2017 | Dance Studies Association, Oscar G. Brockett Prize for Dance Research |
2016 | New York University, Joe A. Callaway Prize Honorable Mention |
2016 | Batelle Engineering, Technology, and Human Affairs (BETHA) Endowment Grant, with Harmony Bench, The Ohio State University |
2015-16 | University Research Fellowship, Institute for Advanced Studies, University of Bristol |
2015 | Green Apple Award, Education for Sustainable Development, University of Bristol |
2015 | Community Arts Grant, Zellerbach Family Foundation, with Megan Nicely for Breath Catalogue |
2015 | Digital Humanities Summer Grant, University of Bristol |
2014 | Higher Education Academy Fellowship (FHEA) |
2013 | Lilian Karina Foundation, 2013 Research Grant in Dance and Politics |
2012-13 | Kings College London, Research Initiative Fund, with Ben Schofield on “Staging German Culture: Representations of Germany in the Cultural Olympiad” |
2009-12 | Stanford University, Andrew W. Mellon Fellowship of Scholars in the Humanities |
2010 | Society of Dance History Scholars, Gertrude Lippincott Award |
2009 | American Society for Theatre Research, Biennial Sally Banes Publication Prize |
2009 | St. Catharine's College Cambridge, Graduate Prize for Distinction in Research |
2008 | Deutscher Akademischer Austauschdienst, Research Grant |
2007-08 | University of Cambridge: Overseas Research Students Awards Scheme, Tiarks German Scholarship, Cambridge Overseas Bursary |
2007 | German Historical Research Institute London, Research Grant |
2007 | Society of Dance History Scholars, Graduate Student Travel Grant |
2004-07 | Marshall Aid Commemoration Commission, Marshall Scholarship |
2001 | Northwestern University, Undergraduate Summer Research Grant |
2000 | Northwestern University, Lynn Ann Blom Award |
Academic Positions: | |
2016- | Professor of Performance and Technology and Head of Digital Research (promoted from Reader), The Royal Central School of Speech and Drama |
2012-16 | Senior Lecturer in Theatre and Performance Studies (promoted from Lecturer), University of Bristol |
2012 | Visiting Faculty in Critical Studies, MA Aesthetics and Politics, CalArts |
2009-12 | Lecturer/Mellon Fellow in Drama/Dance and German Studies, Stanford University |
2006-09 | Lecturer, MA Dance Theatre: The Body in Performance, MA Choreography, and MA Performance, Laban |
Education: | |
2009 |
Ph.D. German, University of Cambridge |
2005 |
M.A. European Dance Theatre Practice, Laban |
2002 |
B.S. Dance, Northwestern University also B.A. Comparative Literary Studies |
As Head of Digital Research for a small specialist institution, I build institutional infrastructures and practices to champion research that stems from and centers artistic practice in relation to technology. In 2024, we received a £5.6 million grant to found a Centre for Performance, Technology, and Equity (PTEQ) on the principle that performance-led perspectives and promotion of social equity are critical to technological innovation both for the arts and beyond. PTEQ will train a new generation of early career researchers and catalyze research and development with partners from across a range of industries and the wider community including the arts, theatres, festivals, applied theatre, restorative justice, industry bodies, technology, manufacturing and SMEs.
In my own research, I have been working with Harmony Bench for ten years to facilitate a dialogue between the experimental digital humanities and dance history, under a research umbrella we call “Movement on the Move” as well as the company Moving Data.
Our AHRC-funded project Dunham’s Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry (2018-2022, AH/R012989/1) focuses on the questions and problems that make the analysis and visualization of data meaningful for the study of dance historical inquiry, through the case study of African American choreographer Katherine Dunham. Dunham’s Data is winner of the 2021 ATHE-ASTR Award for Excellence in Digital Scholarship. The datasets associated with the Dunham’s Data AHRC project were acquired by the National Archive for Data on Arts and Culture where they will be maintained in perpetuity. In addition, the full website and portfolio for Dunham’s Data was chosen to be archived for future access by the Library of Congress as part of the Performing Arts Web Archive.
Dunham's Data became the model for a commission from the Whitney Museum of American Art to produce dance history visualizations for the Edges of Ailey exhibition. Open from September 2024 to February 2025, the exhibit focuses on choreographer Alvin Ailey's life, work, and legacy. Installed across three 75" screens, the Radical Accounting series enables us to futher explore how dance-led ways of working with data can change public engagement with dance history.
Visceral Histories, Visual Arguments: Dance-Based Approaches to Data represents our newest line of research, for which I was awarded an AHRC Research Development and Engagement fellowship (2022-25, AH/W005034/1). We investigate how a data-driven approach that is tailored to the medium of dance can transform the use of digital tools to evidence and elaborate the historical study of embodied knowledge more broadly. Visceral Histories, Visual Arguments curates historical data that centres dance-based knowledge practices to create palpable visual arguments in the form of digital visualizations and immersive experiences, guided by choreographic principles. Research strands related to Visceral Histories are further supported by a grant for Artificial Intelligence for Creative Movement Analysis and Synthesis from The Ohio State University.
Earlier funded digital projects include Moving Bodies, Moving Culture (2014-16) and Dance in Transit (2016-2018).
I am a choreographer, dramaturg, and curator, and work with a variety of collaborators to make multimedia dance theater performances.
I collaborate with Swedish choreographer Rani Nair as dramaturg and historian on Future Memory, based on her inheritance of the German choreographer Kurt Jooss’s last dance, which was given to Swedish-based Indian dancer Lilavati Häger. Future Memory has been shown at ImPulsTanz Festival in Vienna, the IGNITE! Festival in New Delhi, the Singapore International Festival of Arts, Dansens Hus in Stockholm, the Scenkonst Biennialen in Jönköpng, and SEAD in Salzburg. Check out an interview with us about the project, selected reviews, and an essay I wrote. For a full list of performances and other related events, see Upcoming. We have also just premiered a new project with Astad Deboo: the biographical dance An Evening with Astad.
My other current choreography project is Breath Catalogue, which combines choreographic methods with medical technology to create a cabinet of breath curiosities in performance. The first performance phase of the project was in collaboration with artist/scholar Megan Nicely, digital interaction designer Ben Gimpert, and composer Daniel Thomas Davis, using breath sensors from the medical technology startup Spire and later Stretchsense, and the second phase of this work was developed in connection with the Wellcome Trust-funded Life of Breath project, and the Respiratory Unit at Southmead Hospital. In 2018, I had the opportunity to speak about this work on BBC Radio 4. From 2011-2012, Nicely and I also collaborated on the Animation Project, with workshops, installations, and performances in Ann Arbor, San Francisco, London, Chicago, and Leeds.
I am also choreographer and dramaturgical consultant for SIX. TWENTY. OUTRAGEOUS. Three Gertrude Stein Plays in the Shape of an Opera, by composer Daniel Thomas Davis, librettist Adam Frank, and director-designer Doug Fitch, which premiered at Symphony Space in New York in 2018.
From 2010-11, I curated a series of international lectures and workshops at Dansbyrån, funded by the Swedish Arts Grants Committee, was on the committee for a practice-based research symposium on Movement, Somatics, and Writing, organized by Petra Kuppers at the University of Michigan, and curated the first annual Bay Area Dance Camp, as part of VERGE Fest. From 2009 to 2013, I was also on the editorial board for the wonderful and now gone Dance Theatre Journal.
Long ago, I performed with companies including Hedwig Dances, Lucky Plush Productions, Compagnie Felix Ruckert, Chicago Moving Company, Light Opera Works, and Striding Lion Interarts Workshop. More recently, I also worked with Big Art Group on The People - SF, as well as with The New Urban Naturalists. I have also danced in pieces by Molly Shanahan, Charles Weidman (reconstruction by Deborah Carr), Lisa Wymore, Rebecca Rossen, Melissa Thodos, and Brian Jeffery.
Other choreography includes Open Letter, which I developed under a RAW residency at the Garage in San Francisco in 2010, as well as Places Don't Place Us Until We've Left, London (2009); So Here We Go, Berlin and Gothenburg (2007 - 08); Estranged Animals and Valeska, London (both 2005); Words of Clay, Chicago (2004); Erotopaegnie, Chicago (2001); and Down Into, Chicago (2000).
“The three animations of visualized data charting Ailey’s impact on dance throughout time and space are an unexpected delight. Researchers Harmony Bench and Kate Elswit spent almost three years combing through over thirty thousand documents in the archives to create them. The animations are fascinating, quite beautiful and worth a view.”
“... fascinating computerized data sets by scholars Harmony Bench and Kate Elswit that chart, in animated graphic form, all the places the company has performed and all the people who danced Ailey’s work”
“Harmony Bench and Kate Elswit’s groundbreaking work demonstrates how critical digital methods, data analysis, and visualization can reinvigorate and reshape dance history.”
“Stands as a model of how digital scholarship can transform the practice of historical research and historiography and points to the ways in which large datasets can be used to illuminate as-yet-untold stories of performers’ lives and works.”
“The book was excellent ... If you work in a department of Theatre and Dance and you have an annual department retreat, I do think everyone should buy this book and read it and talk about it together.”
“The ideal guide to the complex entanglements of theatre and dance. A distillation of Elswit’s expertise, broad in scope and rich in elegantly formulated insights.”
“A brilliantly lucid account of the tangled histories and contemporary partnership of theatre and dance.”
“Kate Elswit’s Theatre & Dance is an endlessly useful book ... Elswit’s text manages the difficult task of distilling with energy, clarity, and insight an interdisciplinary and often contentious conversation about performance histories, aesthetics, and practices.”
“Groundbreaking ... Kate Elswit's writing is lucid, and her scholarship impeccable ... she cares passionately for the origins of the traces which she analyses (that is the dance themselves).”
“Watching Weimar Dance is a stellar work of scholarship. Elswit tackles some of the central issues in how dance history is researched and narrated, and her points are all the more convincing because they are supported by meticulous research. ... Watching Weimar Dance should be a welcome addition to dance studies, German studies, and as a model for interdisciplinary scholarship on the body.”
“Kate Elswit thinks across history, theory, reception and corporeality and in so doing rethinks Weimar dance for the 21st century.”
“In Watching Weimar Dance, Kate Elswit takes the traditional ‘obstacles’ of dance history — the fragmentary archive, ephemeral performances, and unstable objects — and transforms them into its very strengths. Approaching Weimar dance as a series of eventful and relational encounters, in which spectators contributed as much to the generation of meaning as the performers themselves, the book rediscovers modern dance both as a specific medium and as a forum shot through with broader issues of visual and corporeal culture.”
“Elswit provides an interdisciplinary framework that reveals new insights about topics of longstanding interest to scholars of Weimar culture, including expressivity and representation, the mechanization of bodies, and the commodification of art ... a valuable new resource on modernist performance culture.”
“Elswit has made an important contribution to the way we practice dance historiography.”
“Watching Weimar Dance makes a significant contribution to the literature on German dance in the early twentieth century.”
“Kate Elswit's Watching Weimar Dance offers a compelling addition to an emergent literature on spectatorship and dance. As part of her original contribution, Elswit develops the notion of ‘archives of watching’, theorizing watching itself as a form of motion, and in her words, ‘a peripheral dance between the physical and abstract’, to show how historically-situated viewing practices shape dance performances, and how these performances in turn impact upon spectator subjectivities. She begins with an important reorienting of German dance within the first few decades of the twentieth century, commonly articulated in dance histories as Ausdruckstanz, and reframes it as Weimar Dance, a more inclusive term that embraces not only concert dance, but also popular forms of cabaret, revue, an experimental theater. Through meticulous archival analysis, in conversation with contemporary ideas in dance studies, Elswit shows how audiences saw things in performance that could not have occurred, but instead reveal the scocial anxieties that audiences experienced during this period. She persuasively argues in lucid prose how viewing German dance in different national contexts, and at different temporal moments, complicated political investments and the histories that we construct in response to dance. Watching Weimar dance demonstrates eloquent and engaging dance research that is thoroughly deserving of the 2017 Oscar G. Brockett Prize for Dance Research.”
“Marrying intelligence and art together seamlessly.”
“Throughout, it was clear that the content emerged from a deep conversation between choreographic thinking and technology ... What stayed with me most after the work was how, through subtle means, Nicely and Elswit created a work with visceral impact ... Breath Catalogue points to a different future wherein technology has the potential to facilitate embodiment.”
“For art to be contemporary, it must reflect our current conditions. Digital and information technology is part of the fabric of our society — it can exploit or it can inspire. When handled thoughtfully, emerging technology can deepen the human experience, as Nicely and Elswit demonstrated in Breath Catalogue.”
“It is a gift to inherit something significant, but it can also mean a lot of pressure. You may even need to distance yourself and revolt ... And capture the time elapsed between the generations ... The dancer Rani Nair does all this in the solo ‘Future Memory,’ a wonderful, soul-searching, smart, funny and deeply personal act.”
“The performance was riveting in its inventiveness and unpredictability. ... We saw, we touched, we heard and thus entered the world of Hager. ”
“Future Memory (from 2012) is a layer- upon-layer choreography, a witty and profound dance performance that mingles with the discussion about the choreographic heritage that is lively today.”
“This is a show with great humor and sincerity that raises questions about ethnicity, identity and artistic creation.”
“A warm-hearted, humorous approach to a personality and her legacy, to the dance of another time and the reflection upon it that inheritance is not only a gift.”
“An unusual dance historical dialogue. Rani Nair's way to confront herself as a dance historical heir resembles an artistic research project, which includes data collection, critical attitude and an exploratory form of work.”
“As with Jooss’s work, everything here must have the effect of being particularly simple, unpretentious, and as though improvised. Her ‘dialogue' with a haute couture outfit was especially inventive; she uses a hairdryer to make a dancing partner, into whom she breathes life through currents of air.”
“Nair sought to represent all the layers of her heirloom, which she performs not simply as reconstruction; instead she expands upon Häger and Jooss themselves.”
“It is as if she creates a dance's own ‘In Search of Lost Time’ (after Marcel Proust's famous novel) - but, in broken modernist form, more than futurism cubism, between humor and sadness, in her own style, which is constantly questioning itself, mirroring inward-outward.”
The Royal Central School of Speech and Drama
62-64 Eton Avenue
London NW3 3HY
United Kingdom
kate.elswit@cssd.ac.uk
@somethingmodern