Shawn T Bible, grew up in Roseville, Michigan and received a BA in Social Science and Dance from Michigan State University and an MFA in Dance Choreography and Performance from the University of Michigan.

Shawn is the Vice-President of the Dance Films Association and an Executive Producer of the preeminent Dance on Camera Festival at Lincoln Center.  He is also moderator for the Dance Film Labs providing education to dance film makers and the filmmaker Q&A panels during the festival.  His animation, VOID, was featured in the #mydancefilm program in the Dance on Camera Festival 2020.  Bible is the 2nd PLACE WINNER of the Third Century Screens (3CS) videodance competition through the University of Michigan Bicentennial Committee.  Bible’s interest in dance and technology was also featured in, “Bodies in Motion”, with Kingston University (UK) and the Amsterdam Conservetoire, in which dancers manipulated their environment through Wii controllers.  Bible also utilized Kinect software in “Vivaldi’s Four Season’s in Dance”, performed by Thodos Dance Chicago. His videodance, Dominique, won a Rackham Film Festival award and Moonplay, was featured in the Sans Sousi Festival of Dance Cinema at the Contemporary Museum of Art in Boulder, Colorado.

Bible is the artistic director of, shawnbibledanceco. which was established in 2007.  shawnbibledanceco. is a contemporary dance company that continues to present throughout New York City and Internationally at the International Choreographic Festival of Blois, France, Lourdes Dance Festival (Paris, France), Oaxaca Dance Festival (Oaxaca, Mexico), NYLA, Battery Park Dance Festival, Ailey Citigroup Theatre, Joyce’s DANY Studios, Shen Wei Dance Arts, and many others.

Shawn has been on faculty at New York City institutions Peridance Capezio Center and Gibney.  Shawn is currently on faculty at Manhattanville College in New York and is a tenured Professor of Dance and former Chair of the Department of Dance & Theatre.

Gabri Christa is a dance and filmmaker who hails from Curaçao, Dutch Caribbean and lives in New York. Awards include a Guggenheim for choreography, an ABC television award for Creative Excellence for her short film High School and Pangea Day Festival’s One of the World’s 100 most promising Filmmakers distinction.  Both her films KASITA and One Day at a Time, won best short and best short documentary at the Harlem International Film Festival. Her latest short film SON is jury selection at several festivals at the moment. As a dancer she worked a.o. with the Bill T. Jones/Arnie Zane Dance company and danced choreographed with Danza Contemporanea de Cuba and DanzAbierta and in her own work.

Gabri Christa is an Associate Professor of Professional Practice at Barnard College of Columbia University’s Department of Dance and Affiliate Faculty of Film Studies. She teaches Screendance, Composition, Modern Technique, Yoga and a seminar in Dance in Film and directs the Movement Lab at Barnard.  She is the founding director of the Moving Body – Moving image Festival a Biennale Screendance Festival around social and social justice issues.

John Crawford is an intermedia artist, interaction designer, performance director and technology developer. He uses computers and video to create rich immersive environments for embodied interaction with dance, theatre and music. His projects are performed in theatres, exhibited in galleries and presented as public art installations. His research and creative activity centers on making artworks that provide compelling interactive experiences for diverse communities, building upon the emerging technologies of the 21st century.

Recent work includes “Your Ocean, My Ocean,” an ongoing art and technology performance project concerned with oceans and coastlines, speaking to environmentalism, climate justice and community engagement. He originated the Active Space concept for his intermedia software framework upon which many of his projects are built, and which he has continued to evolve and develop for over twenty-five years.

He is Professor of Intermedia Arts at University of California, Irvine, where he initiated and directs the Emergent Media Research Lab, featuring a range of projects, courses and collaboratories that integrate socially engaged artmaking with emergent media and connected design. At UCI he has served in various leadership roles. He is a strong advocate for UCI’s initiatives to support transdisciplinary arts-based research and teaching, including the campus-wide Digital Arts Minor program which he directed for nine years.

His work has been shown across North America and in Asia, Europe and South America. Active as an intermedia artist since 1992, he has been a visiting artist and researcher at numerous universities and other venues in the United States, Europe, China, Japan and India. He is a frequent participant in transdisciplinary projects connecting performing arts and emergent media with science and technology research.
Prior to working as a professor, he led a dual life, alternating between parallel vocations: theatre artist and software developer. As a theatre director and actor in the 1970s, he studied with Sanford Meisner at the Neighborhood Playhouse in New York, worked with theatre companies including Factory Theatre Lab and Theatre Passe Muraille, and directed an experimental performance group in Vancouver, Canada. As a software designer and research manager in the 1980s and 1990s, his credits included projects for Adobe, Microsoft and many other companies.

Robin Gee holds is a choreographer and filmmaker specializing in African, Caribbean, and Modern dance techniques. She is an Associate Professor at UNC Greensboro where she teaches African and Contemporary dance as well as Composition and Screendance courses on both graduate and undergraduate levels. . Her choreographic works have appeared in the North Carolina Dance Festival, Dumbo Arts, Philadelphia Fringe Festival, as well as resident works mounted on various colleges and universities around the world. She is the recipient of the West African Research Association’s Post-Doctoral Fellowship in African Research, the Central Piedmont Artist’s Hub Grant for her work on Mande Culture.  She is most recently the recipient of the Fulbright Scholars Award for her work on Urban Griots: R(e) Imaginaing the Word, studying griot cultures in Mali and Burkina Faso. She is the recipient of the American Association of University Women’s Post Doctoral Research Award for her work on The Mande Legacy, a dance documentation project for which spent six months in Guinea. In 2006 Ms Gee also formed her own company Sugarfoote Productions, a multipurpose service organization designed to expose communities to the myriad expressions evident in African art and to help local audiences experience the richness of African and Diasporan cultural traditions. Sugarfoote also co-produces the Greensboro Dance Film Festival, a boutique dance film festival screening films from around the world. Ms. Gee’s own dance films have currently screened in 27 film festivals worldwide including but not limited to: ADF Movies by Movers;  Screen Dance International; Aphrodite Film Festival; Indie Boom; Global Film Festival; Central States Indie Fest; L.I.M.P.A Festival; Adirondack Film Festival; Festival International Videodanza; Movimiento de Movimientos; CKF International Festival; PRISMA Dance Fest; Independent Shorts Awards; Frame x Frame Film Festival; Festival International de Vidéo Danse de Bourgogne, Dance Camera West: Scripted and Screening: The Dancing Body Politic: (LA), NCDF Moving Movers, Screendance in the Landscape (Scotland); Studio Faire Artists Residence Program (France).

Kathleen Kelley is a choreographer, media artist, and Associate Professor of Dance and Technology at Montclair State University. She is the Artistic Director of Proteo Media + Performance, a company producing art that explores the intersections between technology and the body.  She is a 2019 Gibney Work Up resident artist, a Chez Bushwick Artist in Residence in 2018, and a 2015-2016 LEIMAY Fellow. Her 2018 dance film “Territory” was published by Triquarterly Literary Magazine. She was the cinematographer for “Future Becomes Past” (2018), a dance film by Janessa Clark, which was honored as an official selection at over 10 film festivals, and her choreography was featured in Maya Beiser’s music video “AIR” that premiered on NPR First Look. In 2016, her live installation “Digitized Figures” premiered as an interactive exhibition at the Gowanus Loft in Brooklyn, and portions were featured as videos in the Philly FringeArts Digital Fringe Festival, the Moving Poems blog, the Small Po[r]tions Intermedia Literary Journal, and the Rutgers University Momentum Technology Videos Festival. She received her BFA in Dance from the University of North Carolina-Greensboro and her MFA in Dance from the University of Illinois at Urbana-Champaign. You can find examples of her work here: www.proteomedia.com

Mitchell Rose is an Associate Professor of dance-filmmaking at The Ohio State University. Prior to becoming a filmmaker, he was a choreographer whose company toured for 15 years, including the Spoleto Festivals in the U.S. and Italy, Jacob’s Pillow Dance Festival, and numerous New York seasons in venues such as the Joyce Theatre, Dance Theatre Workshop, and Joseph Papp’s New York Dance Festival at the Delacorte Theatre in Central Park. He then pivoted to filmmaking, entering The American Film Institute in Hollywood as a Directing Fellow. Since A.F.I., his films have won over 90 awards and are screened around the world on television and in locations as diverse as the Getty Museum and the CBS JumboVision in Times Square.

His technique of “hyper-matchcutting” has become its own genre in the screendance field, and in 2018 he was commissioned by the Brooklyn Academy of Music to make a dance-film of that type featuring 52 seminal international choreographers including Ohad Naharin, Mark Morris, Elizabeth Streb, Bill T. Jones, Meredith Monk, William Forsythe, and Lucinda Childs.  Mitchell also tours The Mitch Show, a program of his films and audience-participation performance pieces. He toured The Mitch Show in Kosovo as a U.S. State Department Cultural Envoy.

The New York Times called him: “A rare and wonderful talent.” The Washington Post wrote that his work was “in the tradition of Chaplin, Keaton, and Tati—funny and sad and more than the sum of both.”

Douglas Rosenberg is a Professor of Art at the University of Wisconsin-Madison.He is an artist and a theorist working with performance, video, and Screendance, whose work has been exhibited internationally for over 30 years. He is the author of Screendance: Inscribing the Ephemeral Image, published by Oxford University Press, and editor of The Oxford Handbook of Screendance Studies as well as a founding editor ofThe International Journal of Screendance.His work has been supported by numerous grants and awards including the NationalEndowment for the Arts, RockefellerFoundation, and Soros Foundation. His chapter, “It Was There All Along: Theorizing a Jewish Narrative of Dance and [Post-]Modernism,” is forthcoming in the Oxford Handbook of Jewishness and Dance.

Roberta Shaw (MFA – Ohio State University, BA – U.C. Berkeley) Straddling the artforms of dance and film for over twenty years, Robbie Shaw has worked professionally as dancer, choreographer, dance instructor, filmmaker, and television editor.  She has created films and projection designs with notable choreographers including David Rousseve – “Bittersweet,” 2003,  Victoria Marks – “Smallest Gesture, Grandest Frame,” 2010,  Lynn Dally – “American Tap Masters,” 2007,  and Bebe Miller’s “Landing/Place,” 2002.  In 2001, she was a co-recipient for a BETHA Grant while on staff at The Ohio State University, to co-create the educational tool entitled “FECHE!  Dancing In Senegal,” and DanceCODES,” a dance documentation project funded by Pew Charitable Trust’s NIPAD grant. Robbie has created dozens of choreographic works for both the stage and screen, often incorporating contemporary dance with media and theatre, and empowered by activist themes about our environment, civil rights, and consumerism. These projects have been presented at Dance Camera West, Utah Dance Film Festival, Dance Films Association, RedCAT, Wexner Center for the Arts, Highways, ARC Pasadena, Artist’s Television Access, ODC/SF, and more  She has received several grants for her interdisciplinary work, including a DURFEE ARC grant for her dancefilm “Dominion” created @ Noah Purifoy Outdoor Artsite. She has had the pleasure of dancing for choreographers including Neil Greenberg, Maria Gillespie (ONI Dance), Bebe Miller, Victoria Uris, Rebecca Pappas, Kristina Isabelle’s HIJINK Dance, Kneejerk Dance Collective, Dance Brigade, Project Bandaloop, and Deborah Rosen.  Her choreographic credits for television, film and musical theatre include the City of Pasadena’s “Keep the Change,”campaign,  along with the films “Tony Conrad: Completely in the Present,” 2017,  the short film “Lovely,” of 2019, and URINETOWN, the Musical at PCC.She currently enjoys teaching screen dance at CalARTS, and general dance curriculum at Pasadena City College.

Andrea E. Woods Valdés is Chair of the Duke University Dance Program teaching modern dance and dance for the camera. She is currently in Ph.D. studies at Texas Woman’s University. Her work explores black aesthetics and intra-cultural and interdisciplinary dialogues and activities between black women artists throughout the African Diaspora. SOULOWORKS/Andrea E. Woods & Dancers recently celebrated 20 years of dancing and dancemaking. Woods Valdés is a former dancer/rehearsal director of Bill T. Jones/Arnie Zane Dance Co. (1989-1994) Her art and scholarship draw from African American Diaspora history/culture and Afro-Cuban dance/music to performed embodied folklore.  In 2016, she founded wimmin@work, an inter-generational, interdisciplinary performance to develop Black audiences for Black wimmin’s creative work. Woods Valdés Directed Duke In Ghana (2012-2014) and is a founding member of the Collegium for African Diaspora Dance (CADD). Her work has taken her to: Cannes, Taiwan, Russia, Senegal, Morocco, Korea, Poland, Singapore, Belize, Yucatán, Puerto Rico, The Dominican Republic, Ghana, Trinidad, Barbados, Cuba and throughout the US. She has received grants from:  The Jerome Foundation, (NEFA) The National Dance Project, National Performance Network and Arts International and is a recipient of the NC Arts Council Artist Fellowship. www.souloworks.com