Publications: Interview with South African Contemporary Choreographer Sylvia Glasser (submitted)
This is a dialogue with Jewish South African choreographer Sylvia Glasser about her practices and the histories of the first mixed company in South Africa during apartheid.

2022. "On Locating Interculturalism and Somatics: Looseness, holding on and swimming" 14 (2) The Journal of Dance and Somatics Practices.
This article addresses how improvisation and somatics are methods of movement research that permit the overlap of Jewish and African diasporic practices and coalitions outside of the bounds of language. Improvisation and somatics are queried as ways of making dance and as shifting spaces of coalition, of standing with others, and standing also for myself as a Jewish woman. I articulate a viewpoint on overlapping diasporas between Jewish and African diasporic populations which is asserted in tandem with analyses of the ways in which diasporas, and interculturalisms, make present for me implicit power dynamics through improvisation, technique and somatic practices. This analysis of my own practices permits a deeper rendering of the plurality of diasporic Jewish female identity as it relates to my body, interculturalism, spirituality, anti-racism and decolonization implicit in somatics, technique and improvisation.

2013. "Dance" in Encyclopedia of Race and Racism 2nd edition.
This entry addresses anti imperial dance practices in the Caribbean.

2012. "Improvising the Interstices: Experimentation and Lineage in African Contemporary Dance" (Area Magazine) 12(12) (special issue intersections).
This piece of writing speaks to my improvisational practices and how they grew and changed living in the praxis place work space in reference to lineage(s) in African contemporary dance and ethics.

2011. "Did You Say Banda? Geoffrey Holder and How Stories Circulate." (17) 2011 Journal of Haitian Studies.
This article traces the ways in which Geoffrey Holder's Banda choreographies that he created for Alvin Ailey Dance Theater, The Dance Theater of Harlem, and for the House of Flowers express his own choices which reflect important aspects of Caribbean identity.

2010. "Chimin Kwaze: Crossing Paths or Dancemaking in Port-au-Prince." Making Caribbean Dance, edited by Susanna Sloat, University of Florida Press. 2010.
The book chapter reflects upon dance work in Haiti and dialogues with elders during the creation of the Chimin Kwaze dance production in pre-coup d’etat Haiti.

2009. "Yanvalou's Elliptic Displacements: Staging Spirit Time in the United States" the Journal of Haitian Studies. (Vol 15 (1 and 2)). 2009.
This article suggests another way of viewing spirituality in Haitian dance and how the spirits are aligned with diasporic articulations and intercultural communities.

2003. "Story Space in Bangarra’s Pride: An Imperative for Reconciliation" in Australasian Drama Studies October 2002 (41). 2003.
This article analyzes Bangarra Dance Theater's screen dance "Pride" in reference to postcolonial readings of space and time. It employs De Certeau's theory of story time to address inequalities portrayed in the film and the requests the screen dance may be making.

In-progress writing:

"Enlivening Space(s) in Ange Aoussou's Dance Festival "Un Pas Vers L'Avant": Accumulated Improvisation, Community Engagement, and the Politics of Urban Africa (in process)" requested chapter for Routledge Companion on Site Dance.

In-Progress Book(s): Improvising Coalitions: Making Dance in Intercultural Contexts in Africa, the US and the Caribbean.

Somatics and Jewish Arts co-edited volume with Ben Spatz, Nicole Bindler, and Kristen Smiarowksi