Ariel Osterweis (she/they) earned their Ph.D. in Performance Studies at the University of California, Berkeley and their B.A. in Anthropology at Columbia University. They are on faculty at The Sharon Disney Lund School of Dance at the California Institute of the Arts (CalArts), where they teach undergraduate and graduate Critical Dance Studies and Performance Studies courses, including The Extreme Body in Performance, The Anthropology of Dance, Choreography and Textuality, Talent Show, and Clubbing. She has also taught at UC Berkeley, Wayne State University, and Skidmore College, forging interdisciplinary relationships between the Arts, Humanities, and Social Sciences.

Osterweis’ writing on embodied performance theorizes the socio-political intersection of race, sexuality, labor, movement, violence, pleasure, and aesthetics. Their award-winning book, Body Impossible: Desmond Richardson and the Politics of Virtuosity (Oxford University Press, Oxford Studies in Dance Theory Series) was published in 2024 and examines issues of blackness, virtuosity, class, gender, and queer masculinities in contemporary dance. Osterweis is developing their next monograph, Prophylactic Aesthetics: Latex, Spandex, and Sexual Anxieties Performed (University of Michigan Press, Theater: Theory/Text/Performance Series) as well as a book of interviews called Disavowing Virtuosity, Performing Aspiration: Dance and Performance Interviews (Routledge), which interrogates how African diasporic, mixed-race, feminist, and transgender art and performance disavow dance-based virtuosity. Osterweis is currently in discussion with Oxford about a book on Prince and dance.

Osterweis has also researched contemporary dance in Africa, and developed the concept of “geo-choreography” in their article on necropolitics in the Democratic Republic of Congo. Osterweis’ publications appear in Dance Research Journal, TDR/The Drama Review, Women and Performance: a journal of feminist theory, e-misférica, Theatre Survey, The Oxford Handbook of Dance and the Popular Screen (OUP, 2014), Choreographies of 21st Century Wars (OUP, 2016), Trajal Harrell’s Twenty Looks or Paris is Burning at the Judson Church (XL), The Futures of Dance Studies (University of Wisconsin Press, 2020), and NUMERO Magazine.

She was Book Reviews Editor of Dance Research Journal for several years, and has served on various committees and boards in New York City, Detroit, and Los Angeles, including Dance/NYC and Dirty Looks. They are a co-founding member of the CalArts School of Dance Anti-Racism Task Force. Osterweis is a Co-Chair for the Dance Studies Association’s 2026 conference on speculative choreographies.

Having trained at San Francisco Ballet School, The Martha Graham School, and The Ailey School on full scholarship, Osterweis danced professionally with Complexions Contemporary Ballet, Mia Michaels R.A.W., Heidi Latsky, Fred Ho, and disability activist Homer Avila. They have also choreographed works (including a piece after the language poetry of Robert Grenier and an installation for Hayv Kahraman), served as dramaturg for John Jasperse and Narcissister, and performed with Queer|Art Prize winner, Julie Tolentino. Osterweis directed the evening-length performance, Jérôme Bel (by Jérôme Bel), at REDCAT (LA), where she also co-produced Talent Show with Sharon Lockhart, and is working on an ongoing performance and literary memoir about “bad Koreans,” which began with a performance called Sunocide S(e)oul Mix with GYOPO and the LA Philharmonic. Bringing together visual artist Julie Mehretu and choreographer John Jasperse, Osterweis is dramaturg and producer on a multidisciplinary performance premiering in New York in May 2026. She is concurrently developing a performance organization called BODY SHOP.

Osterweis is a mixed-race / Korean American / nonbinary / queer parent who currently lives in Los Angeles and spends lots of time in New York City.