San Francisco Ballet, Pointes of View Lecture Series: The Promised Land with Dwight Rhoden and Ariel Osterweis, Ph.D., Apr 2022.
San Francisco Ballet, “Exploring Nutcracker,” Panelist, Nov 2019.
Hammer Museum, “Conversation with Tacita Dean and Wayne McGregor,” Moderator, July 2019.
Stanford University, “Prophylactic Aesthetics,” Invited Lecture, and Performance Writing Workshop Facilitation, May 2019.
Los Angeles County Museum of Art (LACMA), Symposium, Isaac Julien: Playtime, Invited Lecture, Ten Thousand Waves, May 2019.
Temple University, Institute of Dance Scholarship, Dance Studies Colloquium, “Prophylactic Aesthetics,” Invited Lecture, Nov 2018.
San Francisco Ballet, BOUNDLESS: A Symposium on Ballet’s Future, Scholar/Panelist, Apr 2018.
Performa 17, New York, NY, “Narcissister: The Body is a House,” respondent in discussion with Narcissister, Participant Inc., Nov 2017.
Portland Institute for Contemporary Art (PICA), TBA Festival, Resident Scholar (presented scholarship, conducted workshop, conducted interviews, wrote reviews), Sept 2016.
Portland Institute for Contemporary Art (PICA), TBA Festival, Resident Scholar (presented scholarship, conducted interviews, wrote reviews), Sept 2013.
Princeton University, Lewis Center for the Arts, Dance Program, “The Muse of Virtuosity: Desmond Richardson, Race, and Choreographic Falsetto,” Invited Lecture, Apr 2013.
University of Michigan, Ann Arbor, Department of English, Petra Kuppers Seminar, Invited Lecture on Dance, Race, and Virtuosity, Oct 2012.
Break/ing Ground: Critical Dialogues in Sound and Motion, University of California, Berkeley, invited as respondent/speaker for talks/performances by Fred Moten (NYU) and Thomas DeFrantz (Duke), Mar 2012.
Disability/Culture: 2012 UMInDS Spring Conference and Practice-Based Research Symposium, University of Michigan, Ann Arbor, invited by Petra Kuppers as participant/speaker/organizer, Jan 2011.
University of Michigan, Ann Arbor, Department of Dance, Invited Lecture, “Desmond Richardson and Complexions Contemporary Ballet: Race, Gender, and Virtuosity,” Oct 2011.
Society of Dance History Scholars (SDHS), University of Surrey, UK, Plenary Speaker, July, 2010.
Teen Reviewers and Critics Program, High 5 Tickets to the Arts, Arts Connection, lecture/workshop on Desmond Richardson and dance writing, New York City, May, Dec 2010.
MAPP International Productions, Presentation for Screening of Bittersweet by David Rousseve; New York University, Department of Performance Studies, Oct 2009.
Pop Conference, Let’s Get It Together: Gatherings, Club Cultures, Parties, and Beyond, Clive Davis Institute of Recorded Music, Tisch School of the Arts, New York University, “Skipping the Line: A Korean American Club Kid in Paris” (paper) in “Making Space: Pop Music, Affect, and Reimagining the Club” with Marco F. Guarino and Dan DiPiero, Apr 2023.
Night Fever: A Reading Series, Navel, Los Angeles, “Skipping the Line” (paper), curated by madison moore, Mar 2023.
American Studies Association (ASA), New Orleans, “Skipping the Line” (paper) in “Party Favors: Speed. Intensity, and Queer Clubbing Sensations” (panel) with madison moore, Tavia Nyong’o, Eddie Francisco Alvarez Jr., and Brett LaBauve, Nov 2022.
American Studies Association (ASA), Atlanta, “Prophylactic Aesthetics” (paper) in “Virtuosity” (panel) with Jayna Brown, Aimee Cox, Malik Gaines, and Scott Heath, Nov 2018.
American Society of Theater Research (ASTR), Atlanta, Working Session Co-Chair, “Boring the Body/Boring Bodies: Perforating Hierarchies of Embodied Power in Dance,” Nov 2017.
Dance Studies Association (DSA), Ohio State University, Panelist, “Approaches to Teaching Dance Studies in MFA Programs,” Oct 2017.
Society of Dance History Scholars (SDHS), Special Topics Conference, “Contemporary Ballet: Exchanges, Connections, and Directions,” Center for Ballet and the Arts, New York University, and the Department of Dance, Barnard College, Columbia University, Local Arrangements Chair, May 2016.
Society of Dance History Scholars/Congress on Research in Dance, University of Iowa, “Ethnographic Grumblings and Twerking’s Traces in John Jasperse’s Within between, Nov 2014.
Sex, Media, Reception: New Approaches, University of Michigan, Ann Arbor, “Mask, Merkin, and Penetration in Narcissister is You: Performance, Screen, Pornography,” Feb 2014.
Dancing the African Diaspora: Theories of Black Performance, Duke University, “The Black Sexual Politics of Disavowing Virtuosity,” Feb 2014.
American Studies Association (ASA), Washington D.C., “Performing the Feminist Mask: Dissemination as Dissent in Narcissister is You” (paper) in “Queer Attachments: New Relational Economies in Experimental Art Practice” (panel) with Damon Young, Katie Brewer Ball, and Anna Fisher, Nov 2013.
Society of Dance History Scholars/Congress on Research in Dance, UC Riverside, “Performing the Feminist Mask: Dissemination as Dissent in Narcissister is You,” Nov 2013.
Performance Studies international (PSi), Stanford University, “The Trans- Temporality of Fouettés in Blood” (praxis session), Chair, with Jeanne Vaccaro, Ian Carter, Julie Tolentino, and Yve Laris Cohen, June 2013.
Congress on Research in Dance/Dance Under Construction, Special Topics: Tactical Bodies, “Narcissister, Self-Gratifier, and Penetration as the Displacement of Virtuosity,” UCLA, Apr 2013.
American Society of Theater Research (ASTR), Nashville, Working Session Participant, “Sense, Affect, and Being Singular Plural,” Conveners Tavia Nyong’O, Karen Shimakawa, and José Muñoz (Paper: Feeling Fuzzy: Narcissister(s) and the Materiality of the Merkin), Nov 2012.
Performance Studies international (PSi), Leeds, England, Panel Co-Chair (with Anna Fisher), “Self-Gratifiers: Feminist Appropriations in the Contemporary Performances of Narcissister and Ann Liv Young,” with Narcissister and Young, June 2012.
Society of Dance History Scholars (SDHS), Philadelphia, “Destabilizing the Allure of Detroit’s ‘Ruin Porn’: Choreo-Ethnographic Alternatives” (panel), Chair/Moderator, June 2012.
Congress on Research in Dance (CORD) Special Topics (Meanings and Makings of Queer Dance), University of Michigan, Ann Arbor, “Dragging the Museum: Pussy-Cunt Realness and Voguing in the White Box,” Feb 2012.
American Society of Theater Research (ASTR), Montreal, Canada, Working Session Co-Convener (with Jim Dennen, Brown U.), “Virtuosity,” Nov 2011.
UCLA Queer Studies Conference 2011, Los Angeles, CA, “Dragging the Museum: Pussy-Cunt Realness and Voguing in the White Box,” Oct 2011.
Society of Dance History Scholars, University of Toronto, Panel Chair, “Recovering Race in Choreographic Histories of Melodrama, Myth, and Plot,” Paper, “Otherwise in Blackface: Desmond Richardson in American Ballet Theatre and San Francisco Ballet’s Othello,” June 2011.
American Society of Theater Research (ASTR)/Congress on Research in Dance (CORD), Seattle, WA, Working Session Participant, “Racial Impersonation?: Blackface Minstrelsy, Many Times, Many Places,” Convener Tracy Davis (Paper: “Otherwise in Blackface: Desmond Richardson in American Ballet Theater and San Francisco Ballet’s Othello”), Nov 2010.
American Anthropological Association, New Orleans, “Choreographing Exile: Festival of Lies and the Democratic Republic of Congo,” Nov 2010.
Society of Dance History Scholars (SDHS), University of Surrey, UK, Panel Chair, “Racialized Spectacles: Afro-Asian Synergies in Contemporary American Dance” (Paper, “Visualizing the Afro-Asian Pas De Deux in Dance Posters of Desmond Richardson”), July 2010.
Performance Studies international (PSi) 2010, York University, Toronto, Panel Organizer, “Wasting Performance, Performing Waste: Economies of Excess, from Ephemera to Empathy” (Paper, “The Choreographic Body Amidst Urban Detritus”), June 2010.
Society of Dance History Scholars (SDHS), Stanford University, CA, “Tube-Socking a Virtuoso: Legacies of Race in Desmond Richardson’s Collaboration with William Forsythe,” June 2009.
Congress on Research in Dance (CORD), Hollins University, VA, “Spatiality, Motility, Community: Choreographing Feminist Tactics in Urban Africa,” Nov 2008.
Conference on African and Afro-Caribbean Performance, University of California, Berkeley, “To Choreograph Fagaala: International Representation of Intra-African Genocide,” Sept 2008.
Performance Studies International (Psi), University of Copenhagen, “Saying soul as the body does…(a study of dancers’ rhetoric in phenomenology’s shadow),” Aug 2008.
Society of Dance History Scholars (SDHS), Skidmore College, NY, “Whack That Leg: Aesthetics of Hyper-Virtuosity in the Choreographies of Dwight Rhoden and Mia Michaels,” June, 2008.
Dance Under Construction (DUC), University of California, Berkeley, “Re-Membering Homer Avila: Amputation, Visibility, Choreography,” Apr 2008.
Performance Studies international (PSi), New York University, Panel Chair, “Processing Event: Stretching Interruption’s Limits Through Ethnographies of Art, Dance, and Theater” (Paper on choreographer Ralph Lemon), Nov 2007.
Congress on Research in Dance (CORD), Barnard College, Columbia University, Panel Chair, “Intercultural Sans Institution: The Role of Independent Touring, Immigration, and Ethnography in Refiguring Dance Traditions” (Paper, “Migrating to Métisse: An Ethnography of a Transnational Senegalese Dance Form”), Nov 2007.
American Theater in Higher Education (ATHE), New Orleans, Panel Chair, “Performance and Amputation” (Paper, “This is Not a Disability Study: Homer Avila Turns the Tables on Dance”), July 2007.
Midwest Interdisciplinary Conference, Performing (In)Visibility, University of Wisconsin, Milwaukee, “This is Not a Disability Study: Homer Avila Turns the Tables on Dance,” Feb 2007.
Dance Under Construction, University of California, Riverside, “Staging Street: Traversing Choreographies in Contexts,” Apr 2006.