• DecaDance Reduxe (co-written: Mª Dolores Molina García, Catalina Castro Colomer, María Victoria da Silva Torentino & Giordana Patumi)

      I Congreso Internacional de Artes Escénicas y Diversidad – “Identidad, cuerpo, género y violencias”,    

      Universidad Católica de Murcia (UCAM), Spain, 8–10 November 2018.     

​

Abstract (English translation). Paper and original publication in Spanish:
Contemporary Dance in composition processes is closely linked to suggestion, motivation, self-expression, creative exploration, and cooperation. These factors create an ideal framework for inclusivity and diversity. Drawing from Ohad Naharin’s celebrated work DecaDance, in particular the section Echad Mi Yodea, this conference-action re-staged the choreography with students from the umcapacitas program alongside professional dancers, applying the Gaga method as both a creative and inclusive practice. The project demonstrates how contemporary dance can serve as a tool for diversity, accessibility, and embodied creativity, generating transformative experiences that go beyond technical execution.

​

• Race, Resistance, and Embodied Memory in Alvin Ailey’s Lazarus II: Embodied Resilience in Times of Crisis

     8th Arts & Cultural Management Conference – Crisis & Resilience, Vienna, 30 Oct–1 Nov 2025 Paper accepted (online - presentation) & Forthcoming publication in Nexis Key Academic Journal (Issue 2, 2026).

 

Abstract:

When I first encountered Lazarus II (2018), choreographed by Rennie Harris for Alvin Ailey American Dance Theater, I was struck by how it moved far beyond tribute. It was a call, a pulse, a living archive of African American resilience. Created in a time when the arts face political repression, shrinking budgets, and systemic inequality, Lazarus II asks what survival looks like for a community whose history is marked by both beauty and brutal oppression. This paper examines the work as an example of cultural survival, independence, and adaptation under pressure. Drawing on theorists such as Audre Lorde, Peggy McIntosh, Dwight Conquergood, Guillermo Gómez-Peña, Ananya Chatterjea, and Michael M. Kaiser, I place the choreography within the historical continuum of African American concert dance and the current crises facing the arts. I analyze a key section from Act II, showing how Harris’s choreography transforms grief into communal insistence, builds resilience through rhythm, and resists commodification. The paper also considers the institutional role of Alvin Ailey American Dance Theater as a cultural mediator and examines how their approach aligns with sustainable, care-based models of cultural management.

​

• Shake Well – before thinking and making in academic research - Program 

     Texas Tech University – School of Theatre & Dance Graduate Travel Funding (Supported Participation)
     Università Iuav di Venezia, December 16–18, 2025

 

Supported by the Texas Tech University School of Theatre & Dance Graduate Travel Fund, I participated in Shake Well – before thinking and making in academic research, a three-day symposium dedicated to recherche–création and practice-based methodologies. The event brought together artists, researchers, performers, and designers—including Chloé Déchery, Eleanor Bauer, Julia Valle Noronha, Linnea Bågander, Marion Boudier, Stacey Sacks, and Xavier Le Roy—to examine how embodied practice generates knowledge.

Through seminars, workshops, screenings, and lecture-performances, the symposium explored the porous boundaries between theory and practice, creation and reflection, and object and subject of research. My participation contributed to my ongoing inquiry into embodied research methods, multimodal knowledge production, and the role of performance as a site of artistic and academic investigation.

​

• Reimagining Dance Memory: AI, Historiography, and the Shifting Roles of Embodied Archives Vanishing Acts: AI, Performative Knowledge & Sustainable Memory .12th Annual International Conference of the School of Performing Arts, University of Malta, in collaboration with the Department of Artificial Intelligence, Faculty of Information and Communication Technology, University of Malta -Valletta, Malta, 25–27 March 2026 – Paper accepted (in-person presentation)

​

Abstract:

As artificial intelligence increasingly intervenes in the documentation and transmission of dance, the epistemological foundations of dance historiography are being reconfigured. This paper examines how AI reshapes authorship, authority, and memory within choreographic archives, challenging the traditional roles of the historian, notator, and répétiteur. Drawing on performance studies and critical historiography, the analysis frames the human–machine interface as a site of epistemic tension, proposing AI as both collaborator and historiographic force in the re-embodiment of dance knowledge.

​

• Centre, Periphery, and Embodied Resilience: Race, Resistance, and Memory in Alvin Ailey’s Lazarus II

      17th NOFOD Conference – Centre & Periphery: Dance, Identity & the Politics of Place - Reykjavík, Iceland, 23–26 June      2026 – Paper accepted

​

Abstract:

This paper analyzes how Alvin Ailey American Dance Theater navigates the politics of centre and periphery through Rennie Harris’s Lazarus II (2018). Although globally renowned, the company remains positioned at the margins of Eurocentric concert dance canons. Harris’s choreography re-centres African American embodied knowledge, drawing on social dance traditions, rhythm, and collective gesture.

Using insights from Audre Lorde, Peggy McIntosh, and Dwight Conquergood, the paper examines how Lazarus IItransforms grief into communal resilience and resists aesthetic assimilation. A close reading of Act II highlights rhythm, breath, and visible labour as shared strategies of survival. Within the conference theme Centre & Periphery, the study argues that Lazarus II challenges dominant hierarchies and frames peripherality as a generative site of cultural memory and belonging.

​​​