Education
M.F.A., Theater Education, Boston University, Boston, MA, 1982
B.A., English, Cleveland State University, Cleveland, OH, 1978
Further Study: New York University, Ph.D. Program, Performance Studies 1983-84
Principle Employment
Professor, Performance and Aesthetic Studies
University of Texas at Dallas 2003-present
Faculty: Institute of Interactive Arts and Engineering
Professor of Theatre
University of Alaska Fairbanks 1988 to 2003
Associate Professor: 1995-2001 Assistant Professor: 1988-1995 (Tenured1995)
Department Head 1995-1999
Artistic Director
Tuma Theatre (Alaska Native) 1989-1997
Artistic Director
Organic Theatre Company, Chicago, IL, 1985-1988
Dramaturg and Resident Director
The Cleveland Play House, Cleveland, Ohio, 1984-1986 (employment, in part, concurrent with Organic Theatre)
Assistant Literary Director
American Repertory Theatre, Harvard University, 1980 -1982
Research Assistant to Robert Brustein, 1980-82
Secondary Employment & Visiting Appointments
StoryLAB, Dallas, Texas
Director, a post-disciplinary performance and video initiative, 2004-current
Litooma, Dallas, Texas
Director, Indigenous performance, research and documentation initiative, working in collaboration with groups worldwide. 1992-current
Project X, Dallas, Texas
Producing Artist, Post-Disciplinary Collective 2007-current
Hanson Robotics, Dallas, Texas
Lead Narrative Engineer Chief scriptwriter and personality designer Hanson Narrative Designs include: • Einstein, a life-like conversational robot, Cooper-Hewitt Design Museum NYC, 12/2006-05/2007. • Jules: presented at Wired Magazine’s Next Fest, NYC, 2006 • Joey Chaos: presented at RoboWorld, Boston, 2007 • Zeno: presented at NextFest, Los Angeles, 2007 • Swami: Presented by Neiman-Marcus, 2007 • Zeno: on permanent display, Museum of Science and Industry, Chicago, 2008 • Director/Developer of Narrative world for next generation conversational robots: RoboKind. 2006 - current.
Visiting Professor
University of Dar es Salaam, Tanzania, Fall 1999
Visiting Professor of Theatre
Korean National University of Arts, Seoul, Korea, Fall 1996
Visiting Instructor of Theatre
University of Nairobi, Kenya, Summer 1999
Visiting Professor In Drama Therapy
California Institute of Integral Studies, San Francisco, CA, Fall, 1995
Guest Artist
School of The Art Institute, Chicago, IL, Spring, 1987
Artist-in-Residence
Massachusetts College of Art, Boston, MA, Fall, 1985
Instructor
Acting and Voice Karamu House, Cleveland, OH, 1982-83
Adjunct Instructor
Cuyahoga Community College, Cleveland, OH, Summer, 1982
Teacher, English & Theater
Street Academy H.S, Bedford-Stuyvesant, NYC Public Schools, 1983-84
Workshop Instructor and Guest Artist
M.I.T, Cambridge, MA, 1980-81
LUL THEATRE Addis Ababa, Ethiopia
Workshops, research, and devised a production, Andegna (The First). Workshops at Addis Ababa University and research in the areas of contemporary Ethiopian Theatre and Orthodox Chirstian Performance expression. A Litooma project. Fall 2009
MIAO CULUTRE BUREAU Xiangxi Autonomous Prefecture, Hunan, China
Research in Miao performance: travel, interviews, and material gathering. Documentation of Miao Nuo performances, Shaman initiations and funeral rites in preparation for the development of a large-scale performance based on Miao performance traditions and in conjunction with the Hunan City Theatre. Research & travel supported by the Xiangxi Cultural Bureau and the University of Alaska. December-January 2000-01, in Vietnam, December-January 2006-07
!XUU & KHWE CULTURAL
Lower Kalahari, South Africa
Six week residence to conduct performance workshops and research with the !Xuu and Khwe Bushmen. The workshop included interviewing and documenting the performance expressions of music, ritual, and dance of the Bushmen. The project laid the groundwork for the development of a performance group and project that would apply traditional performance to express contemporary issues. The workshop group included eight traditional healers and extensive fieldwork was conducted in the area of traditional healing methods and ceremony. May through June 1994
CENTER FOR THE ARTS, Lusaka, Zambia
Director/Choreographer and workshop instructor of the Litooma Project, a two and one half month project that brought together performers from eleven different tribal groups from throughout Zambia. Included in the group were representatives from the Lozi, Bemba, Senga, Lala, Luvale, Tonga, Tembuka, Nugoni, and Chewa tribes. This first ever attempt at creating a national theatre style that crosses tribal boundaries created Imipashi (The Spirits), a full-length outdoor performance piece (performed both in day light and at night), which toured throughout Lusaka and the surrounding provincial areas. The performance, inspired by a Lozi creation myth and including traditional ceremonial practice, featured traditional story telling and dance, large and small puppets, masks, and popular theatre techniques. February to May 1994
NATAL PERFORMING ARTS COUNCIL, Durban, South Africa
Director/Choreographer of the HLANGANANI Project, a four-month project to research and develop performance methodology that addresses and expresses the unique needs and worldview of Natal’s under-served Zulu population. The production developed during the project, Makanda Mahlanu (Five Heads), included elements of Zulu traditional and contemporary dance, song, story telling, praise singing, ritual, and drumming in addition to comedy and magic. This popular theatre production was performed both indoors and outdoors. The production toured through out Natal and kwaZulu was performed 31 times in every variety of townships, rural and urban setting. August to December 1993
SAKHA NATIONAL THEATRE, Yakutsk, Russia (Siberia)
Invited by the Minister of Culture of the Republic of Sakha to work with the Sakha National Theatre. Conducted theatre workshops and evolved, directed/choreographed an original production inspired by the folk tale of "Bayberican." The production of Sardaana explored and applied traditional Sakha and shamanistic performance idioms. The production included sixteen actors and is now a part of the company's permanent repertory. Work in the Sakha Republic also included extensive travel and research in the field of performance and shamanistic traditions of the Sakha. May to August 1993
TUMA THEATRE, Fairbanks, Alaska
Sponsored by the University of Alaska, Fairbanks. Program Director and Instructor of University classes in Alaska Native performance (1988 to present). Travel, academic research, and fieldwork throughout Alaska. Director and choreographer of seven Tuma Theatre productions: Utetmun (Going Home); The Child From The Sea, Qayaq: The Magical Man, The Eagle's Gift, Inua, NAAM/GEN EEHU, and Yup’ik Arnaq. All productions applied dance, drumming, and theatrical techniques and methods evolved from Alaskan Eskimo and Athabaskan Indian ceremonial, ritual, and performance traditions. Ongoing from 1989 to 1998
KWASA GROUP, Durban, South Africa
A project sponsored by the Natal Performing Arts Council one of the four regional arts councils funded by the national government. Conducted extensive training workshops and with the same group; directed and choreographed a company developed performance inspired by the Zulu legend of Umshayandlela. Emandulo (The Ancient One) was performed 28 times in Durban and Pietrmaritzburg. The cast consisted of 19 Zulu and 8 non-Zulu actors. The project explored and applied traditional Zulu dance, drumming, and performance expressions in a contemporary context. The production marked the first time NAPAC sponsored a multi-racial performance that applied indigenous expressions and methods. Spring 1992.
METAMORPHOSIS THEATRE, St. Petersburg, Russia
Conducted workshops and directed/choreographed a company developed performance derived from trance experiences. Shadows From The Planet Fire was performed in St. Petersburg and subsequently toured northern Russia, the Ukraine, and Bulgaria during the fall of 1992. Metamorphosis Theatre is dedicated to the exploration and theatrical application of pre-Christian Slavic rituals. The project further their explorations as it expanded on methodology and performance vocabulary. Summer 1992
SPRINGS THEATRE, Holstebro, Denmark
Conducted workshops and co-directed a company developed performance based on Hindu legend of King Harichandra. Kaliyugam (In the Time We Live) is the first project of Springs, a group of refugee Tamils from Sri Lanka. Work with this group included performance and administrative development. "Kaliyugam" was a workshop presentation that applied--in a contemporary context--the traditional dance and theatre styles of Bharata Nadyam and Khutu. Intermittently during the spring and summer 1992
TUKAK' TEATRET, Fjaltring, Denmark
Guest Artist and Instructor. Conducted classes in movement, Alaskan Eskimo dance and drumming. Movement instructor for their production of Tuullik (the Loon) which was presented at the Inuit Circumpolar Conference and subsequently toured Canada and Europe. Assisted in the exploration and articulation of a Greenland Inuit performance language inspired by their drumming and storytelling traditions. Intermittently during the spring and summer 1992.
WORLD ESKIMO-INDIAN OLYMPICS, Museum of the North, University of Alaska, Fairbanks
Developed and directed/choreographed Northern Inua a demonstration performance of traditional Alaska Native games. Presented throughout the summers of 1990, 91 and 1995-2003. This tourist oriented show evolved from extensive archival research and work with native elders; included were historical audio-visual references as well as live demonstrations. Summer long, June through August (two performances per day) presentation at the University of Alaska Museum.
STAGE DIRECTING
Project X, Dallas
So There, (one act) writer
Orange Organges, (one act) writer
Some People, writer
Organic Theater Company, Chicago
Little Caesar, writer
The Conduct Of Life, By Marie Irene Fornes
Titus Andronicus, By Wm. Shakespeare (Featuring John C. Reilly)
Betawulf,devised, writer
Rubber City, writer
The Stranger In Stanley's Room, By G. Freek
Kiss It Good-Bye, By M. Miner & Scott Jacobs
Akron, writer
Bosoms And Neglect, By John Guare
Christmas On Mars, By Harry Kondoleon
End Of The World, By Arthur Kopit
Sea Marks, By Gardner Mckay
Teatro Di Roma, National Theatre Of Italy
Il Ronzio Della Moche, By Dario D'ambrosi
Sakha National Theatre, Yakutsk, Russia (Siberia)
Sardaana, Company Developed
La Mama Etc, New York City
La Mulata, By Estaban Fernadez
The Buzzing Of Flies, By Dario D'ambrosi
Le Boursedes Artistes, Zurich, Switzerland & European Tour
The Big Deal, developed with Leslie Felbain
New York Theatre Workshop, New York City
The Grand Hysteric, By Sheldon Rosen
The Box, By Sheldon Rosen (Featuring David Hyde Pierce)
American Theater Of Actors, New York City
Leather Heart, By Frank Megna
Publick Theatre, Boston
The Country Wife, By William Wycherly
Playwrights Platform, Boston
The Body Parts, By Matt Witten
Follies: The Better Than Nude Revue
SEMI-PROFESSIONAL & UNIVERSITY DIRECTING
Story LAB
Kartasi, devised, writer
Alpha Male, writer
There is Never a Reference Point, devised
Cabinet of Dr. Caligari, devise, writer
University of Texas at Dallas
Fernando Krapp Wrote Me This Letter, By Tankred Dorst
RUR, by Karl Kapek
University of Alaska Fairbanks
Kartasi, devised, writer
Lysistrata, By Aristophanes
Touch, By Toni Press-Coffman
Successful Life of 3, By Marie Irene Fornes
Mud, By Marie Irene Fornes
Alice In Wonderland, By Andre Gregory
Yahoo Nation, writer
Seventy Scenes of Halloween, By Jeffery Jones
The Magic Flute, By Mozart (The Full Opera)
The Three-Penny Opera, By Brecht & Weill
Bacchae, By Euripides
Comedy of Errors, By Shakespeare
Tartuffe, By Moliere
Much Ado About Nothing, By Shakespeare
Ubu Roi, By Alfred Jerry
The Seagull, By Anton Chechen
You Can't Take It With You, By Kaufman & Hart
Marat/Sade, By Peter Weiss
Curse of The Starving Class, By Sam Shepard
Tuma Theatre (Alaska Native)
Utetmun (Going Home), By Paul Jumbo
The Child From The Sea, Company Developed
Qayaq: The Magical Man, Company Developed
The Eagle's Gift, Company Developed
Inua, Company Developed
Naam/Gen Eehu, By Evelyn Alexander (Athabaskan Elder)
Yup’ik Arnaq, By Theresa John
Natal Performing Arts Council, South AfricaAthena, (World Premiere) By Jason Hodges
Pipedreams, writer
Why The Lord Come To Sand Mountain, By R. Linney
Makanda Mahlanu, Company Developed
Kwasa Group, South Africa
Emandulo, Company Developed
Metamorphosis Theatre, St. Petersburg, Russia
Shadows From The Planet Fire, Company Developed
Center For The Arts, Lusaka, Zambia
Imipashi (The Spirits), Company Developed
Museum of the North, University of Alaska
Northern Inua, devised, writer
Massachusetts Institute Of Technology
Ghost Sonata, By August Strindberg
Prometheus Bound, By Aeschylus
Rhythms, By Brenda Walcott
Sizwe Bansi Is Dead, By Fugart, Et Al
Terrible Jim Fitch, By James Leo Herlihey
The Lesson, By Eugene Ionesco
Seduced, By Sam Shepard
Tricks, Playwright
Hoodoo, Adapted From Johann Nestroy
Karamu House, Cleveland
City Cuts, Company Developed
Betawulf, Adapter
Publications
Books
Performing Africa: Re-Mixing Tradition, Theatre, and Culture Peter Lang Publishing, Berlin and New York. 2007, 244 pages. ISBN 0-8204-8899-2
Reinventing Traditional Alaska Native Performance Mellen Press, Lewiston, NY, 2003, 329 pages. ISBN: 0-7734-6987-7
Articles, Chapters, and Reviews
Performing Body, Space and Place: Creating Indigenous Performance Chapter @ Healing Collective Trauma Using Sociodrama and Drama Therapy, Springer Publications, forhtcoming, March 2010Orange Oranges One act play @ Sojourn Literary Journal University of Texas at Dallas, Autumn 2009
Rhythm Reality Chapter @ Rhythm Steps of Africa, Jagielonian University Press, Kracow (in Polish) 2008
Follow the Grey Giants Puppet Notebook (UK) Issue 6, Summer, 2006
Kenya’s Community Health Awareness Puppets PAJ, Performing Arts Journal, (vol. 76), January, 2004
Body as Text: Inupiat and Yup’ik Story Dancing, Conference Proceedings, Int’l Theatre Institute, Krakow, Poland, 2004
Museum Collections Encyclopedia entry: Shamanism: An Encyclopedia of World Beliefs, Practices, and Culture, ABC-CLIO Publications, 2004
African Theatre in Performance (book Review) Theatre Journal, Johns Hopkins Press, (vol. 54 # 3) October, 2002
Tanzanian Theatre: From Marx to the Marketplace The Drama Review (TDR), New York Univ., MIT Press, (#T169) Spring, 2001
Reimagining Yup’ik and Inupiat Performance The Northwest Theatre Review, (vol. 7), 1999
War Cries (book review) American Indian Culture and Research Journal, UCLA (vol. 22, 2), Spring, 1998
The Shape of Ritual The Round Organ, UK, (#7) April, 1998
Making a New Story with the !Xuu and Khwe Bushmen Theatre Forum, UC San Diego, (#10) Winter/Spring, 1997
Politics, Slapstick and Zulus on Tour The Drama Review (TDR), New York Univ., MIT Press, (#T152) Winter, 1997
Trickster by Trade: Thomas Riccio on Indigenous Theatre An Interview by Dale Seeds. The Drama Review (TDR), New York Univ., MIT Press, (#T-152) Winter, 1997
Today We Sing: !Xuu and Khwe Bushmen Healers See the Sickness Shaman's Drum magazine, Summer, 1996
In Zambia, Performing the Spirits Theatre Forum, UC San Diego, (#8) Winter/Spring, 1996
Emandulo: Process and Performance in a Changing South Africa Theatre Research International, Oxford Univ. Press, (vol. 19 #3) Autumn, 1994
A Message from the Eagle Mother: The Messenger's Feast of the Inupiat Eskimo The Drama Review (TDR), New York Univ., MIT Press, (#T137) Spring, 1993
Alaskan Eskimo Theatre: Performing the Spirits of the Earth Theatre Topics Johns Hopkins Press, (vol.1) Spring, 1991
Is Chicago Theater Hot or Not? Facets Features, Chicago, January, 1988
Trying to get objective and a few ideas about performance art & other things P-FORM, Randolph Street Gallery, Chicago, (Vol.2 No. 2) April/May, 1987
A.R.T. Newsletter American Repertory Theater, Harvard University. Numerous program notes, articles and interviews with Carlos Fuentes, Robert Aluetta, Lee Breuer. 1980-82
Curtain Times The Cleveland Play House, Numerous program notes, study guides, articles and interviews with Arthur Kopit, Zoe Caldwell and Robert Whitehead, 1985-86
The Daily Free Press Boston University, Theater Critic, 1980-82
Playwrighting
Original Plays
blah blah, orignal full lenght, under production consideration, Project X, 2010-11 seasonTNB (Typical Nigga Behavior or Thomas Nathaniel Blackman), orignal full lenght, PlayLab reading, Great Plains Theatre Confereence, Spring, 2010
Some People Produced, Project X, premiered at WaterTower Theatre’s out of the Loop Festival and subsequent run at the GreenZone Theatre, 2009
So There Produced, Project X at Festival of Independent theatres, Dallas, Summer 2008
Orange Oranges Produced, Project X at Festival of Independent theatres, Dallas, Summer 2008
Regina A Video Short in post production. Produced by Litooma, 2008 Premiere, Oh Yeah Festival, Dallas I
Inuit Distinction Prize awarded by Alexander S. Onassis Foundation, International Playwrighting Competition, Fall, 2006 Staged Reading, Great Plains Theatre Conference, Omaha, NE 2008.
Alpha Male Full Length, Produced Story Lab, University of Texas at Dallas, Fall, 2006
There Is Never A Reference Point produced, Story Lab, University of Texas at Dallas and South Side on LaMar with Project X, Spring, 2006. Inspired by life and writings of Jamie Dakis, a woman diagnosed with multiple personality disorder.
Kartasi produced, Story Lab, University of Alaska Fairbanks, Spring, 2003, and University of Texas at Dallas, Fall 2004
Yahoo Nation produced, University of Alaska Fairbanks, Spring, 2001 Stage Reading, Last Frontier Theatre Festival, 2001
Comeback Fur Elvis (a musical version of Rubber City), produced, The Kleist Theatre, Frankfurt/Oder, Germany 1995-6 (in Repertory)
Rubber City produced, The Organic Theatre Company, Chicago, Fall, 1985
Cathode Ray A Monodrama, Completed Summer, 1996 Stage Reading, Cleveland Public Theatre 1996 Produced as a video, Wired
Tricks Produced, Cleveland State University 1979 Produced, The Dive, NYC 1984
Devised Plays and Performances
Andegna (The First), produced, Lul Theatre, Addis Ababa, Ethiopia, Fall 2009
Pipedreams produced, The Fairbanks Drama Association, Fairbanks, Alaska. Developed from community oral histories relating to the building of the Trans-Alaska Pipeline. November-December, 1997, and at Out North Theatre 1999 and Edward Albee Playwrights Conference, 2001
Twelve Moons produced, The Korean National University of the Arts, Seoul, Korea, Fall 1996
Inua produced, Tuma Theatre, Fairbanks, Alaska, Winter, 1995
Imipashi produced, The Center For The Arts, Lusaka, Zambia. National tour Winter-Spring, 1994
Makanda Mahlanu produced, The Natal Performing Arts Council, Durban, South Africa. Zululand and Natal tour, Fall, 1993
Sardaana produced, The Sakha National Theatre, Yakutsk, Russia (Siberia), Summer 1993
The Eagle's Gift produced, Tuma Theatre, Fairbanks, Alaska. Winter, 1993
Shadows from the Planet Fire produced Metamorphosis Theatre, St. Petersburg, Russia, Summer, 1992
Emandulo produced, The Natal Performing Arts Council, Kwasa Group, Durban, South Africa, spring, 1992
The Child From The Sea produced, Tuma Theatre, Fairbanks, Alaska. Winter, 1992
Qayaq: The Magical Man produced, Tuma Theatre, Fairbanks, Alaska, winter, 1991 Performance
Adaptations and Immersions
The Cabinet of Dr. Caligari From the 1920 silent film. a performance immersion. Produced, Story Lab, the University of Texas at Dallas, 2008
Dada DMA From the Dadaist writings, Produced, Dallas Museum of Art, 2005
Little Caesar from the novel and 1930 film, produced, The Organic Theatre Company, Spring, 1988
Betawulf from the Old English epic poem, produced, The Organic Theatre Company, Winter, 1986, and The Cleveland Laboratory Theatre, Summer, 1980
The Decameron from Boccaccio, produced By Boston University, 1980 (Featuring Jason Alexander)
Tom Jones from the Henry Fielding novel, produced, The Cleveland State University, Winter, 1978, and the Berea Summer Theatre, Baldwin-Wallace College, Summer, 1978
Video
There is Never a Reference Point A video documentation/rendering of the play, (1:06:00). Director, Editor, producer. Produced by StoryLAB, 2009. Premiere, Dallas Video Festival 2009
Makanda Mahlanu A video documentation of the performance, (56:00). Director, Editor, Producer. Produced by Litooma. 2009
Qayaq: The Magical Man A video documentation of the Tuma Theatre performance (58:00) Director, Editor, producer. Produced by Litooma, 2009
Regina A Video Short (10:58). Director, Camera, Editor, Produced by StoryLAB, 2008. Premiere, Oh Yeah Festival, Dallas, 2008
Other Related Experience
Great Plains Theatre Conference, Omaha, New Plays Panelist, 2009
City of Dallas Office of Cutural Affairs Review panelist for granting applications, major arts organizations (budgets of 1 million dollars and above). Total Funding granted, 2.4 million dollars, 2008
Dallas Society for Psychoanalytic Psychology Director, Staged Reading, Compromise, a play concerning psychoanalytic ethics. Performed by and for the DFW psychoanalytic community. 2006
Outside Production Reviewer, Texas Tech University, 2006
Last Frontier Theatre Conference, Valdez, Alaska Selection committee and new plays panelist, 1999, 2000, 2001 and 2002
American Repertory Theatre, Harvard University
Research Assistant to Robert Brustein, Artistic Director
Assistant to Jonathan Marks, Literary Director Assistant to Michael Kustow, Literary Director
Dramaturg, Orchids In The Moonlight, by Carlos Fuentes, world premiere, 1981
Assistant Director, Grownups, by Jules Feiffer, John Madden, Director, world premiere, 1981
Acting Understudy, Tony Shalub, 1980-1982
Organic Greenhouse Project, Chicago
Founder and director of performance incubator program for performance and theatre groups and artists. Artists included, Michael Meyer, Sharon Evans, Lou Mallozzi, Steven Druckman, Sally Nemath, Michael Gellman, Blair Thomas, Dan Post, Dan Castellaneta, Greg Allen, Deb Lacusta, and Rick Cleveland.
Groups included, MinaSama-No (Asian theatre), CityLit Theatre, Chicago new Plays Festival, Fanfire Productions (Gay-Lesbian), and Live Bait productions (performance). 1985-1988
Cleveland Opera, assistant director, La Traviata, 1982
Huntington Theatre, public relations internship, Boston, MA, 1982
American Place Theatre, member, Directors and Dramaturgs Group NYC, 1983-1985
Actor and performer in over forty different productions and Presentations (List Upon Request)
Honors, Awards, and Activities
Featured Artist, Dallas Museum of Art, All the World's a Stage video exhibit, October 2009-February 2010
Distinction Prize in Playwrighting, Alexander S. Onassis Foundation International Cultural Competition Prizes, (15,000 Euro) for the play Inuit, Fall, 2006
Artist-In-Residence, Institute of Arctic Biology, Toolik International Science Research Station, Brooks Range, Alaska, Summer, 2003
Excellence In Teaching Award, College of Liberal Arts, University Of Alaska Fairbanks, April, 2001
Asian Pacific Performance Exchange Fellowship, APPEX UCLA Ford Foundation sponsored Six-week intensive intercultural workshops, exchanges, and development projects; Included traditional and contemporary artists from Vietnam, Thailand, China, Japan, Indonesia, Tibet, India, Korea, and the USA. July-August 1999
Career Opportunity Grant, Alaska State Council on The Arts To conduct workshops in Kenya and Tanzania August 1999
Career Opportunity Grant, Alaska State Council on the Arts to conduct workshops in England, August, 1997
Travel Award, British Arts Council, London to conduct workshops in England, August, 1997
Finnish Arts Board Travel Grant, Helsinki to conduct workshops and lectures at the Helsinki Art Institute Grant, Finland, March, 1997
University of Alaska Museum Service Award, Fairbanks for service to the museum, May 1996
Swedish Writers Institute Travel Award, Stockholm for travel, workshops, and lectures, August, 1995
Career Opportunity Grant, Alaska State Council on the Arts to attend rehearsals in Germany and conduct workshops/lectures in Sweden. August, 1995
Cultural Hero of the Sakha People, an honor bestowed by the Minister of Culture, Republic of Sakha (central Siberia) for cultural and performance work with the Sakha National Theatre.
!Xuu And Khwe Cultural Trust Grant, Kimberly, South Africa for research and documentation of traditional Bushman healers, May-June, 1994
Northern Cape Association Project Grant, Kimberly, South Africa to conduct theatre workshops with the !Xuu and Khwe Bushmen, May, 1994
USIS Special Projects Award, Lusaka, Zambia United States Information Service, salary and housing support, Lusaka, Zambia March, 1994
Republic of Zambia Arts Award, Department of Culture, Lusaka, Zambia to support the Litooma Project, theatre workshops with Zambian tribal groups, March, 1994
British Council Artist Award, Lusaka, Zambia to support the production of Imipashi, April, 1994
NORAD (Norwegian Foreign Aid) Production Grant, Lusaka, Zambia to support Imipashi rehearsals and performance, March, 1994
SIDA Project Grant (Swedish Foreign Aid), Lusaka, Zambia to support the Zambian national tour of Imipashi, February, 1994
Embassy of The Netherlands Grant, Lusaka, Zambia for documentation and tour of Imipashi, April 1994
Finnita & The Finish Volunteer Service Project Grant, Lusaka, Zambia to support the Litooma project, February-May, 1994
Alaska State Council on The Arts Travel Grant to Natal, South Africa to develop an indigenous theatre program at the Univ. of Zululand, Summer 1993
Dancing Bear Award—Doyon Native Corp. (Athabaskan Indian), Fairbanks award in recognition of work with Tuma Theatre and Alaska Native Performance. Spring, 1993
Travel to Collections Grant, National Endowment for The Humanities, travel to conduct research at the Jesup Collection, Museum of Natural History, NYC, August, 1992
Cross-Cultural Faculty Development Grant, Mellon Foundation travel to conduct research in numerous Alaskan Eskimo and Indian villages, Autumn, 1992
Mellon Foundation Travel Grant to conduct Alaska Native Performance workshops at Perseverance Theatre, Juneau, November, 1992
Alaskan Native Studies Travel Grant, University Alaska-Fairbanks travel to numerous Alaska Native villages to study Yup'ik, Siberian Yup'ik, King Island, & Inupiat Eskimo performance tradition 1989 To 1991
Mellon Foundation Travel Grant to Seattle for museum research and conference attendance July-August, 1991
National Endowment For The Humanities, Summer Institute “Myth, Memory & History: Sources For Writing American Indian History”. Newberry Library, Chicago. Six-week Summer Institute 1990
Theatre Communications Group Observership, NYC Travel observership to Los Angeles and San Francisco Theatres, March 1988
Goethe Institute, Internationales Forum Junger Buhnenangehorig, month long intensive voice, movement, and directing workshops in Berlin. A part of Berlin’s Theatertreffin Festival, Spring, 1987
A.T.&T. Directing Award, NYC Salary and travel funds to apprentice with Robert Whitehead for the premiere and Broadway production of Lillian (with Zoe Caldwell), Spring, 1986 Teatro Di Roma Directing Award, support and salary to direct at the National Theater of Italy January-March, 1984
Best Direction, Cleveland Critic's Circle Award for End Of The World, 1985
New Director's Project, New York Theatre Workshop Selected from a national competition as one of America’s most promising new directors. Award provided funds for an off-Broadway production. Cast Included David Hyde Pierce. Fall, 1984
Workshops, Conferences Presentations and Lectures
Addis Ababa University, Ethiopia Conducted Body'Space/Place Workshops, 2009
Great Plains Theatre Conference Conducted workshops in Adaptation, Ensemble Creation, and Archetypes, 2009
Richland College, Dallas, public lecture Performing Place, 2009
Director’s Lab Chicago Conducted a weeklong workshop with lectures exploring the topic Myth, Ritual and Stage Directing, summer 2008
Free Street Theatre, Chicago Conducted a one- day workshop with inter-city school children, 2008
Ingenuity Festival, Cleveland, Ohio Zeno, presentation of a conversational robot; scripted half hour monologue and character interactions for nine public festival presentations. 2008
NextFest 2007, Los Angeles Zeno and Joey Chaos, presentation of two conversational robots. Developed personality and wrote interactive script for both robots.
MIT 5 creativity, ownership and collaboration in the digital age. Paper: “Trickster Reality” 2007
Dallas Museum of Art UTD/DMA Summer Seminar program Guest lecturer: Creativity (2008), Arts and Technology (2006), African Art 2004.
Refresh: International Conference on the Histories of Media Art, Science And Technology Banff New Media Institute, Alberta, Canada paper presentation: World Narrative: The Creation of a New Place? 2005
Rhythm And Steps Of Africa, Krakow, Poland Jagielonian University. Conference, Programming Committee; weeklong workshop: Creating Performance at National Theatre School. Paper Presentation: Community of Place and Ideas, 2005
International Percussion Festival: Sources and Inspirations Polish National Music Academy, Krakow, Poland lecture: Rhythm Reality 2004
International Federation of Theatre Research, Krakow, Poland Jagielonian University. Conference, paper presentation: Body As Text: The Story Dancing of the Yup’ik and Inupiat Eskimo, 2003
Arizona State University, Tempe lecture: Performing a Community of Place, 2002
International Federation of Theatre Research, Amsterdam World Congress paper presentation: (Re) Inventing Place, Culture And Performance: The New Indigenous, 2002
International Puppet Festival, Nairobi, Kenya Conducted a series of workshops sponsored by Edupuppets and The Ford Foundation. Workshops Included: Performance Creation and Presenting the Story of AIDS, 2002
National Theatre of Kenya, Nairobi Conducted actor training and Performance Creation, Workshops, 2002
University of California Berkeley lecture and workshop on stage direction, 2002
College Of Wooster, Wooster, Ohio visiting artist, weeklong workshop: Performance Development. Lectures: African Performance and Ritual; The Indigenous Worldview; Indigenous Aesthetics; and Performance Theory and Studies. Public lecture: Performing Place: The Sprits Dance, Winter, 2001 & 2009
Bilingual Multicultural Education Conference, Anchorage, Alaska workshop: Story Telling, Oral History, and Performance, 2001
Out North Theatre, Anchorage, Alaska Workshop: Performance Creation, 2001
Fort Yukon School District, Fort Yukon, Alaska lecture and workshops: Creating Alaska Native Performance, 2000
Eastern New Mexico State University, Portales Workshop: Creating Place-Based Performance, 2000
International Festival of Theatre & Marionettes, Burkina Faso Week long workshop: Indigenous Performance Development, Included participants from Ivory Coast, Burkina Faso, Congo, Ghana, Togo, and Mali, 2000
Tanzania Theatre Center, Dar es Salaam Week long workshop on performance development and stage directing, 1999
Word And Action: Round Festival, Dorset, England lecture and Weeklong workshop: creating ritual performance, 1998
Helsinki Institute of Art and Media, Finland lecture and three-day workshop: cross-disciplinary creation, 1998
Turku School of Art and Communication, Turku, Finland lecture and three-day workshop: creating community-based performance, 1998
New York University Lecture: Performing Place and panel discussion with Lee Breuer and Richard Schechner, 1997
Smith College, Northampton, MA lecture and workshop: creating indigenous performance, 1997
American Community Theatre Festival Northwest, Haines, Alaska, workshop: Performance Development: Realizing Community Potential, 1997
Sogang University, Seoul, Korea lecture: Shaman as Performer, for Religious Studies Department,1996
Mount Holyoke College, North Hadley, MA lecture: Personhood Performance and workshop on creating place-based performance, 1996
CIIS, California Institute of Integral Studies, San Francisco public lecture: Performance and Therapy and workshop: indigenous performance and drama therapy. annually 1995, 1996, 1997
San Francisco State University lecture: Eskimo Masks: Eyes of the Spirit, 1996
City College of San Francisco lecture presentation on creating indigenous performance, 1996
Dramatiska Institutet, Stockholm, Sweden lecture: African Performance and the Performance of Place, National Theatre Institute, 1995
Västanå Teatern, Munkfors, Sweden public lecture and weeklong workshop with Swedish Folk Theatre, 1995
Riksteatern (National Theatre), Stockholm, Sweden public lecture: Performance Evolutions: Tradition Meets Media,1995
Shikasta Teatre, Stockholm, Sweden Week long workshop with international/multi-cultural Theatre company, 1995 IDEA 95
International Drama In Education Assoc., Brisbane, Australia Paper presentation and workshop: Re-Imagining Indigenous Performance, 1995
Cleveland Public Theatre, Cleveland, Ohio Week long workshop: Performance of Place, 1994
Tampere International Theatre Festival, Tampere, Finland lecture: (Re)Creating Indigenous Performance, 1993
Perseverance Theatre, Juneau, Alaska Workshop: Alaska Native Performance, 1993 Kuskokwim College, Bethel, Alaska lecture and workshops: Alaska Eskimo Performance: Re-Discovery 0f Tradition, 1992
Northwest Drama Conference, La Grande, Oregon workshop: Performance Styles and Traditional Alaskan Eskimo, 1992
American Theatre In Higher Education Convention, Seattle, WA paper and workshop: Director From The Spirit World: The Alaskan Eskimo Shaman, 1991
Memberships and Professional Affiliations
Rhizome, New Museum, NYC, member 2006-curent
International Society for the Arts, Sciences, and Technology member, 2004-current
Advisor Board, Upstart Productions, Dallas 2008-2010
Project X, Dallas, TX Producing Artist, trans-disciplinary performance collective. 2005-current.
UTD/Central Track Artist Residency, Dallas, TX Advisory Board, 2007-current UpStart Productions, Dallas, TX Advisory Board, 2008-current
UTD/South Side Artist Residency, Dallas, TX Advisory Board, 2003-2006
Fairbanks Drama Association, Fairbanks, Alaska board of directors: served as vice-president, co-chair of building committee, artistic director and chair of artistic directions committee, charged to choose season offerings and coordinate artistic programming, 1997-2003
Out North Theatre and Visual Arts Center, Anchorage, Alaska national advisory board, 1998-2006
Edward Albee / Last Frontier Theatre Conference, Valdez, alaska national advisory board, 1999-2003
Association for Asian Performance member, 1997-current
Society of Stage Directors and Choreographers/SSDC member 1985-currently inactive status
American Theater in Higher Education member, 1991-current
American Association of University Professors member, 1995-current
International Federation For Theatre Research member 1999-current
Who's Who In America, Entertainment & In The West
Registered U.S. Merchant Seaman, Great Lakes 1973- and current status
University Service
University of Texas at Dallas
Faculty, Institute of Interactive Arts and Engineering
Faculty Senate, Member, 2004-06 Executive Committee for Arts and Humanities, 2004-06
University Safety Committee, 2005-07 University Committee on Educational Policy, Member, 2003-05 Graduate Studies Committee, 2005-08
Arts and Humanities Periodic Peer Evaluation, Member 2005-007
Arts and Humanities Associate Dean Search Committee, Chair, 2005; for Poetry (Chair), Guitar (member) 2006
Creator and Producer: Beta Test (performance and media series 2003-04
University of Alaska Fairbanks
Department Head 1995-1999
Theatre Coordinator (under the Speech and Drama Department) 1988-1991
CLA Academic Council, Chair, 2000 to 2003
University-Wide Curriculum Review Committee, 2000-2003
University-Wide Core Curriculum Development Committee 1989-91
CLA Core Curriculum Committee, 1998-2000
Provost's Instructional Working Group, Fall 2000-2003
Artistic Director, Tuma Theatre (Alaska Native Performance group); Developed classes, programming, curriculum, and research.
University and College Teaching
University of Alaska Fairbanks, University of Texas at Dallas, University of Dar es Salaam, Korean National University of the Arts, California Institute for Integral Studies, and Cuyahoga Community College.
Undergraduate
Theatre Appreciation
Stage make-up
Aesthetic Appreciation
Elements of Arts and Performance
World Theater African Theatre
Film and Drama Playwrighting
Dramatic Literature
Playscript Analysis
Theatre History I
Theatre History II
Beginning Acting
Intermediate Acting
Advanced Acting I
Advanced Acting II
Acting Shakespeare
Theatre Ensemble
Alaska Native Performance
Tuma Theatre—Beginning to Advanced (Alaska Native)
Ritual And Shamanism
Beginning Stage Directing
Advanced Stage Directing
Performance Creation
Stage Direction and Producing
Art and Society
Film and Television Writing
Art Communication
Story-Telling For New Media
Social Mobilization
Writing for Performance and New Media
Graduate
Narrative Space and Places
Video Narrative Story Lab
New Media Installation & Performance
Myth and/in Media
New Plays 1980-2008
Drama Therapy
Graduate Directing Seminar
Performance Studies
Acting Studio Dissertation
Ritual and Shamanism
Robot Culture
Experimentation and Adaptation
Production Ensemble
Performing Culture & Society
Performance Research Methods
Research in Aesthetics & Performance
Traditional Korean Performance for Contemporary Expression
Meta Media Lab (Undergraduate and Graduate)
Acting For Animators (Undergraduate and Graduate)
MA, MFA, and PhD Committees 2003-current
MA Portfolio Committees Ricardo Gonzales (Chair, 2006)
Virginia Dudek (member, 2005) Elizabeth Coker (member, 2004)
Audra Heslip (member, 2004)
Christina Bieloh (member, 2004) Megan McDowell (member, 2009)
ATEC MFA Thesis/Project MaryEllen Lacy (Thesis director, 2007)
Elicia Brandon (Thesis director, 2007) Jeff Stover (Thesis director, 2008)
Jonathan White (Thesis Director, 2008)
PhD Committees Supervising Chair
Aaron Adair, 2004 Analyzing and Applying The Stanford Meisner Approach to Acting
Adrian Cook, 2006 Performing Myth: Narrative Based Communication in a Globalizing Matrix
Sarah Bowman, 2008 Role Playing: An Ethnographic Exploration
Current Chair David Edgecomb (Chair)
Ricardo Gonzales (Chair) Kim Hodges (Chair)
Ayman Alamoudi, (Chair)
Giraud Polite (Chair)
Fernando Contreras (chair)
Natalie Gaupp (Chair)
Committee Member
David Hanson, 2007
Laurie Sanderfer, 2007
Patricia Chogugudza, 2006
Melvin Macklin, 2008
Darlene Leftits, 2008
Kristi Rowan Humphreys, 2009
Nick Ipoliti, 200