Dance Faculty Bios 2020-22

Faculty in 2021-22

Madeline Cantor (Director) received a B.A. from Barnard College and an M.F.A. from the University of Michigan. She performed and choreographed as a member of Dance Conduit from 1980 to 1989 and continues to work independently. She has been awarded grants for her choreography and is active as a guest choreographer with college and youth companies, community groups and professional companies, including Nimbus Dance Works which currently has several of her dances for young audiences in its repertory. At Bryn Mawr she teaches technique, composition, repertory, and praxis courses in arts teaching and dance appreciation and has received the College’s Rosalyn R. Schwartz teaching award. Outside of Bryn Mawr, she directs Dance TAG (Teaching Artists Group), serves on the national board of Dance and the Child International, and guest teaches at a charter school in Chester, Pa.

Lela Aisha Jones (Assistant Professor) earned a B.S. in health science education from the University of Florida, an M.F.A. in dance from Florida State University, and a Ph.D. from Texas Woman's University. Some of her most influential professional experiences have been in movement practice with nia love, Christal Brown | Inspirit, Barak Ade Sole, Moustapha Bangoura, Anssumane Silla, Sulley Imoro, Omi Osun Joni L. Jones, and Urban Bush Women. Founder of Lela Aisha Jones | FlyGround, Lela recently choreographed and performed with the Same Story, Different Countries Project in Johannesburg and Cape Coast South Africa (2017) directed by Dr. Lynnette Overby, and in Onye Ozuzu's work at Dance Gathering in Lagos, Nigeria (2019). She presented her work Plight Release and the Diasporic Body at the African American Museum of Philadelphia with, and in response to, the work of visual artist and scholar Fahamu Pecou (2019). Her awards and honors include a 2015 Leeway Foundation Transformation Award and a 2016 Pew Fellowship in the Arts. Lela is grateful to continue her work as an artist scholar, movement performance artist, and interdisciplinary collaborator as a member of the faculty in the Bryn Mawr College Dance Program.

Jessica Anthony is a performer, choreographer, and educator. She is interested in the ways that dance can empower us to tell our stories, create community, and practice new ways of being in the world. She considers herself a researcher of "circles," using movement to explore what can happen in these third spaces of creation and community building and has been facilitating circles in rehearsals, classrooms, and diverse community settings since 2011. From 2004-2010 Jessica performed nationally and internationally with Jane Comfort and Company (NYC) and presented her work at The Field (NYC) and The Invisible Dog Center (Brooklyn). She received an M.F.A. in dance from the University of Iowa.

Contramestra Eva Agbada started training in the Afro-Brazilian martial art form of Capoeira Angola in 2000 with the International Capoeira Angola Foundation (FICA). Since then, she has continued to train with Mestre Kamau (responsible for the Philadelphia Chapter of FICA) as well as regularly traveling within the U.S.A. and to Brazil in order to train with the founding mestres of FICA (Mestres Cobra Mansa, Valmir and Jurandir). She has been teaching Capoeira Angola for more than 10 years and received the title of Contramestra in 2019 from the FICA mestres at the FICA International Conference in Bahia, Brazil.

Jennifer Chipman Bloom trained at Pittsburgh Ballet Theatre School and the School of American Ballet. At 15 she was chosen by Jerome Robbins to perform a principal role in his original work, 2&3 Part Inventions. Jennifer joined the New York City Ballet in 1994 where she would go on to perform a wide range of Balanchine and Robbins ballets, as well as originating roles for Christopher Wheeldon, Peter Martins and Mr. Robbins. After leaving the NYCB in 1998 Jennifer danced with Eliot Feld’s Ballet Tech, Suzanne Farrell Ballet, and Pennsylvania Ballet. Jennifer has taught at Point Park College, Pittsburgh Ballet Theatre School, Ballet Hawaii, and Swarthmore College. She also teaches private and semi-private lessons, and does pre-professional coaching. Jennifer earned a bachelor's degree in political science from Hunter College.

Ann L. Renhard Cole studied as a scholarship student with Pacific Northwest Ballet School and the School of American Ballet with some of the world’s most esteemed dance teachers from companies such as Ballets Russes, Kirov, Joffrey, New York City Ballet, and Royal Danish Ballet. As a company member with the Pacific Northwest Ballet in Seattle and later, Alonzo King’s LINES Ballet in San Francisco, Ann enjoyed a career performing corps, ensemble, and soloist roles in classical and contemporary ballets. In addition to performing a core repertoire of Balanchine and Kent Stowell works, Ann had the opportunity to create original works with choreographers including Alonzo King, Lucinda Childs, Lynn Dally, and Ian Horvath, and to participate in gala performances with Mikhail Baryshnikov and Gelsey Kirkland. After a back injury forced her retirement from the stage, Ann earned her undergraduate and law degrees from the University of Texas at Austin while teaching and choreographing ballets in the Austin dance community. She practiced environmental law and served as an attorney for the U.S. Court of Appeals. In recent years, Ann found her way back to the dance studio and served as Executive and Artistic Director for the non-profit Wilmington Ballet Academy of the Dance. Her teaching is inspired by her varied background of experiences and a desire to help dancers enjoy a high-quality lifetime engagement with dance that enriches and informs their lives.

Melanie Cotton is a Philadelphia-based choreographer, dancer, and theater artist. Her work as a principal dancer and contributing choreographer for Montazh PAC and as a principal dancer with Rennie Harris Puremovement has shaped her unique approach to hip hop dance. Melanie’s performance credits include Bill Irwin’s Happiness Lecture, 1812 Productions' It’s My Party: The Women in Comedy Project, and Walnut Street Theater’s In The Heights. Choreographer credits include Red 40’s The Best Songs in the World for the Polyphone Festival and the Arden Theater’s productions of The Legend of Georgia McBride and Touch Tones, and Lightning Rod Special's The Appointment.

Denise Somrack D’Angelo began her ballet training in Cleveland, Ohio studying with Janice and Raymond Smith at the Fine Arts Association in Willoughby, Ohio. At 17 she was awarded a full scholarship to study at the School of the Pennsylvania Ballet under the direction of Lupe Serrano. She joined the Pennsylvania Ballet in 1982 with Barbara Weisberger and Benjamin Harkarvy as directors and became a soloist in 1987 under the direction of Robert Weiss. D’Angelo danced many soloist and principal roles in the classical and Balanchine repertoire such as Snow Queen and Dew Drop in The Nutcracker, Myrtha in Giselle, Prayer in Coppelia as well as principal roles in Balanchine’s Four TemperamentsWho Cares, Western Symphony and Rubies. Additionally, she worked with many noted choreographers including Robert Weiss, Peter Martins, Richard Tanner, Benjamin Harkarvy, Lynn Taylor-Corbett, and Jean-Pierre Bonnefoux. She retired from performing in 1988. A faculty member of the Metropolitan Ballet Academy in Jenkintown, Pennsylvania, since 1997, D’Angelo has choreographed several works for the Metropolitan Ballet Company, including Divertimento in F major (2012), Holberg Suite (2013), "Waltz of the Flowers" from The Nutcracker (2013), the fairy dance from Midsummer Night’s Dream (2016) and Schubert Impromptu (2018). D’Angelo was co-choreographer for MBC’s highly successful world premiere production of Cinderella (2010) and her work Evening Song was selected for performance at the Regional Dance America Festival (2010).

Britt Whitmoyer Fishel is a dance artist, choreographer, dance filmmaker, and educator. She holds a B.F.A. in dance performance from East Carolina University and an M.F.A. in dance (screendance) from the University of Michigan. Fishel has led company tours throughout New York City, Philadelphia, D.C., Richmond, Asheville, Charlotte, Atlanta, Chicago, and London. Her screen work has been seen in Greensboro Dance Film Festival, Y’allywood Film Festival, Detroit Dance City Festival, EnCore Dance on Film Festival, DanceBARN, Dance for Reel, FilmFest by Rogue Dancer, Women in Dance Leadership Conference, as well as several gallery exhibitions across the country. Fishel currently resides in Philadelphia where she teaches at Drexel University as well as Bryn Mawr College. She continues to make both live performance and dance film independently and collaboratively under the umbrella of Britt Fishel and Artists. Through research and performance, Fishel aims to foster socioeconomic, political, and identity-driven conversations that are diverse, inclusive and intersectional.

Bethany Formica has a B.F.A. in dance from Mason Gross School of the Arts at Rutgers University. She has experience with several New York City-based companies including Sean Curran and Company, Pearson/Widrig Dance Theatre, the Kevin Wynn Collection, Michael Foley, David Gordon, and Martha Bowers Dance Theatre; and Philadelphia-based choreographers and companies Cardell Dance Theater, Boan Danz Action, Megan Mazarick, Nichole Canuso Dance Company, and Melanie Stewart Dance Theatre, and internationally with Dada von Bzdulow Theatre and Koncentrat in Poland. Bethany has received grants and fellowships from the Independence Foundation and the Pew Center for Arts & Humanities through Dance Advance. Her dances have been presented in Philadelphia and New York City, as well as in Italy, Poland, Bulgaria and England.

Joe Gonzalez, a Boston native, started dancing at the age of 13 at the Roxbury Center Performing for the Arts. He graduated from Boston Arts Academy as a dance major and received a B.F.A. from Boston Conservatory. Joe participated in programs such as American Dance Festival, Bates Dance Festival and SpringBroad Danse Montreal. Joe currently tours nationally and internationally as performing artist with Philadanco! (The Philadelphia Dance Company) where he also directs Philadanco’s 3rd company (D/3). He co-founded and directs Jo-Mé Dance Arts and has also toured and performed with Anna Myer and Dancers, Prometheus Dance, #DBdanceProject, Putty Dance Project, Dance IQUAIL, and Waheed Works. In addition to his work at Bryn Mawr College, he teaches at Temple University and the Boston Arts Academy, a high school for the visual and performing arts.

Yasmin Goodman trained extensively in gymnastics and in Shotokan Karate before turning to dance. She studied at Temple University and with top area jazz teachers and has taught and performed in the greater Philadelphia area for more than 20 years. She founded and directed Yazzu Dance Company and was director at the Main Line YMCA Jazz Dance programs.

Patricia “Peaches” Jones is a movement artist specializing in dances and rhythms of the African Diaspora. She has performed with Batoto Yetu, Les Ballet Shango, and Troupe Dada, and currently dances with artist-activist Lela Aisha Jones | FlyGround and Kulu Mele African Dance and Drum Ensemble, Philadelphia’s premier African dance ensemble. She is a program associate for Young Artists of New Jersey and Eastern Pennsylvania, and is working to develop choreography, classes, workshops, and experiences that utilize the healing properties of diasporic rhythms and movement to cultivate physical, emotional, and spiritual well-being for individuals and community.

Corinne Karon graduated from the University of the Arts in 1996. Since then, she has danced on every continent in the world, including Antarctica. Corinne is celebrating her 28th year with Tap Team Two, of which she is the executive director, and her 13th year as founder and artistic director of Uniting Colleges Through Tap. Corinne won a Rocky Award for her work with Men On Tap and received two University of the Arts Faculty Enrichment Grants. With Tap Team Two, Corinne is part of an assembly program that was selected and honored as the “Artist of the Year” by the national Young Audiences organization. Over the last decade, Corinne has been able to perform with and learn from tap artist Germaine Ingram as part of an initiative that focused on using movement to convey history and social issues. After engaging in this process, Corinne began a series of open discussions called “Philly Needs to Talk Tap!” which are based on tap dancing's place in Philadelphia history.  Corinne has traveled to Taiwan and Brazil to teach and perform tap and twice produced work for the Philadelphia Fringe Festival. Corinne teaches on a regular basis at the University of the Arts, Rowan University, the Chester Valley Dance Academy, and the Wissahickon Dance Academy, as well as Bryn Mawr.

Rebecca Malcolm-Naib danced professionally with ZeroMoving Dance Company, Karen Bamonte Dance Works, Chamber Dance Company, Freedman/Coleman Dance Company, Claudia Murphey Dance Company, and Battery Dance Company. She co-founded Travesty Dance Group and co-directed the company from 1997 to 2010. Rebecca's choreography has been performed in Cleveland, Seattle, Philadelphia, Maine, Toronto, Houston, and New York City. She has taught at the University of Washington and Kent State University, Bates Dance Festival’s Young Dancers Workshop, and at Swarthmore College. Malcolm-Naib’s research has been published in Impulse: The International Journal of Dance and Science, Medicine, and Education. She has been a member of the Board of Directors for BalletX since 2012. She received a B.A. from Mount Holyoke College and has an M.F.A. from the University of Washington.

Linda Karash Mintzer studied on scholarship at the School of the Pennsylvania Ballet, making her professional debut at age 13 in that company's production of Balanchine’s Symphony in C. She also performed with New York City Ballet and the Bolshoi Ballet when they toured Philadelphia. Mintzer was a Pennsylvania Ballet Company member from 1971 through 1982, except for a two-year break, during which she attended Harvard University as an English and American literature major. Favorite principal roles included The Nutcracker "Snow Pas de Deux," Divertimento #15Pas de Dix, Senta Driver's Resettings, and Chou San Goh's Casella 1,3,4. After retiring from PA Ballet, Mintzer completed a B.A. at New York University’s Gallatin Division. In addition to the expertise acquired as a dancer in a Balanchine-based company, she has trained and taught extensively in the Vaganova (Russian) style. She is also on the faculty of Pennsylvania Academy of Ballet in Narberth, Pennsylvania, where she teaches both pre-professional and adult students.


Faculty in 2020-2021

Madeline Cantor (Director) received a B.A. from Barnard College and an M.F.A. from the University of Michigan. She performed and choreographed as a member of Dance Conduit from 1980 to 1989 and continues to work independently. She has been awarded grants for her choreography and is active as a guest choreographer with college and youth companies, community groups and professional companies, including Nimbus Dance Works which currently has several of her dances for young audiences in its repertory. At Bryn Mawr she teaches technique, composition, repertory, and praxis courses in arts teaching and dance appreciation and has received the College’s Rosalyn R. Schwartz teaching award. Outside of Bryn Mawr, she directs Dance TAG (Teaching Artists Group), serves on the national board of Dance and the Child International, and guest teaches at a charter school in Chester, Pa.

Lela Aisha Jones (Assistant Professor) earned a B.S. in health science education from the University of Florida, an M.F.A. in dance from Florida State University, and a Ph.D. from Texas Woman's University. Some of her most influential professional experiences have been in movement practice with nia love, Christal Brown | Inspirit, Barak Ade Sole, Moustapha Bangoura, Anssumane Silla, Sulley Imoro, Omi Osun Joni L. Jones, and Urban Bush Women. Founder of Lela Aisha Jones | FlyGround, Lela recently choreographed and performed with the Same Story Different Countries Project in Johannesburg and Cape Coast South Africa (2017) directed by Dr. Lynnette Overby, and in Onye Ozuzu's work at Dance Gathering in Lagos, Nigeria (2019). She presented her work Plight Release and the Diasporic Body at the African American Museum of Philadelphia with, and in response to, the work of visual artist and scholar Fahamu Pecou (2019). Her awards and honors include a 2015 Leeway Foundation Transformation Award and a 2016 Pew Fellowship in the Arts. Lela is grateful to continue her work as an artist scholar, movement performance artist, and interdisciplinary collaborator as a member of the faculty in the Bryn Mawr College Dance Program.

Elizabeth Bergman is a dancer, scholar, and educator currently based in Philadelphia who joins the Dance Program faculty in fall 2020. Bergman recently earned a Ph.D. in dance from Temple University (2019) and also holds an M.F.A. in dance performance from The University of Iowa (2009) and a B.A. in dance from DeSales University (2004). Her areas of research include histories of U.S. concert, vernacular, and commercial dance, and the racial politics and ideologies of the commercial dance industry in the late twentieth century. Bergman has more than a decade of experience teaching ballet, modern/contemporary, and improvisational forms and has taught a variety of undergraduate dance theory/history courses at both The University of Iowa and Temple University and has been an invited guest lecturer on topics including American social dance, Hollywood film and music videos, and the history of modern yoga.

Tammy Carrasco is a dance artist and educator recently relocated to Philadelphia. She received an M.F.A. from Ohio State University and a B.F.A. from the University of North Carolina School of the Arts and is an alum of the Walnut Hill School of the Arts. Her professional work has been presented by the Boston Contemporary Dance Festival, Dixon Place, Dumbo Dance Festival, Houston Ballet’s Frame x Frame Film Festival, Movement Research at Judson Church, and Triskelion Arts, among others. In academic settings, her work has been featured in the American College Dance Association’s Gala and National showcases. She has taught and staged work as a guest artist nationally and internationally and served as a full-time faculty member for SUNY Brockport’s Dance Department. Outside of teaching, Carrasco imagines, creates, and clears space for possibility. She makes dances and fosters collaborations under the umbrella of Wild Beast Dance and is co-organizer of The Landingspace Project, a virtual maker’s space created for and by artists during the COVID-19 pandemic.

Ann L. Renhard Cole studied as a scholarship student with Pacific Northwest Ballet School and the School of American Ballet with some of the world’s most esteemed dance teachers from companies such as Ballets Russes, Kirov, Joffrey, New York City Ballet, and Royal Danish Ballet. As a company member with the Pacific Northwest Ballet in Seattle and later, Alonzo King’s LINES Ballet in San Francisco, Ann enjoyed a career performing corps, ensemble, and soloist roles in classical and contemporary ballets. In addition to performing a core repertoire of Balanchine and Kent Stowell works, Ann had the opportunity to create original works with choreographers including Alonzo King, Lucinda Childs, Lynn Dally, and Ian Horvath, and to participate in gala performances with Mikhail Baryshnikov and Gelsey Kirkland. After a back injury forced her retirement from the stage, Ann earned her undergraduate and law degrees from the University of Texas at Austin while teaching and choreographing ballets in the Austin dance community. She practiced environmental law and served as an attorney for the U.S. Court of Appeals. In recent years, Ann found her way back to the dance studio and served as Executive and Artistic Director for the non-profit Wilmington Ballet Academy of the Dance. Her teaching is inspired by her varied background of experiences and a desire to help dancers enjoy a high-quality lifetime engagement with dance that enriches and informs their lives.

Melanie Cotton is a Philadelphia-based choreographer, dancer, and theater artist. Her work as a principal dancer and contributing choreographer for Montazh PAC and as a principal dancer with Rennie Harris Puremovement has shaped her unique approach to hip hop dance. Melanie’s performance credits include Bill Irwin’s Happiness Lecture, 1812 Productions' It’s My Party: The Women in Comedy Project, and Walnut Street Theater’s In The Heights. Choreographer credits include Red 40’s The Best Songs in the World for the Polyphone Festival and the Arden Theater’s productions of The Legend of Georgia McBride and Touch Tones, and Lightning Rod Special's The Appointment.

Felicia V. Cruz started training in ballet in Allentown, Pennsylvania, at the age of three. She studied in various summer programs including the Rock School of Philadelphia and received a scholarship to study with the Richmond Ballet of Virginia. After high school, Felicia studied at Steps on Broadway in NYC. She joined Jay-T Jenkins’ company Jeté Performance Company while completing studies for a B.F.A. in Ballet Performance from University of the Arts. She performed with Carbon Dance Theater from 2010 to 2013 under the direction of Meredith Rainey of the Pennsylvania Ballet. Cruz is a founding member, assistant director, and resident choreographer for Dancespora, a non-profit dance company committed serving communities and audiences often lacking the resources and accessibility for participation in the performing arts.

Denise Somrack D’Angelo began her ballet training in Cleveland, Ohio studying with Janice and Raymond Smith at the Fine Arts Association in Willoughby, Ohio. At 17 she was awarded a full scholarship to study at the School of the Pennsylvania Ballet under the direction of Lupe Serrano. She joined the Pennsylvania Ballet in 1982 with Barbara Weisberger and Benjamin Harkarvy as directors and became a soloist in 1987 under the direction of Robert Weiss. D’Angelo danced many soloist and principal roles in the classical and Balanchine repertoire such as Snow Queen and Dew Drop in The Nutcracker, Myrtha in Giselle, Prayer in Coppelia as well as principal roles in Balanchine’s Four TemperamentsWho Cares, Western Symphony and Rubies. Additionally, she worked with many noted choreographers including Robert Weiss, Peter Martins, Richard Tanner, Benjamin Harkarvy, Lynn Taylor-Corbett, and Jean-Pierre Bonnefoux. She retired from performing in 1988. A faculty member of the Metropolitan Ballet Academy in Jenkintown, Pennsylvania, since 1997, D’Angelo has choreographed several works for the Metropolitan Ballet Company, including Divertimento in F major (2012), Holberg Suite (2013), "Waltz of the Flowers" from The Nutcracker (2013), the fairy dance from Midsummer Night’s Dream (2016) and Schubert Impromptu (2018). D’Angelo was co-choreographer for MBC’s highly successful world premiere production of Cinderella (2010) and her work Evening Song was selected for performance at the Regional Dance America Festival (2010).

Britt Whitmoyer Fishel is a dance artist, choreographer, dance filmmaker, and educator. She holds a B.F.A. in dance performance from East Carolina University and an M.F.A. in dance (screendance) from the University of Michigan. Fishel has led company tours throughout New York City, Philadelphia, D.C., Richmond, Asheville, Charlotte, Atlanta, Chicago, and London. Her screen work has been seen in Greensboro Dance Film Festival, Y’allywood Film Festival, Detroit Dance City Festival, EnCore Dance on Film Festival, DanceBARN, Dance for Reel, FilmFest by Rogue Dancer, Women in Dance Leadership Conference, as well as several gallery exhibitions across the country. Fishel currently resides in Philadelphia where she teaches at Drexel University as well as Bryn Mawr College. She continues to make both live performance and dance film independently and collaboratively under the umbrella of Britt Fishel and Artists. Through research and performance, Fishel aims to foster socioeconomic, political, and identity-driven conversations that are diverse, inclusive and intersectional.

Joe Gonzalez, a Boston native, started dancing at the age of 13 at the Roxbury Center Performing for the Arts. He graduated from Boston Arts Academy as a dance major and received a B.F.A. from Boston Conservatory. Joe participated in programs such as American Dance Festival, Bates Dance Festival and SpringBroad Danse Montreal. Joe currently tours nationally and internationally as performing artist with Philadanco! (The Philadelphia Dance Company) where he also directs Philadanco’s 3rd company (D/3). He co-founded and directs Jo-Mé Dance Arts and has also toured and performed with Anna Myer and Dancers, Prometheus Dance, #DBdanceProject, Putty Dance Project, Dance IQUAIL, and Waheed Works. In addition to his work at Bryn Mawr College, he teaches at Temple University and the Boston Arts Academy, a high school for the visual and performing arts.

Yasmin Goodman trained extensively in gymnastics and in Shotokan Karate before turning to dance. She studied at Temple University and with top area jazz teachers and has taught and performed in the greater Philadelphia area for more than 20 years. She founded and directed Yazzu Dance Company and was director at the Main Line YMCA Jazz Dance programs.

Ama Ma'at Gora is a Philly-based artist, educator, and choreographer. She received a B.F.A. in dance from Georgian Court University and an M.F.A. from Temple University. These experiences lent her opportunities to work with choreographers such as Kariamu Welsh, Lela Aisha Jones, Earl Mosley, Sidra Bell, Gregory King, among others. She now serves as community-based learning director at Drexel University overseeing artistic civic engagement. She has been artistic director of Ma'at Works Dance Collective since 2017 and believes that her works allow space to converse about controversial topics surrounding identity, trauma, restoration and modality. Adamant about building safe spaces, Gora is a co-founder of The Juba House, a co-creation space for black, queer artists living near and around the West Philadelphia community.

Patricia “Peaches” Jones is a movement artist specializing in dances and rhythms of the African Diaspora. She has performed with Batoto Yetu, Les Ballet Shango, and Troupe Dada, and currently dances with artist-activist Lela Aisha Jones | FlyGround and Kulu Mele African Dance and Drum Ensemble, Philadelphia’s premier African dance ensemble. She is a program associate for Young Artists of New Jersey and Eastern Pennsylvania, and is working to develop choreography, classes, workshops, and experiences that utilize the healing properties of diasporic rhythms and movement to cultivate physical, emotional, and spiritual well-being for individuals and community.

Corinne Karon graduated from the University of the Arts in 1996. Since then, she has danced on every continent in the world, including Antarctica. Corinne is celebrating her 28th year with Tap Team Two, of which she is the executive director, and her 13th year as founder and artistic director of Uniting Colleges Through Tap. Corinne won a Rocky Award for her work with Men On Tap and received two University of the Arts Faculty Enrichment Grants. With Tap Team Two, Corinne is part of an assembly program that was selected and honored as the “Artist of the Year” by the national Young Audiences organization. Over the last decade, Corinne has been able to perform with and learn from tap artist Germaine Ingram as part of an initiative that focused on using movement to convey history and social issues. After engaging in this process, Corinne began a series of open discussions called “Philly Needs to Talk Tap!” which are based on tap dancing's place in Philadelphia history.  Corinne has traveled to Taiwan and Brazil to teach and perform tap and twice produced work for the Philadelphia Fringe Festival. Corinne teaches on a regular basis at the University of the Arts, Rowan University, the Chester Valley Dance Academy, and the Wissahickon Dance Academy, as well as Bryn Mawr.

Rebecca Malcolm-Naib danced professionally with ZeroMoving Dance Company, Karen Bamonte Dance Works, Chamber Dance Company, Freedman/Coleman Dance Company, Claudia Murphey Dance Company, and Battery Dance Company. She co-founded Travesty Dance Group and co-directed the company from 1997 to 2010. Rebecca's choreography has been performed in Cleveland, Seattle, Philadelphia, Maine, Toronto, Houston, and New York City. She has taught at the University of Washington and Kent State University, Bates Dance Festival’s Young Dancers Workshop, and at Swarthmore College. Malcolm-Naib’s research has been published in Impulse: The International Journal of Dance and Science, Medicine, and Education. She has been a member of the Board of Directors for BalletX since 2012. She received a B.A. from Mount Holyoke College and has an M.F.A. from the University of Washington.

Linda Karash Mintzer studied on scholarship at the School of the Pennsylvania Ballet, making her professional debut at age 13 in that company's production of Balanchine’s Symphony in C. She also performed with New York City Ballet and the Bolshoi Ballet when they toured Philadelphia. Mintzer was a Pennsylvania Ballet Company member from 1971 through 1982, except for a two-year break, during which she attended Harvard University as an English and American literature major. Favorite principal roles included The Nutcracker "Snow Pas de Deux," Divertimento #15Pas de Dix, Senta Driver's Resettings, and Chou San Goh's Casella 1,3,4. After retiring from PA Ballet, Mintzer completed a B.A. at New York University’s Gallatin Division. In addition to the expertise acquired as a dancer in a Balanchine-based company, she has trained and taught extensively in the Vaganova (Russian) style. She is also on the faculty of Pennsylvania Academy of Ballet in Narberth, Pennsylvania, where she teaches both pre-professional and adult students.


Emeriti Faculty

Linda Caruso Haviland is a Professor Emerita at Bryn Mawr College and the founder and Director of the Dance Program, and served as the Alice Carter Dickerman Chair for the Director of the Arts. Prior to her roles at Bryn Mawr, she founded the dance program at SUNY/Westchester CC and taught in several colleges and universities. She also teaches in and directed Bryn Mawr College’s critical thinking and writing program for first year students and has received Bryn Mawr's the College’s Rosalyn R. Schwartz teaching award and was the faculty recipient of the College's McPherson Award for Excellence. She received her undergraduate degree in dance from Adelphi University, continued studying technique in NYC, and went on to complete her doctorate in the areas of dance and philosophy at Temple University. She has performed with companies in New York and Philadelphia, principally with ZeroMoving Company under the direction of Hellmut Gottschild, and continues to dance and choreograph. Her professional activities include panel presentations, interdisciplinary arts collaborations, and projects focusing on mediating the multiple perspectives that arise from the observation of and writing about dance. Her scholarly research has included preserving the work of significant Philadelphia dance artists through oral histories and video documentation. Her recent writing projects include a focus on the rise of a professional class of dancers in turn of the century Philadelphia and the role of bodiedness in both historiography and the archive, including co-editing, with Bill Bissell, The Sentient Archive: Bodies, Performance and Memory.

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Contact Us

Dance Program

Goodhart Hall
Bryn Mawr College
101 N. Merion Avenue
Bryn Mawr, PA 19010
Phone: 610-526-5208

Lela Aisha Jones
Director of Dance
ljones2@brynmawr.edu
(610) 526-5207