Penelope is the founding editor of Fjord Review. Originally from Australia, she graduated in Arts/Law from the University of Melbourne. She has a particular interest in the intersection of dance, language and philosophy, and takes a daily ballet class, and dances tango, and salsa.
Victoria Looseleaf is an award-winning international arts journalist who covers music and dance festivals around the world. Among the publications she has contributed to are the Los Angeles Times, the New York Times, Dance Magazine and KCET’s Artbound. In addition, she taught dance history at the University of Southern California, Cal State L.A., and at Santa Monica College. Her new book, “Isn’t It Rich? A Novella In Verse,” is now available in paperback and on Kindle from Amazon.
Sara Veale is a London-based writer and editor. After studying dance and literature in her native North Carolina, she swapped the sunlit Land of the Pines for misty England to pursue an MA in English at University College London. Her writing has appeared in DanceTabs, Auditorium, Exeunt, Review 31 and more.
I am a researcher and UN volunteer pursuing a career in human rights and international criminal law. Temporarily based in Florence, Italy, I spent a year in London studying at the School of Oriental and African Studies and sucking up the cultural life of the city - from live music of (almost all sorts) to ballet, of course. I hope to return there for a PhD. In my many incarnations, I also took ballet classes for over 10 years as an adolescent and went back to being an amateur ballerina a few years ago. Recently started writing about dance out of a desire to combine my love for this art and the love for writing and having a say, rather than staying passive. My interests, dance-wise, are rather wide and range from classical ballet to neoclassical ballet, contemporary dance, dance theatre (particularly, Pina Bausch and Sasha Waltz) and the development of new choreographic languages and intellectual approaches to movement and space.
Apollinaire Scherr is the New York-based dance critic for the Financial Times. She has written regularly for the New Yorker, the New York Times, and Newsday, and contributed to Salon, New York magazine, the Village Voice, Elle, the San Francisco Chronicle, Barnard magazine, and Flash Art International. She gave the 2010 keynote address for the Dance Critics Association. As a graduate student at Cornell University, she was funded by a five-year Mellon Fellowship in the Humanities. She currently teaches undergraduate seminars on writing on the arts at the Fashion Institute of Technology (FIT) in Manhattan.
Claudia Lawson is the ballet and contemporary dance critic for ABC Arts in Australia. She studied classical ballet under Marie Walton-Mahon, obtaining her Royal Academy of Dance Advanced and Solo Seal before competing in the Genée International Ballet Competition. After obtaining degrees in Law and Forensic Science, Claudia worked as a media lawyer for the BBC in the UK, where she co-founded hip hop company Street Sessions. Claudia holds a Master's Degree in Media Practice from the University of Sydney and is an Associate of the Royal Academy of Dance.
Erica Getto is a New York-based writer whose interests include dance, comedy, and television. She holds a B.A. from Columbia University, where she studied popular culture through a political lens.
Using an armoury of play and poetry as a lure, Gracia Haby is an artist besotted with paper. Her limited edition artists’ books, and other works hard to pin down, are often made collaboratively with fellow artist, Louise Jennison. Their work is in the collections of the National Gallery of Australia and state libraries throughout Australia to the Tate (UK). Gracia Haby is known to collage with words as well as paper.
Jade is a Paris-based public official and dance critic who specialises in both Russian ballet and classical repertoire. In her early years, she lived in Ottawa and Washington DC but her interest lies in Russia now. Besides contributing to cultural media, in French and English, she carries out research on the choreographic transition at the Bolshoi Theater.
Jonelle Seitz is a writer and editor in Austin, Texas. She has contributed dance reviews and articles to the Austin Chronicle since 2007 and is a member of the Austin Critics Table. Her dance writing has also appeared in Dance Europe, dancemagazine.com, Ballet Review, and AdobeAirstream. Previously a ballet dancer, she aims to discover those who move, what moves them, and why they are so important to those of us who watch.
Based in Glasgow, Lorna was delightfully corrupted by the work of Michael Clark in her early teens,and has never looked back. Passionate about dance, music, and theatre she writes regularly for the List, Across the Arts and Exeunt. She also wrote on dance, drama and whatever particular obsession she had that week for the Shimmy, the Skinny and TLG and has contributed to Mslexia, TYCI and the Vile Blog.
Madison Mainwaring is a graduate student at the École des Hautes Études en Sciences Sociales in Paris. Her research focuses on the Romantic ballet and the way its danseuses were perceived by female audience members at the beginning of the nineteenth century. Her writing and criticism has been featured by The Atlantic, The New York Times, The Paris Review, BOMB, The Brooklyn Rail, and VICE Magazine, among other publications. She is also completing an MFA at Warren Wilson College, working under the direction of poet C. Dale Young.
Merli V. Guerra is a Boston-based professional dancer and award-winning interdisciplinary artist with talents in choreography, filmmaking, writing, and graphic design. She is Co-Founder and Artistic Director of Luminarium Dance Company, Art Director of Art New England magazine, and Senior Contributor for the Arts Fuse. Guerra has performed lead roles on international tours to India (2007, 2012) and Japan (2009), and frequently acts as a panelist, judge, guest choreographer, critic, speaker, and advocate for the Boston dance community.
Oksana Khadarina is a Washington-based dance writer who has a keen interest in the ballet scene of New York City. Her dance writing has appeared in Ballet magazine, CriticalDance, Ionarts, and DanceTabs. Choreography by George Balanchine has always been her source of joy and inspiration. She has had a privilege to meet and interview such Balanchine icons as Suzanne Farrell, Patricia McBride and Jacques d'Amboise. She is also an award-winning fine art photographer and an accomplished classical pianist.
Rachel is a freelance dancer and dance writer based in London. Alongside Fjord Review she currently contributes to the Stage, londondance.com, Exeunt and British Theatre Guide. She was a regional finalist in the Stage critic search 2015. She has previously written for a number of publications including the Skinny (Scotland) and LeftLion (Nottingham) where she was Art Editor.
Rachel Howard is the former lead dance critic of the San Francisco Chronicle. Her dance writing has also appeared in the New York Times, the Hudson Review, Ballet Review, San Francisco Magazine and Dance Magazine. Her website is www.rachelhoward.com.
Rachel Stone used to dance ballet, and still loves it deeply. She is now an undergraduate student at Princeton University, where she studies English Literature and Creative Writing. Her work has appeared in the Awl, the Toast, and the Adroit Journal, and her fiction won Honorable Mention in the McSweeney's Student Short Story Contest.
Tara Sheena is a dance artist and writer originally from Detroit, MI. She has enjoyed collaborating on recent performances with Laurel Snyder, Nadia Tykulsker and Molly Poerstel. Other current projects include writings in Hyperallergic, the Brooklyn Rail and Fjord Review; member of the Dance/NYC Junior Committee; co-organizer of Community of Practice, a partnership between University Settlement and Culturebot; and a new podcast project in development with fellow performer, Ben Wagner. She currently lives in Brooklyn, NY.