Megan V Nicely

Biographic Data

ID6185289
NAMEMegan V Nicely
GIVEN NAMESMegan V
FAMILY NAMENicely
SIGNATURENICELY M V
AFFILIATIONSIndependent Dance
VERIFIEDNo
TOTAL WORKS9
TOTAL CITATIONS0
WORKS AS AUTHOR9
WORKS AS EDITOR0
FIRST PUBLICATION YEAR2009
LATEST PUBLICATION YEAR2025
H-INDEX0

  • Witnessing Ailey’s Legacy at/of the Edges

    Rainy Demerson, Margit Edwards et al.ARTICLEDance Chronicle2025

    In response to the Edges of Ailey exhibit at the Whitney Museum, Dance Chronicle gathered this collection of witness/experience writings (see Figure 1). They represent different ways to consider th

  • Love

    Open AccessMegan V NicelyARTICLEPerformance Matters2023

  • Becoming A Frame

    Megan V NicelyARTICLEDance Chronicle2023

    The title of Michael Sakamoto’s theory-rich, butoh-informed auto-ethnography An Empty Room refers to the cyclical relationship between form and emptiness found in Zen Buddhism. This seemingly parad

  • A new quantified self

    Liat Berdugo, Megan V NicelyARTICLEInternational Journal of…2019

    We live in an age of the ‘quantified self’, where activities, moods, and consumer habits are increasingly tracked. Accelerometers in devices like FitBit chart our activity, GPS-trackers locate us, and advertising optimisations chronicle our web searches. This same monitoring also produces us as subjects. As arts professors, we intervene in this landscape – intellectually, creatively, pedagogically, and with feminist and posthumanist lenses. Throu…

  • Curating Dialogue

    Michelle Lavigne, Megan V NicelyARTICLETDR/The Drama Review2018

    A renowned gender theorist and a female drag performer move language and gestures as they trade stories and share bodywork. A gender-ambiguous performer and a trans and queer scholar volley moments of physical intensity and textual analysis in a lecture-demonstration format. These were just some of the ways that the fall 2017 Bridge Project’s Radical Movements festival challenged performance models for dialogic exchange and what constitutes a rad…

  • The Aging Body in Dance

    Megan V NicelyARTICLETDR/The Drama Review2018

    September 01 2018 The Aging Body in Dance: A Cross-Cultural Perspective; Dancing Age(ing): Rethinking Age(ing) in and through Improvisation Practice and Performance The Aging Body in Dance: A Cross-Cultural Perspective. Edited by NanakoNakajima and GabrieleBrandstetter. London: Routledge, 2017; 180 pp.; illustrations. $44.95 paper, e-book available.Dancing Age(ing): Rethinking Age(ing) in and through Improvisation Practice and Performance. By Sus…

  • Sara (the smuggler)

    Megan V NicelyARTICLETDR/The Drama Review2016

    How does one choreograph a life? Sara (the smuggler) is an hour-long embodied monologue of Bay Area dance luminary and Contraband founder Sara Shelton Mann, conceived and crafted by Keith Hennessey for Mann’s 70th birthday. The work shares not an individual artist’s life so much as how life’s choreography writes an archive to be navigated, survived, and lived through

  • The Subterranean Language of Jeanine Durning's inging and Monique Jenkinson's Instrument

    Megan V NicelyARTICLETDR/The Drama Review2014

    Two recent choreographic works—Jeanine Durning's inging and Monique Jenkinson's Instrument—employ words not as content but as kinesthetic forces. In each, as audiences sit with their own embodied thoughts, words recede and silent questions arise to connect us in the space and time of performance

  • Deer in the Headlights

    Megan V NicelyARTICLETDR/The Drama Review2009

    Noémie Lafrance's newest site-specific work Home uses the body as both the performance site and the subject in question. This intimate work invites spectators to participate on a tactile level as we become aware of how the body creates spaces between life and death