Melissa McCann, DMA, is an Assistant Professor in Music (Voice) at the University of Mary's School of Arts & Sciences, where she mentors undergraduate and graduate voice majors. She also serves as Director of the Vocal Arts Ensemble. BM: University of the Pacific Conservatory of Music MFA: University of California, Irvine Post-Graduate Artist Diploma: San Francisco Conservatory of Music DMA (Performance, Pedagogy, Literature): James Madison University Research & Pedagogical Expertise McCann combines technical mastery of vocal performance with community-focused arts education. Her work emphasizes: Opera production and direction Voice pedagogy for competition and professional performance Ensemble coaching and masterclass instruction Community outreach through diverse musical programming Performance Career Active internationally, McCann's performance venues include Carnegie Hall, St. James United Church in Montréal, and Opera San José, with roles in Così fan tutte , La Bohème , and La Cenerentola .
Kelly M. Schaefer is a Teaching Professor of Theatre at Iowa State University, specializing in Costume Design and Theatre Education. She teaches courses in Costume Design, Costume Technology, Makeup Design, and Theatre & Society while mentoring student designers. Her work spans academic and professional theatre, including ISU productions and collaborations with Repertory Theater of Iowa, Stage West, and Iowa Stage Theatre Company. Education: M.F.A. in Theatre (Acting & Costume Design), Western Illinois University Her research interests focus on costume design methodologies, interdisciplinary theatre practices, and the intersection of historical costumes with contemporary performance. She actively contributes to professional theatre communities through roles like past Chair of the Design, Technology, and Management area in Region 5 of the Kennedy Center American College Theatre Festival. Notable theatre credits include designing costumes for Night of the Living Dead! The Musical! , The Tempest , Les Misérables , and Into the Woods , alongside performances in roles such as Sarah in Company and the Gypsy Acid Queen in The Who’s TOMMY . Her design work frequently explores period accuracy, character psychology, and theatrical innovation. Professional affiliations include collaborations with major institutions like The Metropolitan Opera, Chicago Shakespeare Theatre, Steppenwolf Theatre Company, and Shakespeare & Co. (Lenox, MA).
Denis Condon is a Lecturer in Irish Film at Maynooth University's Department of English and Media Studies, affiliated with the Faculty of Arts and Humanities. He has been teaching since 2008 and holds roles as second-year coordinator in Media Studies and international coordinator for English. His research focuses on cinema history, Irish film, intermediality, and audience studies, with particular emphasis on early Irish cinema and the relationship between music and screen media. Education: Research MA (Dublin City University), PhD (National University of Ireland Maynooth), Government of Ireland Postgraduate Scholar (2001-2004), Government of Ireland Postdoctoral Research Fellow (2007-2008). Research interests include historical cinema reception, silent film music, and cultural studies. Notable projects include the Irish Cinema Histories website and co-editing Experiencing Music and Visual Cultures . Awards include two prestigious Irish Research Council fellowships. Teaching responsibilities include modules on film and screen studies, global cinema, and contemporary Irish cinema. He also supervises PhD/postdoctoral research in areas like Irish cinema, motherhood in film, and literary adaptations. Collaborative work includes projects with Sarah Culhane and Antonio Cascelli, focusing on historical cinema audiences and interdisciplinary media studies. He maintains an active research blog ( Early Irish Cinema ) and regularly presents at international conferences.
Prof. Christopher J. Odhiambo is a Professor of Literature and Applied Drama at Moi University’s Department of Literature, Linguistics, Foreign Languages and Film Studies. He is the Spokesperson and Principal Investigator for the Research Section on Arts & Aesthetics at the Moi University African Cluster Centre (Moi-ACC). His roles include National Chairman of the Kenya National Drama and Film Festival Committee and Co-PI in a Leeds-Moi University collaboration on Theatre for Development in reproductive health. Education PhD in Drama and Theatre Arts from Stellenbosch University (South Africa) Research Interests Prof. Odhiambo focuses on African literature, applied drama, and cultural studies, particularly in contexts of community development and postcolonial narratives. His work explores interventions in theatre, film, and radio, emphasizing African artistic innovation and cultural patronage dynamics. Articles His recent publications span Theatre for Development methodologies, postcolonial literary analysis, and African performance arts, reflecting interdisciplinary engagement with global and local cultural dialectics. Awards Mellon Research Fellowship (2007) Wits University’s SPARC Distinguished Scholar Award (2013) Alexander von Humboldt Senior Research Fellowship Grants & Projects Co-PI on a Leeds-Moi project on Theatre for Development in youth sexuality. Focal person for the Consortium of Advanced Research and Training in Africa (CARTA). Labs/Teams Leads the Arts & Aesthetics Research Section at Moi-ACC, coordinating workshops on music traditions, decolonizing research, and cultural heritage projects.
Kenisha D. Kelly is a Senior Lecturer in the Department of Drama at Vassar College, where she has been affiliated since 2010. She specializes in Costume Design, Technology, and History, with a focus on Caribbean Costume History examining dress as a tool for accommodation, resistance, and individual autonomy. Her teaching spans costume design, draping, pattern development, and historical contexts. Education: BFA in Fashion Design from the School of the Art Institute of Chicago; MFA in Costume Design and Technology from the University of Houston’s School of Drama and Dance. Professional Experience: Worked with institutions like the Houston Grand Opera, Houston Ballet Company, and Houston Shakespeare Festival. Recent design credits include Please Excuse My Dear Aunt Sally , Stockholm , Pool No Water (One Year Lease Theatre, NYC), and Tribes (Portland Stage Theatre, ME). Affiliations: Member of the United States Institute of Theatre Technology and Costume Society of America. Active in the Vassar Costume Collection, a resource for studying 19th–20th century societal insights through garments. Courses Taught: DRAM 200: The Experimental Theater and DRAM 208: Draping and Pattern-Development for Stage Production .
Assoc. Prof. Yasen Valchanov is an accomplished ballet artist and educator at the National Academy of Dramatic Arts and Film Arts (NATFAZ), Department of Dramatic Theater. He has held roles as a Premier Soloist with the National Opera and Ballet Sofia, Artistic Director of Sofia’s National Opera Ballet, and Head of Graduating Classes at NATFAZ. His career spans over four decades with notable achievements including multiple international ballet competition medals and prestigious awards like the Golden Lyre (1986) and Crystal Lyre (2000). Education: Graduated from the Petersburg Academic Choreographic School 'A. Ya. Vaganova' (1977) and earned a Master’s in Ballet Pedagogy and Directing from Plovdiv’s Academy of Music and Dance. His global engagements include guest performances with theaters in Monaco, Italy, Japan, and Greece, as well as jury roles in international ballet competitions such as Varna, Paris, and Osaka. Research focuses on classical and contemporary ballet techniques, pedagogy, and cultural promotion. He has choreographed acclaimed productions like 'Lady of the Camellias' and 'Zorba the Greek', collaborating with renowned choreographers including Pierre Lacotte and Yuri Grigorovich. Over 100 roles in classical and modern ballets highlight his artistic versatility. Awards include the 1999 Honorary Diploma from Bulgaria’s Ministry of Culture and 2000’s Crystal Lyre. His mentorship spans decades, training students who achieved international accolades, such as Dilyana Nikiforova’s bronze medal in Varna (1998).
Dr. Katarzyna Zawistowska is a faculty member in the Faculty of Architecture and Design at the Academy of Fine Arts in Gdańsk, Poland. She teaches and leads the Studio of Performance Architecture and Scenography (PASiS). A graduate (2003) and PhD holder (2013) from the same institution, she specializes in scenography, urban revitalization, and performative architecture. Her work bridges art, theatre, and urban space, with projects like TESTER (2014) and Theatre on the Barge (2011) addressing public domain interventions. She has received awards including the City of Gdańsk Award (2011) and Pomeranian Voivodeship Theatre Award (2012). Recent research focuses on Bauhaus interdisciplinary experiments, co-organizing the RE.bauhaus conference (2019). Active in theatre collaborations, she designed sets and costumes for Baltic Opera productions like Fidelio (2021) and explored politically charged narratives in her work.
Kiley Gaffney is a Senior Lecturer in the School of Creative Arts at Queensland University of Technology, where she serves as Academic Lead (Learning & Teaching) and Course Coordinator for the Bachelor of Fine Arts and Bachelor of Creative Industries degrees. With a PhD from the University of Queensland, her academic career bridges theoretical research with creative practice in music, cultural studies, and performance. Her educational background includes a Doctor of Philosophy and Bachelor of Arts with Honours, both from the University of Queensland. Gaffney is an active member of the Cultural Studies Association of Australia and the International Association for the Study of Popular Music, and previously served on the 4ZZZ board (2010-2012). Gaffney's research interests span cultural studies, performing arts, communication and media studies, with particular focus on cosmopolitanism, affect theory, and relational art practices. Her doctoral thesis, "Cosmopolitan Tendencies in Intersubjective Art," examined the complex relations between advanced capitalism and cosmopolitanism through the lens of relational art practices. Her work integrates critical theory, gender studies, and her own creative experiences as a musician. Her publications from 2007-2019 demonstrate consistent scholarly output across cultural studies, music, and creative practice. The articles reveal a trajectory from more traditional academic writing toward increasingly interdisciplinary work that blends theoretical analysis with creative practice, particularly in music and performance. Her research shows strong connections between cultural theory, affect studies, and practical creative applications. Vice Chancellor's Performance Award (2013) Multiple competitive grants including Arts Queensland Development and Presentation Grant and Australia Council for the Arts grants (2012) Commissioned to create GOMA's fifth birthday song (2011) Valedictorian - Bachelor of Arts with First Class Honours (2004) Gaffney has supervised numerous doctoral students through completion, with research topics spanning music city theory, creative practice, opera creation, and Brisbane's musical identity. Her teaching spans undergraduate to doctoral levels, with course development in music concepts, music scenes and subcultures, and creative performance. She has also been actively involved with IMP Labs, QUT's research center, and maintains connections with the broader music community through performance and industry engagement.
Christopher Lock is an Assistant Professor of Music Synthesis and Performance Technology at Western Carolina University, affiliated with the David Orr Belcher College of Fine and Performing Arts' School of Music. He also teaches at Oregon State University. With a Ph.D. from Harvard University (2020), his research focuses on AI music theory, Small Data instruments, and accessibility in music education. His works blend electronic soundscapes with viola improvisation, often exploring themes like biological phantasmagoria and environmental abstraction. Education: Ph.D., Music Composition (Computer Science support), Harvard University MA, Music, Harvard University BM, Computer Music (Peabody Conservatory), Johns Hopkins University BM, Viola Performance, Johns Hopkins University Research Interests: Music software development, machine learning, and creative programming Ethics of AI art and Small Data GNU/Linux for music production Electroacoustic composition and interdisciplinary collaboration Awards: 2024 George Arthur Knight Prize (Harvard) 2023 Barbara Natterson Fellowship 2021 Derek Bok Excellence in Teaching Award Teaching & Grants: Directed Harvard's Songwright's Apothecary Lab (2022) Developed biofeedback instruments with MIT's Media Lab Recipient of multiple Harvard fellowships Labs/Teams: Leads Western Carolina's Music Technology Ensemble and collaborates with MIT Opera of the Future on bio-data instruments.
Nicholas Wallin is an Associate Professor in the Music Department at Lake Forest College. He holds a DMA in Conducting from the University of Minnesota (2004), MM degrees in Orchestral Conducting (Peabody Conservatory, 1999) and Tuba Performance (Northwestern University, 1996), and a dual BA in Mathematics and Tuba Performance from Northwestern University (1996). His research focuses on music theory, orchestral conducting, and 18th-century opera analysis. He leads the Lake Forest College Chamber Orchestra and has conducted the Mid-Columbia Symphony. Key publications include a structural analysis of Mozart’s La Nozze di Figaro and a recording of Charles Argersinger’s The Three Fates . Wallin has received prestigious fellowships from the University of Minnesota and Peabody Conservatory, as well as the Eckstein Award for academic and musical excellence. He has presented workshops on rehearsal techniques and orchestral performance at regional music conferences. He serves as Chair of the Music Department and holds leadership roles in faculty diversity initiatives and curricular review committees. His teaching spans music theory, historical studies, and ensemble direction. Wallin’s interdisciplinary background bridges music and mathematics, reflecting his dual undergraduate degrees.
Chelsea Waddelow is a board-certified music therapist (MT-BC), educator, and performer affiliated with Meredith College. She holds a BM in music performance and BA in composition from Meredith College (2011), followed by an MMT in Music Therapy from Appalachian State University. As founder of Opus 1 Music Therapy, she specializes in serving children and teens with special needs. Her research explores psychophysiological responses to music and therapeutic applications of popular music analysis. Teaching roles at Meredith include courses in Music Therapy and Functional Guitar. She maintains an active performance career, serving as pianist for the Raleigh Symphony Orchestra, Oklahoma Haydn Festival, and White Iris Light Opera. Additional roles include writing performance critiques for CVNC, acting as Minister of Music at Chapel Hill’s Church of the Holy Family, and contributing to musical theater productions across NC, OK, and TX. Her work bridges clinical practice, education, and performance, emphasizing interdisciplinary applications of music in healthcare and community settings. No specific grants or awards are listed, though her multifaceted career reflects sustained contributions to music therapy and arts education.
David Antrobus is a theatre director, actor, and educator serving as Head of Acting at the Royal Academy of Music and Royal Academy Opera, and a faculty member at Shakespeare's Globe Theatre. He holds a Gold Medal from Guildhall School of Music and Drama. His career spans 25 years in theatre, radio, TV, and opera, with notable works including co-libretto for the opera In Parenthesis (2016) and community productions like The Merton Mysteries . He also leads Forest Journeys, offering bushcraft and environmental education workshops nationwide. Education: Graduated in English from Oxford University and trained at Guildhall School. Professional roles include Associate Artist at The Orange Tree Theatre and Director in Residence at King’s College School. His teaching focuses on voice, verse-speaking, and actor training. Recent engagements include directing opera scenes at the Royal Academy of Music (2021). Research interests integrate traditional performance practices with environmental awareness. He blends storytelling with bushcraft skills to teach sustainability and cultural heritage. Awards include recognition for his opera contributions and educational outreach efforts.
Victoria Newlyn is a Lecturer at the Royal Academy of Music and Guildhall School of Music and Drama, specializing in movement and drama education for young artists. She bridges theatre and opera, emphasizing artistic expression, agency, and ownership in classical and contemporary productions. Education: Actor training at Guildhall School of Music and Drama Her directing and choreography work spans institutions such as British Youth Opera, Sibelius Academy (Helsinki), Opera North, and National Opera Bucharest. Recent projects include opera scenes programmes at the Royal Academy of Music and Vocal Studies. Victoria continues to perform as an actor, collaborating with singers and musicians to enrich interdisciplinary performance practices. No scientific awards, students, publications, or email addresses were explicitly mentioned in the provided text.
John Knight is a Sessional Lecturer in the Department of Theatre at Ambrose University. He holds an MFA from the University of Calgary and is a Certified Instructor with The Academy of Fight Directors Canada. His work spans violence design, directing, and theatre education, with notable credits including Streetcar Named Desire (Spirit Fire Theatre), Much Ado About Nothing (Shakespeare Company), and original works like In Love & Warcraft . Education: MFA in Theatre from the University of Calgary. Research Interests: Specializing in violence design for stage productions, integrating physical storytelling into dramatic narratives, and exploring classical texts through contemporary lenses. His practice emphasizes collaborative creation and the intersection of movement, conflict, and emotional expression in performance. Professional Affiliations: Active with Calgary Opera, Morpheus Theatre, and Full Circle Theatre, contributing to interdisciplinary theatre projects.
Claudia Schojan is a Professor at the Medical University of Vienna (MUK), specializing in Vocal and Opera studies. She holds a teaching authorization in speaking and is affiliated with the Department of Vocal and Opera Studies. Her research focuses on vocal techniques, opera performance methodologies, and the intersection of medical science with voice production. Consultation hours are available by appointment via email. Professional contact details include a Vienna-based postal address at Singerstraße 26/I, 1010 Vienna. She can be reached via +43 681 20694667 (mobile) or +49 1705247100 (external). No specific academic awards or grants are listed in the provided materials. No listed research teams, labs, or collaborative projects are mentioned in the current data.
