Doug has a BS in Biological Sciences Michigan State University and an MFA in Dance Temple University. He lives, dances and choreographs in the Washington/Baltimore area. He is the artistic director of Doug Hamby Dance, a professional dance company in residence at UMBC. The repertory of the company features works that spring from collaborations with dancers, composers, visual artists, engineers and other creative people. He received a 1999 Individual Artist Award in Choreography from the Maryland Arts Council and a 1999 Choreographic Fellowship in Dance and Media from the Arts Council of Montgomery County, as well as choreography awards from the National Endowment for the Arts, the New York State Arts Council and the Baltimore Mayor’s Advisory Committee on Arts and Culture.
Professor Carol Hess was born in New York City where she trained as a dancer and received her BA from Barnard College. She has performed with Hannah Kahn and Dancers, The Rondo Dance Theater, DANCES/Janet Soares, and as a tap soloist she appeared on television and in concerts in the United States and York, she received a MA from Columbia University, where she studied dance composition from Robert Ellis Dunn. Her choreography has been presented in New York at the Cubiculo, Dance Theater Workshop, the Grand Finale, and Dance Workshop in Bonn, and the Flora Theater in Amsterdam. In November 2017, Professor Hess will presenting performances and workshops in collaboration with UMBC Professor of Visual Arts Tim Nohe and Baltimore Dance Project at the Gibson Center for the Arts at Washington College, Chestertown, MD.
Dr. Adanna Kai Jones
Dr. Adanna Kai Jones received her Ph.D. in Critical Dance Studies at the University of California, Riverside, and her BFA in Dance from Mason Gross School of the Arts – Rutgers University. She has performed in professional dance companies based in New York City, including the Julia Ritter Performance Groupand Souloworks with Andrea E. Woods. In general, her research remains focused on Caribbean dance and identity politics within the Diaspora. Currently, her research reject uses multi-sited, transnational ethnography to track the ways in which U.S.-based, Caribbean choreographers play an integral role in the support and preservation of contemporary Caribbean practices and beliefs. She has choreographed dance-theater pieces that were not only based on her research, but were also used as tools for generating more research questions.