Tim Slaughter has studied and worked in the performing arts for more than twenty years. He earned a BA in Speech-Communication at North Carolina State University and an MFA and PhD in Theatre at the University of Hawaiʻi at Mānoa. He has served as production manager for Hawaiʻi’s Mānoa Valley Theatre, taught for Fresno State University, and coordinated the efforts of the University of Hawaiʻi’s Statewide Cultural Extension Program. He is currently director of the UH Mānoa Outreach College’s Community Services Division, where he has been instrumental in bringing to the University and the state as a whole such diverse performers as Hunn-Huur-Tu, Tuvan Throat Singers, the Lincoln Center Jazz Orchestra with Wynton Marsalis, Doug Varone Dancers, the Dirty Dozen Brass Band, and The Sound of Ecstasy and Nectar of Enlightenment: Buddhist Ritual Song & Dance.
Eric Chang was introduced to a world of Asian and Pacific visual and performing arts while an electrical engineering student at UCLA. In 2003 he was awarded the first Taiko Center of the Pacific Fellowship and moved to Hawai?i to study taiko with Kenny Endo. He has continued his studies of various Japanese drumming forms with Endo and during a brief residency in Japan. In 2007 Chang began working for the East-West Center Arts Program, where projects have expanded his early interest in East Asian arts and cultures to include South, Southeast, and Central Asia, as well as the Pacific Islands. Now a recognized taiko performer and teacher with Endo’s group, he is currently coordinator of the EWC Arts Program where he helps manage gallery exhibitions, performing arts presentations, and community outreach efforts.
William Feltz is a musicologist and arts administrator who has served on the staff of the East-West Center since 1972. He facilitates arts workshops, residencies, exhibitions, performances, seminars, and occasional international tours, and has worked on more than 300 public performances and 120 art and ethnographic exhibitions at the EWC that represent nearly every country in Oceania and Asia. Feltz conducted research in Japan and Korea in the 1960s and 1970s, and earned an MA in ethnomusicology from the University of Hawaiʻi at Mānoa. His research has emphasized the evolving place of traditional music and dance in contemporary societies. He has authored interpretive essays on performing arts, advised groups on presenting the arts to unfamiliar audiences, and plays the Japanese koto, Korean kayagum, and American bluegrass fiddle (violin).
Kara Miller is a member of the dance faculty at the University of Hawaii at Manoa where she teaches field research methods, dance and performance studies theory, dance technique, and new media for dance. She performs and collaborates with dancers internationally, creating experimental installations, performances, and dance films. Her research and creative work have been presented internationally in Asia, Europe, Australia, North America, South America, and the Pacific. She has worked professionally in broadcast television and film. A graduate in dance from The Juilliard School in New York, Kara earned an MFA in Dance from the University of California, Irvine and a Ph.D. in Performance Studies from the University of California, Davis. Kara is the recipient of the Jacob K. Javits Research Fellowship and the Hawai‘i Po‘okela Award for Choreography.
Michael Pili Pang is Artistic Director and kumu hula (hula master) of H?lau Hula Ka No?eau. Trained in the lineage of Maiki Aiu Lake, he brings to the stage Hawaiian rituals, myths, and legends with a contemporary flair in order to tell stories of Hawaiʻi and its rich culture. Performers of his hālau are trained in hula ku–a style that blends traditional hula with western idioms. For the past decade Pang and his company have been leaders in Hawaiian dance theatre presentations, performing throughout the US, Canada, Taiwan, and Korea. He earned the first MFA degree in dance at the University of Hawaiʻi at Mānoa with a hula focus, has served as executive director in The Mayor’s Office of Culture and the Arts of the City and County of Honolulu, and has received recognition through grants from the Rockefeller Foundation and the National Endowment for the Arts.
Amy Lynn Schiffner is a member of the dance faculty at the University of Hawaiʻi at Mānoa where she teaches pedagogy, theory and criticism, and dance technique. She earned the MFA in Dance from University of California, Irvine, BFA in English Education from California State University, Long Beach, and a California Single Subject Teaching Credential. Her primary research interests are in arts assessment, academic literacy, and arts curriculum development. A former scholarship student at the Alvin Ailey American Dance Theatre School in New York, Schiffner has danced with companies in southern California, served as artistic assistant to renowned choreographer Donald McKayle, choreographed works showcased in a variety of venues, and was an invited guest speaker at the Annual California High School Summit.
Yukie Shiroma is a dancer, choreographer, and director born in Hawaiʻi and raised in San Francisco. Following modern dance teacher, Betty Jones, and Okinawan dance teacher, Cheryl Nakasone, Yukie moved back to Honolulu and earned a MFA degree in dance from the University of Hawaiʻi. In 1987, she started the dance program at Mid-Pacific Institute and served as dance director until 2006. As artistic director of mask theatre company, Monkey Waterfall, she teaches, performs, and directs the company’s productions. In 2006 she received an Individual Artist Fellowship Award from the Hawaiʻi State Foundation on Cultural and the Arts and a teaching certificate from Nakasone sensei, director of Jimpu Kai USA Kin Ryosho Ryukyu Geino Kenkyusho. Yukie currently teaches Okinawan dance in the University of Hawai?i’s Department of Theatre and Dance.
Judy Van Zile is Professor Emerita of Dance at the University of Hawaiʻi at Mānoa. Her research focuses on dance in Asia (particularly Korea), movement analysis, and issues of identity and change. Her research has been widely published in journals and as book chapters, and has been translated into French, Korean, Japanese, and Chinese. Author of The Japanese Bon Dance in Hawaiʻi, her book Perspectives on Korean Dance was recognized with an Outstanding Publication Award from the Congress on Research in Dance. She has served as site evaluator for the National Endowment for the Arts, consultant on dance projects in Korea, Malaysia, China, Australia, Cambodia, and the US, for five years was editor of Dance Research Journal,and has done guest presentations and teaching in the US, Europe, and Asia.