Committee

Markus Lehner, Herrsching, Deutschland

Markus Lehner unterrichtet seit 1984 historischen Tanz mit dem Schwerpunkt Renaissance und englischer Country dance. Seine Tätigkeit im Bereich der Tanzforschung führte 1997 zur Veröffentlichung des „Manual of Sixteenth-century Dance Steps in Italy". Seit 2004 organisiert er mit großem Erfolg das Internationale Symposium für Historischen Tanz auf Burg Rothenfels, zuletzt 2016 mit dem Thema „Italien und der Tanz - für Barbara Sparti".

Carol G. Marsh, Washington D.C., USA

Carol G. Marsh is Professor Emerita at the UNCG School of Music, where she taught music history and viola da gamba and was director of the Collegium Musicum.  She has been on the faculty at a number of early music workshops in North America and Europe, teaching both viol and Renaissance notation.  An internationally recognized authority on Baroque dance and dance notation, she has published extensively in this field and has lectured and given dance workshops at numerous universities in the US and abroad. 

Carol G. Marsh, Washington DC, USA:

Carol G. Marsh is Professor Emerita at the UNCG School of Music, where she taught music history and viola da gamba and was director of the Collegium Musicum. She has been on the faculty at a number of early music workshops in North America and Europe, teaching both viol, historical dance and Renaissance notation. An internationally recognized authority on Baroque dance and dance notation, she has published extensively in this field and has lectured and given dance workshops at numerous universities in the US and abroad.

Carol Marsh, Greensboro, North Carolina, USA

Carol G. Marsh has recently retired from the UNCG School of Music, where she taught music history and viola da gamba and was director of the Collegium Musicum.  She has been on the faculty at a number of early music workshops in North America and Europe, teaching both viol and Renaissance notation.  An internationally recognized authority on Baroque dance and dance notation, she has published extensively in this field and has lectured and given dance workshops at numerous universities in the US and abroad.  Two articles on the Ferrère manuscript appeared recently in The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and His World(Studies in Dance History, 2005).

Carol Marsh, Greensboro, North Carolina, USA

Carol G. Marsh has recently retired from the UNCG School of Music, where she taught music history and viola da gamba and was director of the Collegium Musicum.  She has been on the faculty at a number of early music workshops in North America and Europe, teaching both viol and Renaissance notation.  An internationally recognized authority on Baroque dance and dance notation, she has published extensively in this field and has lectured and given dance workshops at numerous universities in the US and abroad.  Two articles on the Ferrère manuscript appeared recently in The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and His World(Studies in Dance History, 2005).

Marie-Thérèse Mourey 

Germanistin, Habilitation über Tanzkultur des Barock in Deutschland

Alessandro Pontremoli, Turin, Italien:

Alessandro Pontremoli teaches History of dance at the University of Turin, where he has been the scientific director of Master's Degree in Social and Community Theatre since 2004. He is member of Scientific Board of the journals«Il Castello di Elsinore» and «Danza & Ricerca» and he directs dance studies series "Tracce di tersicore" for UTET publisher in Turin. Since 2010 he has been member of the Dance Advisory Committee of the Ministry of "Beni e Attività Culturali" (MiBac). He studied Early Dance with Peggy Dixon in England and he has been directing the association "Il Leoncello-Scuola e gruppo di danza storica" of Legnano (Milano) since 1980. His historical and theoretical researches deal with aesthetic of dance, especially from 15th to 18th Century and with contemporary dance. Among his publications: La danza nelle corti di antico regime. Modelli culturali e processi di ricezione fra natura e arte, Bari, Edizioni di Pagina, 2012; La danza. Storia, teoria, estetica nel Novecento, Roma-Bari, Laterza, 2015 (seventh edition).

Alessandro Pontremoli, Università di Torino, Italien

Alessandro Pontremoli ist ordentlicher Professor für Darstellende Künste an der Universität Turin, wo er den Lehrplan für Darstellende Künste im Rahmen des Doktoratsstudiums der Geisteswissenschaften koordiniert. Er ist wissenschaftlicher Berater des SCT - Social and Community Centre of Turin und Mitglied der Knowledge Community des CCW - Cultural Welfare Centre of Turin. Er ist Mitglied des wissenschaftlichen Beirats der Zeitschriften „Comunicazioni Sociali“, „Il Castello di Elsinore“ und „Danza & Ricerca“ und Direktor des „Mimesis Journal“. Im Jahr 2015 gewann er den „Premio Nazionale di Teatro Luigi Pirandello“ (Sektion Sachbuch) mit dem Band: Danza e Rinascimento. Danza, cultura e „buone maniere“ nella società di corte del XV secolo (Macerata 2011). Seine Forschungen im historischen und theoretischen Bereich konzentrieren sich in erster Linie auf die Formen und die Ästhetik des Tanzes, insbesondere vom 15. bis zum 18. Jahrhundert und in der heutigen Zeit, und in zweiter Linie auf das soziale und kommunale Theater. Zu seinen Monographien gehören: La danza nelle corti di antico regime. Modelli culturali e processi di ricezione fra natura e arte (Bari 2012); Elementi di teatro educativo, sociale e di comunità (Turin 2015); La danza 2.0. Paesaggi coreografici del nuovo millennio (Rom und Bari 2018); L'arte del ballare. Danza, cultura e società a corte fra XV e XVII secolo (Bari 2021). Vor kurzem hat er die kritische Ausgabe von Giulio Mancinis Manuskriptabhandlung Del origin et nobiltà del ballo (Rom 2024) herausgegeben.

Alessandro Pontremoli, Università di Torino, Italy

Alessandro Pontremoli is full professor of Performing Arts at the University of Turin, where he coordinates the Performing Arts Curriculum of the Humanities PhD. He is the scientific consultant of SCT – Social and Community Centre of Turin and member of the Knowledge Community of CCW – Cultural Welfare Centre of Turin. He is a member of the scientific committee of the magazines «Comunicazioni Sociali», «Il Castello di Elsinore» and «Danza & Ricerca», and director of «Mimesis Journal». In 2015 he won the “Premio Nazionale di Teatro Luigi Pirandello” (non-fiction section) with the volume: Danza e Rinascimento. Danza, cultura e “buone maniere” nella società di corte del XV secolo (Macerata 2011). His research, in the historical and theoretical field, focuses primarily on the forms and aesthetics of dance, in particular from the 15th to the 18th centuries and in contemporary times, and secondly on social and community theatre. Among his monographs: La danza nelle corti di antico regime. Modelli culturali e processi di ricezione fra natura e arte (Bari 2012); Elementi di teatro educativo, sociale e di comunità (Turin 2015); La danza 2.0. Paesaggi coreografici del nuovo millennio (Rome and Bari 2018); L’arte del ballare. Danza, cultura e società a corte fra XV e XVII secolo (Bari 2021). He recently edited the critical edition of Giulio Mancini’s manuscript treatise, Del origin et nobiltà del ballo (Rome 2024).

Dr. Barbara Ravelhofer

Hrsg. “B. de Montagut: Louange de la Danse,in Praise of the Dance, 1619”

Uwe Schlottermülle, Freiburg, Deutschland

Hrsg. von  „Instruction pour dancer“, "J.G. Pasch : Anleitung sich bei grossen Herrn Höfen und anderen beliebt zu machen, 1659“

Uwe Schlottermüller, Freiburg, Deutschland

Uwe Schlottermüller studierte Musikwissenschaft und Volkskunde in Freiburg (Brsg.). Beschäftigung mit Historischem Tanz seit 1978; Forschungen, Entdeckungen und Editionen auf dem Gebiet des Gesellschaftstanzes aus verschiedenen Jahrhunderten. Eigene Programme und Auftritte mit der Tanzgruppe Meersburg und der Freiburger Gruppe piedi ne(g)ri.  

Uwe Schlottermüller, Freiburg, Deutschland

Hrsg.   „Instruction pour dancer“, "J.G. Pasch : Anleitung sich bei grossen Herrn Höfen und anderen beliebt zu machen, 1659“

Jørgen Schou-Pedersen, Kopenhagen, Danmark

Jørgen Schou-Pedersen (b. 1952) studied the Science of Music at the University of Copenhagen. He has studied the history of dance with many of the leading experts and  has also researched the primary sources in this  field himself. He carries the teaching certificate from The Dolmetsch Historical Dance Society where he is now a teacher. He also teaches historical dance at the National Theatre School and the Royal Music Conservatory in Copenhagen. He has given courses in many European countries, choreographed for stage, film and TV, and  runs three performing dance groups.

Barbara Sparti, Rome, Italy:

Barbara Sparti is a dance historian specialized in 15th-17th century Italian dance who has performed and choreographed period works for theatre and opera. She founded and directed the Gruppo di Danza Rinascimentale between 1975-88. Distinguished Visiting Professor at University of California at Los Angeles, she has been guest lecturer-choreogra­pher in Princeton and Israel.  Besides her edition-translation of Guglielmo Ebreo's 1463 dance treatise, and her Introduction to the facsimile edition of Santucci’s 1614 dance treatise, recent publications deal with style and aesthetics, improvisation and ornamentation, socio-economic and political contexts, dance music, Jewish dancing-masters, dance iconography, the moresca, and Italian baroque dance. She edited, with J. Van Zile, Imaging Dance: Visual Representations of Dancers and Dancing (2011) and received in the same year a collection of essays in her honour: Virtute et Arte del Danzare, ed. Alessan­dro Pontremoli.

T'Hooft, Sigrid, Gent, Belgien

Musikwissenschaftlerin, Spezialistin für Barocktanz- und Operninszenierung

Hanna Walsdorf, Universität Basel, Schweiz

Hanna Walsdorf wurde 2009 im Fachbereich Musik- und Tanzwissenschaft der Universität Salzburg promoviert. 2009–2013 Postdoc an der Universität Heidelberg; 2011 Auszeichnung mit dem Tanzwissenschaftspreis NRW. 2014–2020 Leiterin der Emmy-Noether-Forschungsgruppe "Ritualdesign für die Ballettbühne" an der Universität Leipzig. 2020–2021 Lehraufträge an der HMT Leipzig, an der Universität Salzburg sowie an der Universität Basel, seit Februar 2022 ebendort Assistenzprofessorin für Ältere Musikgeschichte.