Project Team

Patsy Gay
Cassie Mey
Libby Smigel
Imogen Smith
Dana Whitco

Patsy Gay headshotcr smPatsy Gay

Patsy Gay began working with David Gordon and his Pick Up Performance Co(s) in June 2011 as an Archival Preservation Technician Fellow with the Dance Heritage Coalition. Since then she has continued to work with Pick Up Performance Co(s) in multiple capacities including as Archivist, Administrative Assistant, and Production Assistant. Through Dance Heritage Coalition, Patsy has also done archival work for Dance Theatre of Harlem, Eiko & Koma, and Lar Lubovitch Dance Company. Additionally, Patsy is an Adjunct Instructor for The Florida State University’s FSU in NYC program run by Dr. Sally Sommer.

cassiemey2014-160Cassie Mey

Cassie is a dancer and certified archivist living in Long Island City, NY. She is currently the project archivist for the Merce Cunningham Audio collection at the New York Public Library for the Performing Arts, and she is performing in the upcoming johnbrown project by Dean Moss (October, 2014). Over the past decade, Cassie has danced with Molissa Fenley, and Jillian Peña, among others, presented her own dance works and collaborations in NYC, and she co-created NYPL’s Dance Oral History Channel. She completed her Masters of Library & Information Science at Pratt Institute in 2012.

Libby headshot cr smLibby Smigel

Libby Smigel was confirmed as Executive Director of the Dance Heritage Coalition in November 2009, after stepping in as Acting Executive Director in July 2009. Smigel served as the DHC’s Project Director, during which time she led a project to define best practices of applying the Copyright Act’s fair use doctrine in essential preservation work, programs, and services of dance archives, libraries, and museums. (Publication is available as a booklet and PDF.) She also coordinated a Save America’s Treasures grant to assist endangered dance company archives. Earlier, as a freelance consultant, Smigel worked on the DHC traveling exhibition “America’s Irreplaceable Dance Treasures: The First 100” and drafted the DHC booklet “Documenting Dance: A Practical Guide.”

Smigel has taught undergrad and graduate courses in drama, dance, and English at an array of higher education institutions, including American University, George Washington University, the University of Maryland, Hobart and William Smith Colleges, York University, and Rochester Institute of Technology. She is an active dance researcher and editor. Most recently, she has been actively involved in the development of reference publications. She is co-editing a two-volume series on Icons of American Dance, has contributed entries on dance figures for the Dictionary of American Biography, and was consulted on the antiquity entries for the International Encyclopedia of Dance. She currently serves as Area Chair for Dance and Culture for the American Culture Association and the Popular Culture Association (PCA/ACA), for which she also sits on the board of directors, and she served on the first board of directors of the Society of Dance History Scholars.

Image of Imogen SmithImogen Smith

Imogen became Project Manager for the Dance Heritage Coalition in January 2011. Since joining the DHC she has managed a wide assortment of grant-funded projects, working directly with dance companies to improve the condition of their archival holdings, directing the creation of the online exhibition America’s Irreplaceable Dance Treasures, and providing oversight for the student fellowship program. She represents the DHC at conferences in the fields of dance and archives, and contributes articles on issues in archiving, preservation and dance heritage to scholarly journals and publications of professional associations. Smith is a member of the Society of American Archivists.

She previously served as Archival Consultant for the DHC’s Dance Archives Assessment Project, visiting New York-based dance companies and reporting on the scope and preservation/access needs of their archives. From 2011-2013 she coordinated oral history projects and archival audio processing for the Jerome Robbins Dance Division of the New York Public Library. She has also served as a consultant for the Dance Notation Bureau, creating a manual for their online catalogue, and from 2003-2009 she worked as a cataloguer for the Jerome Robbins Dance Division, processing large archival collections of film and video. During this time she was a member of the Association of Moving Image Archivists. Previous jobs included cataloguing artworks at the Morgan Library & Museum and the Brooklyn Museum. Smith earned her Master’s in Library and Information Science from Simmons College in 2002.

She is also the author of two books on film history, Buster Keaton: The Persistence of Comedy and In Lonely Places: Film Noir Beyond the City. Her writing on film has appeared in Moving Image Source, The Believer, Bright Lights Film Journal, Alt Screen, and other film and culture publications, and she has written about art for The Threepenny Review and for gallery exhibition catalogues. She has lectured and moderated symposia at the New York Public Library, the Lancaster Museum of Art, and the Popular Culture Association annual conferences of 2012 and 2013. She has studied ballet, modern and ballroom dance, and continues to dance as a hobby.

Dana headshot cr smDana Whitco

Dana Whitco recently joined Tisch School of the Arts (at NYU) as the first Associate Director of the Institute for Performing Arts, a new interdisciplinary unit comprising all of the School’s performing arts departments. She is also the Co-Founder of Positive Feedback, NYC’s first inter-institutional consortium dedicated to supporting collaborations between artists and scientists working on issues of climate change; and Founding Director of the Center for Creative Research (CCR) which supports trans-disciplinary research collaborations between artists and other investigators and is currently on hiatus after multi-year residencies at Drexel University and NYU’s Graduate School of Arts and Science. Prior to work with CCR, Whitco managed the Performing Arts program at the Andrew W. Mellon Foundation and was later appointed Director, National Dance Project, at the New England Foundation for the Arts (NEFA). For five years, she served as the Associate Director of Development for Center Theater Group (Mark Taper Forum/Ahmanson Theater/Kirk Douglas Theater) in Los Angeles where she also completed graduate studies in Dance at UCLA.


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Advancing a vision of archives as a vital component of dance-making

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