Teoma Naccarato is choreographer and transdisciplinary artist, currently based in Berlin. Naccarato holds a practice-based PhD from the Centre for Dance Research (C-DaRE) at Coventry University in the UK (2019); an MFA in Dance and Technology from the Ohio State University (2011); and a BFA in Contemporary Dance from Concordia University in Montreal (2004). Following her MFA, Naccarato held several full-time posts as a visiting artist in Canada and the United States in which she taught undergraduate and graduate level courses in choreography, contemporary dance, and mediated performance.
Since 2013 Naccarato has collaborated closely with composer John MacCallum to devise performance experiments which traverse traditional to one-on-one performance, sonic/haptic/visual installation, and guided breath and listening practices. In her choreography Naccarato appropriates technologies such as stethoscopes, electrocardiograms, transducers, and handheld mirrors to de-familiarize sensory encounters, and bring awareness to the behaviour of one’s own awareness as integral to that which constitutes the ‘choreography’ itself. The human heart—as a physical object, as a symbol, and as a performer—assumes a key role in her work to provoke questions about bodily boundaries and agency. This is evident in recent projects such as III: Circulation, III: Tangente, and Experience #1167, which have been developed and presented in Canada, Chile, the United States, the UK, the Netherlands, Germany, and France.
Naccarato’s doctoral thesis, entitled: “Re/contextualization: On the critical appropriation of technologies as artistic practice”, explores the intentional de- and re-contextualisation of ‘technologies’ (e.g. tools, techniques, taxonomies, theories) into foreign contexts as a means to probe the aesthetic and ethical boundaries of practices that involve the analysis and representation of bodies and movement—be it in dance, medicine, performance art, or human-computer interaction. Naccarato has published numerous articles in journals and conferences on dance and somatics; music and composition; art, science, and technology; and performance philosophy, reflecting the interdisciplinary breadth of her artistic and scholarly research.