[Callboard] Please Welcome our Candidate for the Assistant Professor of Dance
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Danielle Lydia Sheather via Callboard
Feb 3, 2026, 6:01:30 PMFeb 3
to call...@lists.suu.edu
Dear TDAA,
TOMORROW Wednesday, February 4th, 2026 our first candidate for the Assistant Professor of Dance position will be teaching two classes for us.
Current faculty member, Joshua Yago Mora will teach:
9:00am-10:15am Modern Dance MC 116
10:20am -10:50am Student Q&A session
3:00pm-3:50pm Anatomy/Kinesiology
A little about Joshua:
Joshua Yago Mora is a dance artist and educator whose work currently centers movement as a tool for healing, connection, and cultural remembering. Joshua earned an MFA in Modern Dance and Screendance Graduate Certificate from the University of Utah, Micro Teaching Credential and Reaching and Teaching All Learners Graduate Certificate from Oklahoma City University and is in the thesis editing stage of becoming a Certified Laban/Bartenieff Movement Analyst from Integrated Movement Studies.
Choreographic highlights include Hi! Hi? Hi. hi, a “solo” performance shaped by real-time storytelling from the audience; Baseline of Satisfaction, a group work exploring cultural code-switching through rhythmic contrast and bodily resistance; and most recently Paano po tayong mag papaalam?/Why you? Why now?, a reflection on the process of grieving. Bind, Burn, Whisper, Press: Crucible Lessons was choreographed in collaboration with Kate Monson, Shelley Graham, and dancers. The work was an evening length site specific dance theatre devised piece, and explored themes of suppressed and forgotten voices, community, fear mongering, and misinformation found within The Crucible. The process was presented and discussed in last year’s National Dance Education Organization Conference in Bellevue, Washington. Recent work returns to Filipino Folk Dance vocabularies and inspirations as a pathway to embodied ancestry, using the 8 Aboriginal Ways of Learning to frame choreographic process, rehearsal space, and intentional culture making.
As an excitable student, much free time is spent being a newbie in hobbies and finding all the ways to beautifully fail and magically grow. These new ventures have affected the ways Joshua looks at dance, gathering, making and movement at large. Current reads include Rehearsals for Living and Golden Son. Outside the studio, Joshua can be found exploring with their sheepadoodle Bantay, harvesting joy from local markets, and slowly training to become a mermaid.
“I firmly believe that as artists we have an innate power to envision and bring to life worlds which allow for more possibilities for our societies and communities to step into. I am thoroughly excited to contribute to the education of future world builders.”
Choreographic highlights include Hi! Hi? Hi. hi, a “solo” performance shaped by real-time storytelling from the audience; Baseline of Satisfaction, a group work exploring cultural code-switching through rhythmic contrast and bodily resistance; and most recently Paano po tayong mag papaalam?/Why you? Why now?, a reflection on the process of grieving. Bind, Burn, Whisper, Press: Crucible Lessons was choreographed in collaboration with Kate Monson, Shelley Graham, and dancers. The work was an evening length site specific dance theatre devised piece, and explored themes of suppressed and forgotten voices, community, fear mongering, and misinformation found within The Crucible. The process was presented and discussed in last year’s National Dance Education Organization Conference in Bellevue, Washington. Recent work returns to Filipino Folk Dance vocabularies and inspirations as a pathway to embodied ancestry, using the 8 Aboriginal Ways of Learning to frame choreographic process, rehearsal space, and intentional culture making.
As an excitable student, much free time is spent being a newbie in hobbies and finding all the ways to beautifully fail and magically grow. These new ventures have affected the ways Joshua looks at dance, gathering, making and movement at large. Current reads include Rehearsals for Living and Golden Son. Outside the studio, Joshua can be found exploring with their sheepadoodle Bantay, harvesting joy from local markets, and slowly training to become a mermaid.
“I firmly believe that as artists we have an innate power to envision and bring to life worlds which allow for more possibilities for our societies and communities to step into. I am thoroughly excited to contribute to the education of future world builders.”
To read more about Joshua, please see: https://www.yagomoradance.com/
Danielle
Danielle Lydia Sheather, MFA she/her | Associate Chair, Associate Professor of Dance
THEATRE, DANCE, & ARTS ADMINISTRATION, SOUTHERN UTAH UNIVERSITY
South Hall 101A | 351 W. University Blvd. Cedar City, UT 84720
To set up a meeting during office hours click here
Danielle Lydia Sheather via Callboard
Feb 4, 2026, 10:01:36 AMFeb 4
to call...@lists.suu.edu
Dear TDAA,
TODAY Wednesday, February 4th, 2026 our first candidate for the Assistant Professor of Dance position will be teaching two classes for us.
Current faculty member, Joshua Yago Mora will teach:
9:00am-10:15am Modern Dance MC 116
10:20am -10:50am Student Q&A session
3:00pm-3:50pm Anatomy/Kinesiology Bristlecone 206
A little about Joshua:
Joshua Yago Mora is a dance artist and educator whose work currently centers movement as a tool for healing, connection, and cultural remembering. Joshua earned an MFA in Modern Dance and Screendance Graduate Certificate from the University of Utah, Micro Teaching Credential and Reaching and Teaching All Learners Graduate Certificate from Oklahoma City University and is in the thesis editing stage of becoming a Certified Laban/Bartenieff Movement Analyst from Integrated Movement Studies.
Choreographic highlights include Hi! Hi? Hi. hi, a “solo” performance shaped by real-time storytelling from the audience; Baseline of Satisfaction, a group work exploring cultural code-switching through rhythmic contrast and bodily resistance; and most recently Paano po tayong mag papaalam?/Why you? Why now?, a reflection on the process of grieving. Bind, Burn, Whisper, Press: Crucible Lessons was choreographed in collaboration with Kate Monson, Shelley Graham, and dancers. The work was an evening length site specific dance theatre devised piece, and explored themes of suppressed and forgotten voices, community, fear mongering, and misinformation found within The Crucible. The process was presented and discussed in last year’s National Dance Education Organization Conference in Bellevue, Washington. Recent work returns to Filipino Folk Dance vocabularies and inspirations as a pathway to embodied ancestry, using the 8 Aboriginal Ways of Learning to frame choreographic process, rehearsal space, and intentional culture making.
As an excitable student, much free time is spent being a newbie in hobbies and finding all the ways to beautifully fail and magically grow. These new ventures have affected the ways Joshua looks at dance, gathering, making and movement at large. Current reads include Rehearsals for Living and Golden Son. Outside the studio, Joshua can be found exploring with their sheepadoodle Bantay, harvesting joy from local markets, and slowly training to become a mermaid.
“I firmly believe that as artists we have an innate power to envision and bring to life worlds which allow for more possibilities for our societies and communities to step into. I am thoroughly excited to contribute to the education of future world builders.”
Choreographic highlights include Hi! Hi? Hi. hi, a “solo” performance shaped by real-time storytelling from the audience; Baseline of Satisfaction, a group work exploring cultural code-switching through rhythmic contrast and bodily resistance; and most recently Paano po tayong mag papaalam?/Why you? Why now?, a reflection on the process of grieving. Bind, Burn, Whisper, Press: Crucible Lessons was choreographed in collaboration with Kate Monson, Shelley Graham, and dancers. The work was an evening length site specific dance theatre devised piece, and explored themes of suppressed and forgotten voices, community, fear mongering, and misinformation found within The Crucible. The process was presented and discussed in last year’s National Dance Education Organization Conference in Bellevue, Washington. Recent work returns to Filipino Folk Dance vocabularies and inspirations as a pathway to embodied ancestry, using the 8 Aboriginal Ways of Learning to frame choreographic process, rehearsal space, and intentional culture making.
As an excitable student, much free time is spent being a newbie in hobbies and finding all the ways to beautifully fail and magically grow. These new ventures have affected the ways Joshua looks at dance, gathering, making and movement at large. Current reads include Rehearsals for Living and Golden Son. Outside the studio, Joshua can be found exploring with their sheepadoodle Bantay, harvesting joy from local markets, and slowly training to become a mermaid.
“I firmly believe that as artists we have an innate power to envision and bring to life worlds which allow for more possibilities for our societies and communities to step into. I am thoroughly excited to contribute to the education of future world builders.”
To read more about Joshua, please see: https://www.yagomoradance.com/
Danielle
Danielle Lydia Sheather via Callboard
Feb 12, 2026, 1:32:05 PM (8 days ago) Feb 12
to call...@lists.suu.edu
Dear TDAA,
Next week on Wednesday, February 18th, 2026 our second candidate for the Assistant Professor of Dance position will be teaching two classes for us.
Micheal Crotty will teach:
9:00am-10:15am Modern Dance MC 116
10:20am -10:50am Student Q&A session
3:00pm-3:50pm Anatomy/Kinesiology Bristlecone 206
A little about Michael:
Michael Crotty is an Assistant Professor of Dance and the Coordinator (Director) of the Dance Program at the University of Louisiana at Lafayette. He earned his BFA in Dance from The Ohio State University, a Diploma from CODARTS Conservatory in the Netherlands, and an MFA in Dance from the University of Utah.
Michael’s theater-dance works have been commissioned and presented by The Los Angeles Contemporary Dance Company, Columbia College, The Utah Museum of Fine Arts, California State University – Sacramento, Ten Tiny Dances ©, The University of Tampa, and The Los Angeles County Museum of Art.
As a performer and collaborator, Michael has worked extensively across concert and commercial dance. Collaborators include the Montreal Symphony, the Los Angeles Philharmonic, American Apparel, the National Children’s Choir, and choreographer Jerome Meyer. Crotty was a member of the Los Angeles Contemporary Dance Company from 2007 to 2014, performing extensively in works by Ryan Heffington, Terri
Best, and Matteo Levaggi. He continues to perform actively, most recently touring Italian choreographer Fabio Liberti’s duet Don’t. Kiss, Lafayette with John McBride across Arizona, Texas, and Louisiana.
Michael has taught at The University of Dayton, The University of Southern California, Point Park University, and Columbia College. He presents research regularly at the National Dance Education Organization (NDEO), leads professional development workshops for educators, conducts workshops for the Lafayette Arts Council (ACA), and works as a teaching artist across three parishes in Louisiana serving K–12 students. As a producer, he has self-produced multiple dance-theater works and performing arts events. He is a Laban/Bartenieff Movement Analyst, Certified Pilates instructor and an ABT © certified ballet instructor.
To learn more about Michael, please see @ullafayettedance
Danielle Lydia Sheather via Callboard
Feb 17, 2026, 6:01:06 PM (3 days ago) Feb 17
to call...@lists.suu.edu
Danielle Lydia Sheather via Callboard
Feb 18, 2026, 10:01:04 AM (2 days ago) Feb 18
to call...@lists.suu.edu
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