• Gretchen Jude University of Utah
  • Lynette Hunter University of California, Davis


This is the introduction to a special journal issue entitled Resounding Bodies East and West: Embodied Engagements with Japanese Traditions. No abstract for introduction.

Author Biographies

Gretchen Jude, University of Utah

Gretchen Jude is a performing artist, a scholar of sound and electronic music in/from Japan, and assistant professor of film and media arts at the University of Utah (USA). Her work aims to synthesize and harmonize personal, embodied experience with the rapid changes in culture and machinery that both empower and impinge upon us. Jude’s writing has been published in Performance Philosophy, Critical Stages/Scènes Critiques, Capacious: Journal for Emerging Affect Theory, Sounding Out! A Sound Studies Blog, and Journal of Engaged Pedagogy, and her music has been released on Full Spectrum Records, Edgetone, and Susu Ultrarock Records. Jude collaborates extensively with choreographers and filmmakers and has studied a variety of performance practices, with over a decade living and working in Japan. She holds an MFA in electronic music and recording media from Mills College (California) and a PhD in performance studies (designated emphasis in sonic performance and practice) from the University of California, Davis, as well as certificates from Sawai Koto Institute (Tokyo) and Deep Listening Institute at Rensselaer Polytechnic (New York).

Lynette Hunter, University of California, Davis

Lynette Hunter is distinguished professor emerita of the history of rhetoric and performance at the University of California, Davis. She has written or cowritten over twenty-five books in performance studies, feminist philosophy, and the politics of decolonial and alterior aesthetics. From 2005 to 2010, she was the director of the University of California Multicampus Research Group in Intercultural Performance, and from 2011 to 2020 a fellow of the Interweaving Performance Cultures International Research Centre at the Freie Universitat in Berlin. Much of her work since the early 1980s has considered the various ways communities deal with diversity and create processes of valuing through embodied performance: from techniques relating to acting and dance to early Western rhetorics of gesture and speaking and Daoist qigong movement cultures that offer alternative vocabularies for somatic change. These research areas led to Disunified Aesthetics (2014), which combines written, printed, graphic, and video text in a study of embodied ways of writing. They have also fed research into training, practice, rehearsal and performance, including the book Politics of Practice (Palgrave, 2019), and her current exploration of performing as training in affect.