Lizzy Cooper Davis
Lizzy Cooper Davis is a doctoral candidate in African & African American Studies with a primary field in Anthropology. Her interests include the role of the arts in social movements, the anthropology of race, black Atlantic performance and spiritual traditions, critical pedagogy and antiracist community organizing. She has studied artful community building and resistance in Cuba, Brazil, and New Orleans, and her current research explores the songs of the civil rights movement and the cultural organizing of the Highlander Folk School. She holds a B.A. from Brown University, an M.A. from NYU, and an A.M. from Harvard University. She has also trained at Duke's Center for Documentary Studies and with Augusto Boal in his Freire-inspired Theater of the Oppressed. While at Harvard she has taught at both the College and the Graduate School of Education, received two Certificates of Excellence and Distinction in Teaching, and has served as a mentor to students in the Women, Gender and Sexuality program and through the Center for American Political Studies. She has facilitated interactive workshops for students and Race Relations Tutors around issues of race, gender, and power and for the American Repertory Theater’s MFA students on the methodologies of Boal's Theater of the Oppressed. Through Harvard’s Bok Center for Teaching and Learning, she offers workshops in pedagogy, particularly as it relates to equity and inclusion. Beyond Harvard she has developed community partnerships and recorded oral histories with StoryCorps, worked as an artist-educator in schools, community centers, and prisons, served as a panelist for the New York State Council on the Arts, taught at Jacob’s Pillow and performed nationally as an actor. She facilitates weekend-long retreats on social issues for university students and faculty mentors of the Posse Foundation and works as a consultant on arts- and values-based community organizing for the Urban Bush Women. She was the Facilitation Trainer for Anna Deavere Smith’s “Notes From the Field: Doing Time in Education” at the American Repertory Theater, has been published in the the roots music journal "No Depression,” and co-edited Enacting Pleasure: Artists and Scholars Respond to Carol Gilligan's Map of Love (2010). She is currently completing her dissertation as a Graduate Fellow at the Radcliffe Institute for Advanced Study.