School of Humanities and Sciences
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Nathan Cordova
Lecturer
BioNathan Cordova is a multidisciplinary artist who works primarily with photography, video, sound, sculpture and performance. He received his MFA in Photography, Video and Imaging from the University of Arizona (‘24). Nathan has received grants and fellowships such as the Medici Scholar Award, Helen Gross Award, Mellon-Fronteridades Fellowship, GPSC Travel Grant as well as a fully-funded residency at Anderson Ranch Arts Center. He’s independently published four artist books and his commissioned work has appeared in WIRED. Nathan’s current project, Ghosts and Shadows, is an audio/video artwork that aims to uncover a common auditory and visual language between humans and the US/Mexico Border as immaterial/material-entity. He is a member of Southwest Photo Collaborative, whose group show, Land, Body & Archive, visited the cities of Phoenix, Albuquerque and Tucson in 2023-2024. Nathan spoke as a student-presenter at the Society for Photographic Education’s Annual Conference, New Realities, in St. Louis, MO in the spring of 2024. He was named to the 2024 Lenscratch Student Prize Top 25 Photographers to watch.
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Ioanida Costache
Assistant Professor of Music
BioIoanida Costache is an assistant professor of ethnomusicology, and, by courtesy, Anthropology, at Stanford University. She is also an affiliate of the Center for Comparative Studies in Race and Ethnicity.
Her work explores the legacies of Romani historical trauma, and the feminist critiques of the present, inscribed in Romani music, sound, and art. Her writing has been published in EuropeNow, RevistaARTA, Critical Romani Studies, and is forthcoming in European History Quarterly. Her research has been supported by two Fulbright Grants and the Council of European Studies. She has held visiting and postdoctoral fellowships at the University of Pennsylvania, the United States Holocaust Memorial Museum, and the USC Shoah Foundation.
Her book project, Hearing Romani-ness, examines how music structures the political and social belonging of Romani peoples in ways that reify and work against processes of identity formation and racialization. Through an ethnographic focus on Romani musicians, the project shows how intergenerational memory of Romani trauma is discreetly imbedded in sonic expressions of sorrow within a bounded repertoire that in being kept private served as a vehicle for Romani collective healing. The book puts forth a new framework for navigating how sound, when heard as affective expression, can be used for reparative purposes in the wake of persecution, while also offering an interpretive and analytic vocabulary for learning to listen for the Roma.
