Share your professional achievements with the CORD membership.  Post calls for papers, publications, workshop participants, and collaborators.  Keep CORD members informed of events and initiatives at your institution or in your region.  We help you reach out to a diverse, international group of colleagues who share your commitment to dance.  

CORD Members - You may add your own announcements to the website by clicking "add post" below.
<< First  < Prev   1   2   3   4   5   ...   Next >  Last >> 
  • 22 Oct 2016 7:58 PM | Anonymous member


    World Dance Alliance Global Summit

    July 23-28, 2017

    School of Music at Memorial University, St. John’s, Newfoundland

    Dancing from the Grassroots

    Across Canada and in many parts of the globe, grassroots dancing is ubiquitous and diverse. Dancing from the grassroots—as self-governed, amateur, participatory, community-based: local, translocal, and virtual—can be a public source of pleasure, inclusion, social networking, health and wellbeing, and intergenerational community building. Yet at differing times and places grassroots dancing has gone underground to avoid condemnation. This World Dance Alliance Global Summit turns its focus to Dancing from the Grassroots to explore the ways in which grassroots dancing also counters, resists, supports, and negotiates formations of power.

    Important links have been made between grassroots movements and social change. Grassroots dancing (interwoven with music and performance) can also be viewed in this activist sense as generating social change. From this perspective, examining the principles and practices of grassroots dancing through historical and contemporary lenses is important and crucial to understanding how and why the social moves. What can a look at dancing from the grassroots tell us about how to sustain a movement, sustain an alternative idea and see it through to mainstream acceptance? Sometimes grassroots movements emerge from the majority. Other times, such movements lack the large numbers and emerge from small groups with well organized and persuasive leadership. Grassroots movements also emerge from coalitions of initiatives. What are the micro and macro conditions from which grassroots dance organizations have emerged to survive different political and economic conditions?

    Many dance groups in Canada and elsewhere evolved from the local community wanting to learn, teach, practice, perform, and present dance. This Summit will celebrate these groups, who continue to present innovative and daring work, by showcasing them along with international artists who are also transforming practices to further stimulate creativity and push boundaries by exploring new ideas both at home and abroad.

    The selections committee seeks proposals that address the Summit’s broad and inclusive theme of Dancing from the Grassroots. We encourage submissions that explore the impacts, roles, and contributions of grassroots dancing. Recognizing this heterogenous group of organizations, which reaches into the domains of health and wellbeing, life course and ageing, social/activist movements, aesthetics, economics, education, and the environment, is a rich site for researching issues pertinent to the sciences, social sciences, and humanities, we invite scholars trained in a diverse range of [inter]disciplinary fields to make visible the contributions and impacts of grassroots dancing through research. These related fields might include (but are not be limited to) dance, theatre and performance studies, anthropology, kinesiology, cognitive science, equity studies, music, social work, medicine, life sciences, and gerontology.

    Topics and questions to consider:

       The role of grassroots dancing in life course and ageing/heath and wellbeing/biopolitics and neurotypicality

       The small and large scale economic impacts of grassroots dancing

    paid and unpaid labour, tourism, volunteerism, donations, costs and in-kind donations for rehearsal space and costumes, etc.

       Theorizing the relationship between music, dance, performance

    Processes of creativity, imagination, and improvisation

       Heritage, tradition, indigenous dance

    How have amateur grassroots dance organizations transformed into professional paid employment in dance historically?

    What can the presence of grassroots dancing tell us about the larger economic and political climate of support for dance?

    What can processes of inclusion/exclusion/trans in grassroots dancing tell us about nation/nationalism, identity, colonial/postcolonial, sex, gender, abelism, ageism, race, ethnicity, and religion, etc.?

     How does grassroots dancing speak to issues of copyright and property rights?

       Social movement/social change

    What are the principles and processes of organizing grassroots dancing in terms of leadership and sustainability?

    Why are some grassroots dancing initiatives so successful at sustaining themselves?

    What can such groups teach us about sustainability and social change?

    How are new information and communication technologies impacting grassroots dancing for individuals and/or communities: local, translocal, and virtual?

    What can grassroots dancing teach us about coalition building?

    Submission Requirements

    Proposals can be submitted in English, French, or Spanish within the following formats: scholarly papers, pecha kucha presentations, panel discussions, master classes, performances in diverse spaces, and choreolabs.

    Interested individuals or groups may submit a maximum of two proposals in differing areas for the Global Summit. For example, an individual might propose both a paper presentation and a master class, but not two papers.


    DEADLINE: The deadline for all proposals is December 1, 2016


    In order to present in any of the formats at the conference, all participants must first become members of WDA, before their submissions will be reviewed. To become a member of WDA Americas, applicants can access the Membership site at

    Details about the various performance spaces and lecture halls at the conference site will be available on the WDAA website after November 1, 2016.

    Papers and Panel Proposals

    All proposals may be submitted and delivered in English, French, or Spanish. Individual scholarly presentations should be no more than 20 minutes with an additional 10 minutes available for questions and discussion. Groups of three or more individual presenters may propose a panel presentation of no more than 70 minutes total with 20 minutes additional time available for questions and discussion. Those intending to present solely in French or Spanish should indicate this on their application. There will be some translators available to assist with translation; however, these services cannot be guaranteed.

       Individual presentation proposals should be no more than 250 words in length.

       Proposals for organized panels require a 150 word description of the panel theme in addition to the individual abstracts submitted as a single document (100 word maximum).

       Proposals must be accompanied by the following information: each presenter's name, title, institutional affiliation (if applicable), mailing address, e-mail address, and a brief bio of no more than 150 words.

       Proposals are due by December 1, 2016 and must be sent as a .doc or .docx file via e-mail to Linda Caldwell ( Acceptances will be sent by February 15, 2017.


    Pecha Kucha Presentations

    Pecha Kucha is a presentation format in which 20 slides are timed to be shown each for 20 seconds (no more than 7 minutes total). Scholars who have developed a strong research focus but are in the beginning processes of writing and presenting their research are encouraged to present in this format. This format is especially good for graduate students wanting to clarify research purpose statements and gather feedback and possible insights from other researchers.

    Initial submissions are in the form of a 250-word abstract in either English, French, or Spanish in which the topic, methodology, and importance of the research to the dance field is summarized.

       Proposals must be accompanied by the following information: each presenter's name, title, institutional affiliation (if applicable), mailing address, e-mail address, a brief bio of no more than 150 words in English, French, or Spanish.

       Proposals are due by December 1, 2016 and must be sent as a .doc or .docx file via e-mail to Linda Caldwell (  Acceptances will be sent by February 15, 2017.

       If selected, more detailed instructions on the Pecha Kucha format will be provided on the WDAA website after February 15, 2017.


    Master Class Proposals

    Master classes provide conference participants with an opportunity to experience the expertise of selected teachers in terms of dance practice and dance making.

       Master classes are 90 minutes in length. Master class proposals should be no more than 250 words in length and can be submitted in English, French, or Spanish. Please note that the Global Summit facilities cannot guarantee specialized equipment (mats, physio balls, etc.) for use in classes. Details about music technology will be provided at a later date.

       Proposals must be accompanied by the following information: presenter's name, title, institutional affiliation (if applicable), mailing address, e-mail address, and a brief bio of no more than 150 words.

       Proposals are due by December 1, 2016 and must be sent as a .doc or .docx file via e-mail to Ann Kipling Brown ( )  Acceptances will be sent by February 15, 2017.


    Choreolab Proposals

    Choreographic labs (choreolabs) are intended to provide a forum for choreographers to work collaboratively to create a work on selected conference participants within three 2-hour daily rehearsals (auditions and first rehearsal on July 24 with the final work or work-in-progress presented on July 28) in a site-specific space scheduled in consultation with the conference organizers. All rehearsals for the site-specific work should take place at the site. Choreographers/ dancers should prepare for all types of weather. Each work should fall within a minimum of 3 minutes or a maximum of 10 minutes. Preference will be given to the creation of new works.

       Proposals should include a description of the intended project and an explanation of methods in no more than 200 words. Each proposal must clearly state how the project can be accomplished in the limited time frame available and within a site-specific environment.

       Proposals may be submitted in English, French, or Spanish.

       Each proposal must be accompanied by the following information: choreographer’s name, phone number, institutional affiliation (if appropriate), mailing address, e-mail address, and a bio of no more than 150 words.

       We suggest applicants submit a link to an online video (YouTube or Vimeo) of a work sample or the work to be reset (minimum of 3 minutes).

       Proposals are due by December 1, 2016 and must be sent as a .doc or .docx file via e-mail to Falon Baltzell ( Acceptances will be sent by February 15, 2017.


    Performance Proposals

       Accepted works will be performed once at locations determined by the selection committee (may be site-specific or on a recital hall stage with limited lighting availability). If the proposed choreography must be produced on stage or in a studio, the dance cannot exceed 12 minutes. Site-specific dances may be longer as long as a clear explanation of procedures and audience expectations are provided.

       Proposals for performance of each choreographic work or of a representative work must be submitted on YouTube or Vimeo. If submitting representative work, please also provide a brief statement of 200 words or less (in English, French, or Spanish) describing the proposed performance including length and number of performers.

       Performance proposals must be accompanied by the following information in English, French, or Spanish: each primary presenter's name, title, institutional affiliation (if applicable), mailing address, e-mail address, and a brief bio of no more than 150 words.

       Proposals with YouTube or Vimeo links are due by December 1, 2016 and must be sent as a .doc or .docx  file via e-mail to Melissa Sanderson  ( Acceptances will be sent by February 15, 2017.


    Digital Dance Concert

    The World Dance Alliance Americas will run its third annual WDA Digital Dance Concert, a double-blind reviewed online presentation of videoed choreographies and dance films created specifically for the camera. The Digital Dance Concert aims to offer a virtual platform for choreographers, companies, and dance filmmakers to present, promote, and disseminate their work. Selected dance-for-camera works will be featured online through a digital dance concert format on the WDA-A website. Select works will also be presented at the 2017 World Dance Alliance Global Summit at the Memorial University of Newfoundland in St. John’s, Newfoundland, Canada – July 23-28, 2017. Please visit the following WDA-A website link for details about video submissions:



  • 27 Sep 2016 1:09 PM | Anonymous member

    Assistant Professor, Dance Sciences & Studio Practice

    Assistant Professor, Dance Technologies & Studio Practice

    The Florida State University School of Dance is seeking two new colleagues to help us expand our offerings in the dance sciences and dance technology. The ability to teach a rigorous studio practice is essential for both positions. The ideal candidates will have a terminal degree (MFA or PhD preferred) or professional equivalence in a related field.


    Dance Sciences & Studio Practice - This new faculty member will share teaching responsibilities in the dance sciences, and will serve as a mentor for dancers interested in learning to do similar work. Service to our dancer wellness and injury management programs will be included. Candidates who have experience in conducting empirical research with dancers will be given special consideration.


    Dance Technologies & Studio Practice - The ideal candidate will be a specialist in the merger of dance and technology, expertly qualified in video technologies, screendance, documentation, projection design, and other media technologies. This candidate will be able to integrate relevant media technologies within the dancer’s creative process and deliver dance-centered technology courses.


    A longer description is available at:

    Apply at: (Job IDs 40500 & 40501)

  • 13 Sep 2016 4:02 PM | Anonymous member

    Deidre Sklar has an academic library available for donation to an institution; it includes volumes on dance ethnology and history; theatre; cultural anthropology; performance studies; area studies; embodiment theory across fields, etc.

    Professor Sklar also seeks a young (or not young) scholar or student to work with her sorting through her teaching materials (syllabii, readings, slides and video tapes) with an eye to inheriting them. This is potentially a very exciting project for the right person. It is possible the library could go with this person.

    She also has available back volumes of DRJ, Cultural Anthropology, Journal of American Folklore, and especially a full set of the UCLA Dance Ethnology Journal.

    For details: or 940-594-1819

  • 22 Aug 2016 5:46 PM | Anonymous member


    Area Chairs: Jen Atkins and Celeste Fraser Delgado

    Call For Proposals:  Sessions, Panels, Papers, and other formats welcome



    Marriott Marina, San Diego

    Wednesday, April 12, to Saturday, April 15, 2017

    For information on PCA/ACA, please go to

    For conference information, please go to

    DEADLINE:  OCTOBER 1, 2016

    To submit your panel or presentation, go to and follow the instructions for creating an account and making your submission.  ALL submissions must be made through the conference submission site.  For individual papers, please submit a title and 100-word abstract.  For themed paper sessions, each presenter must enter her/his own presentation and the chair should contact either Dance Area Co-Chair to assemble them into a panel. 

    The “Dance and Culture” area of the national PCA/ACA solicits proposals on all areas of dance and culture in the Americas and/or on popular culture worldwide. All methods of inquiry welcome. However, given the interdisciplinary/multidisciplinary membership of the associations, participants are encouraged to consider interdisciplinary connections of their research, 21st century innovations in the field of dance, and the diverse interests of their potential audience. 

    Presenters may deliver only one forma paper, but they may also participate as a panel chair, discussant, or respondent. If you are interested in assisting in an additional capacity, please email either Dance Area Co-Chair. All presenters must be members of either the Popular Culture Association (PCA) or the American Culture Association (ACA) in the year that they participate. 

    Full conference information, including registration, key deadlines, local arrangements, and tentative conference programming can be found at

    For Additional Information, Please Contact

    Jen Atkins: or Celeste Fraser Delgado:


    The national PCA/ACA sponsors an annual convention at which papers, presentations, and activities in all areas of American culture and of world popular culture are explored through formal scholarly panels, roundtable discussions, film showings, keynote addresses and receptions, and an exhibition hall of publishers and acquisition editors. Last year the conference drew more than 2,000 participants; it featured more than 500 interdisciplinary panels.

    In the past ten years, the Dance and Culture area has directly sponsored or co-sponsored 10 to 15 panels over the four-day conference. Topic areas that have been represented include: dance and the dancing body in new and emerging technologies; representations in film, television, and media; cultural, political and social commentary; popular music; gender studies; maintenance, evolution, and transmittal of traditional dance forms around the globe; identity and the body; burlesque; flash mobs; raves and festivals; online arts communities and social networking; urban and rural environments; health and healing; advertising; and new directions in the performing arts in the 21st century. Performance, lecture/demo, and other innovative format proposals are also welcome.

    To submit a proposal online, please have the following information ready to input:

    • Title(s) [for group:  panel title if more than one presentation or paper is included in proposal, as well as each individual title]
    • Name(s) of participant(s) as they want them displayed in the conference program book, including institutional affiliation or listing as an independent scholar
    • Short bio/background of each participant (not more than about 50 words)
    • Full contact information for each participant (mailing address and email – email is essential, as most conference information is communicated by email and online)
    • Abstract of paper or panel or session (not more than 250 words)
    • Format (e.g., individual paper of 20 minutes for a panel of 3 or 15 minutes for 4 papers, roundtable discussion, lecture/demonstration, etc.):
    • AV Needs:  IMPORTANT!  The conference organizers provide ONLY a DVD Player and TV display/monitor in each of the presentation rooms.  Internet may be available but the associations ask us to have a back up plan in case the connection speed is slow or interrupted. MAC users:  you need to bring your own adapter. International visitors:  If you burn a DVD, you should ensure that Region 1 coding or Region 0 is chosen.
    • Special space needs, if any.

    Submissions will receive responses by November 1. You MUST be available to attend all four days of the conference; special scheduling requests cannot be accommodated. To appear in the conference program, you must pre-register for the conference. Discounted registration rates available until November 15 (last date to register is December 15).

    Awards for Graduate Students and International Participants:  The two associations sponsor a small number of competitive awards for graduate students and international presenters from any discipline who are presenting at the annual convention.  More information is available at:

  • 19 Aug 2016 10:57 AM | Anonymous member (Administrator)

    Fellowships 2017-2018

    The National Humanities Center will offer up to 40 residential fellowships for advanced study in the humanities for the period September 2017 through May 2018. Applicants must have a doctorate or equivalent scholarly credentials. Mid-career scholars as well as senior scholars are encouraged to apply. Emerging scholars with a strong record of peer-reviewed work are also invited to apply. The Center does not normally support the revision of a doctoral dissertation. In addition to scholars from all fields of the humanities, the Center accepts individuals from the natural and social sciences, the arts, the professions, and public life who are engaged in humanistic projects. The Center is international in scope and welcomes applications from scholars outside the United States.

    Areas of Special Interest. Most of the Center’s fellowships are unrestricted. Several, however, are designated for particular areas of research, including fellowships for environmental studies, English literature, art history, Asian Studies, theology, and a young woman in philosophy. The Center also invites applicants from scholars in inter-disciplinary fields, including African American Studies, area studies, Cultural Studies, and Media Studies.

    Stipends. The amounts awarded are individually determined, according to the needs of the Fellow and the Center’s ability to meet them. The Center seeks to provide at least half salary and covers travel expenses to and from North Carolina for Fellows and dependents.

    Facilities and Services. The Center provides a rich environment for individual research and the exchange of ideas. Located in the progressive Triangle region of North Carolina, near Chapel Hill, Durham, and Raleigh, the Center affords access to the rich cultural and intellectual communities supported by the area’s research institutes, universities, and dynamic arts scene. The stunning Archie K. Davis building includes private studies for Fellows, conference rooms, a central commons for dining, lounges, and reading areas. The Center's unparalleled, comprehensive library service supports Fellows by fulfilling thousands of requests for books and other research materials from out partner institutions in the Triangle, usually within 24 hours, and libraries around the world. Library staff also provide reference assistance and instruction in new online research tools.

    Support. Fellowships are supported by the Center’s endowment, private foundation grants, contributions from alumni and friends, and the National Endowment for the Humanities.

    Deadline and Application Procedures. Applicants submit an application form, a curriculum vitae, a 1000-word project proposal, and three letters of recommendation. The application form and instructions may be found at the Center’s website: Applications and letters of recommendation must be submitted online by October 18, 2016.


    The National Humanities Center does not discriminate on the basis of race, color, sex, gender identity, religion, national or ethnic origin, handicap, sexual orientation, or age. We are dedicated to fair treatment, diversity, and inclusion.

  • 19 Aug 2016 10:41 AM | Anonymous member (Administrator)

    Part-Time Position Available:

    Visiting Assistant Professor, Contemporary Choreography, Department of Dance

    College of Humanities, Arts & Social Sciences
    Position Summary: The Department of Dance at the University of California, Riverside, invites applications for a position in the Visiting Assistant Professor (VAP) title, to teach in Fall quarter, 2016 and Winter quarter, 2017. 

    Responsibilities will include teaching undergraduate and graduate composition courses and additional courses in practice, repertory or an area relevant to the candidate’s field of expertise. In addition to teaching, the successful candidate will assist with graduate and undergraduate choreographic research, participate in departmental activities, and give a public presentation of or about their work.

    Salary: $36,000 or commensurate with experience (pending budgetary approval).

    Starting Date:
    Fall quarter begins September 19, 2016. Instruction begins September 22, 2016 and ends December 2, 2016.

    Winter quarter instruction begins January 9, 2017 and ends March 17, 2017.

    Qualifications: M.F.A. or M.A. in dance; or professional equivalent (BA, and at least 5 years of professional choreography and performance.) Established record of choreography and performance is required, and preference is for an actively working artist. Previous college teaching experience is required, as well as an interest in working in a diverse, multi-ethnic, international environment.

    Review of applications: Initial review of applications will begin August 31, 2016 and will continue until the position is filled. To ensure full consideration, applications and supporting materials should be received by August 31, 2016.

    To Apply: submit a 2-page cover letter addressed to Taisha Paggett, Search Committee Chair, with a list of three references and contact information; CV; two sample course syllabi; teaching evaluations if available; and a diversity statement. Please also include two 7-10 minute excerpts of choreography and performance via an online link (Youtube or Vimeo) with a 50-75 word description of the works embedded in the “Information” section of each hosted video. All materials must be uploaded using UCR’s on-line application system located at

    For additional information about the position, please contact: Search Committee Chair, Assistant Professor Taisha Paggett at: For questions or help with the online application process, please contact Katrina Oskie:, 121 Arts Building University of California, Riverside, Riverside, CA 92521 USA /

    UCR Department of Dance offers curricula leading to a B.A. in Dance, an M.F.A. in Experimental Choreography, and a Ph.D. in Critical Dance Studies. These innovative programs continue to influence the field internationally. The Department of Dance, one of 20 in our College of Humanities, Arts, and Social Sciences, is housed in the AIA award-winning Arts Building with several large studios. Performance venues include the University Theater, the Performance Lab, the Studio Theater and the new downtown Culver Center for the Arts. Established in 1954, the UC Riverside campus today has a fast-growing population of approx. 19,000 students, the most diverse undergraduate student body in the UC system, and one of the most diverse in the nation.

    UCR is a world-class research university with an exceptionally diverse undergraduate student body. Its mission is explicitly linked to providing routes to educational success for underrepresented and first-generation college students. A commitment to this mission is a preferred qualification.

    The University of California is an Equal Opportunity / Affirmative Action Employer with a strong institutional commitment to the achievement of excellence and diversity among its faculty and staff. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, age, disability, protected veteran status, or any other characteristic protected by law.

  • 11 Jul 2016 12:03 PM | Anonymous member (Administrator)

    Loyola University New Orleans seeks a dean to lead its world-class College of Music and Fine Arts (CMFA). 

    As chief executive officer of the college, the dean is its intellectual and artistic leader and reports directly to Provost Marc Manganaro.

    The new dean will arrive at Loyola University at a time of great strength as well as potential for the College of Music and Fine Arts. With responsibility for the college’s academic and artistic programs; its faculty, staff, students, and facilities; and its performance and exhibition programs, the dean will further the mission and expand the resources of the college with broadly delegated authority from the Provost. The Dean will articulate a shared vision that defines the standards of excellence, direction of growth for the college, and new and multi-disciplinary connections that are possible across the university. The successful candidate will be results oriented, entrepreneurial, and visionary, skillful at leading through change and building a future which faculty colleagues have collaborated to shape and are invested in and support, and proficient at both the large picture and the details that support optimal efficiency and effectiveness.

    Loyola University New Orleans is a Catholic institution founded in 1912 that emphasizes the Jesuit tradition of educating the whole person. One of 28 Jesuit colleges and universities in the United States, Loyola has a rich history and Jesuit influence dating back to the early 18th century when the Jesuits first arrived among the earliest settlers in New Orleans. Loyola is located in the Uptown section of New Orleans, one of the city’s most prestigious residential neighborhoods and 15 minutes from downtown and the historic French Quarter.

    The College of Music and Fine Arts occupies a position of prominence within the university, a prominence particularly distinctive among Jesuit institutions. The college’s national reputation, its contributions to the world of visual and performing arts, and its role in supporting and reinforcing the fabric of New Orleans are at the heart of Loyola New Orleans’s identity.

    Inquiries, nominations and applications are invited. Review of applications will begin immediately and will continue until the position is filled. For fullest consideration, applicant materials should be received by September 1, 2016.  Candidates should provide curriculum vitae, a letter of application that addresses the responsibilities and requirements described in this leadership profile, and the names and contact information of five references. This search will be conducted with the utmost respect for confidentiality, and references will not be contacted without prior knowledge and approval of candidates. Materials should be sent electronically via e-mail to the Loyola University New Orleans’s consultants Sheila Murphy and Melissa Fincher at The leadership profile is available at

    Loyola University New Orleans seeks excellence through diversity in its students, faculty, and staff; applications from all underrepresented groups are actively encouraged.

  • 11 Jul 2016 11:57 AM | Anonymous member (Administrator)

    Assistant Professor of Dance Studies at Barnard College (tenure track)

    The Department of Dance of Barnard College, Columbia University in New York City, invites applications for an outstanding scholar to appoint as a tenure-track Assistant Professor of Dance Studies starting July 1, 2017.

    Founded in 1889, Barnard College is a private women’s liberal arts college affiliated with Columbia University. The Barnard College Department of Dance is the center for dance scholarship, research, and performance for all of Columbia University and as such, provides the artistic and academic programming to support majors, minors, and concentrations offered by the undergraduate divisions of the University (Barnard, Columbia College, School of General Studies, School of Engineering).

    The ideal candidate will have expertise in theatrical dance history (preferably with specializations in ballet, African-American dance, and/or contemporary choreography), as well as innovative critical and methodological approaches to one or more of the following areas of research: social or popular dance; dance theory, ethnography and/or dramaturgy; relationships between music and dance; and/or intersections between the performing arts and policy, diplomacy, and/or activism. Applicants must have a Ph.D. in dance or related discipline at time of appointment, a distinguished record of scholarly publication or promise of such, proven capacity for teaching excellence at the college level, and ability and desire to perform service within the department, college, and university.

    Position is full-time.  Posting Number:  2016-00024-F

    Applicants must have a Ph.D. in dance or related discipline at time of appointment, a distinguished record of scholarly publication or promise of such, proven capacity for teaching excellence at the college level, and ability and desire to perform service within the department, college, and university.

    Applicants must submit the following:
    1. letter of application
    2. CV
    3. statement of research/scholarship
    4. statement of teaching philosophy (specify dance studies courses taught)
    5. sample syllabus
    6. graduate school transcript
    7. writing sample (PDF of a dissertation/book chapter, a published scholarly article, etc.)
    8. three letters from professional references. (Submit names and contact info of your references to the online application system, which will automatically prompt references to upload letters directly to the system.)

    To apply, see

    Please include complete URLs wherever they appear in your application materials to avoid hyperlink corruption during the uploading process.

    To receive full consideration, application materials and reference letters must be received by September 30, 2016.

    Please direct any questions to

  • 10 Jun 2016 1:19 PM | Anonymous member (Administrator)

    Ever since Degas’s dancers twisted and reached their bodies through codified regimens of movement practice and everyday studio rituals, the intimate relation between dance and the visual arts has entered into discussions of modernism.  The mysteries of motion in dance have challenged visual artists to create new forms:  Toulouse-Lautrec’s Moulin Rouge performers seem to bend space with their very movements; and Matisse’s cut-outs of dancers and other subjects seem to transcend their materiality by literally detaching themselves from the page.  Dancers, in turn, have pushed the boundaries of their art form to respond to theories and currents in the visual arts.  Yvonne Rainer’s post-modernist manifesto, “The Mind Is a Muscle,” propounds that dancers ought to apply the minimalist tendencies of contemporary sculpture to dance to chart new territory, and she did just that in her choreography The Mind Is a Muscle, Trio A.

    With this in mind, we invite research manuscript submissions for a special issue of Dance Chronicle on the theme of “Kinetic, Mobile, and Modern: Dance and the Visual Arts,” to be edited by Joellen A. Meglin and Lynn Matluck Brooks.  We want to explore the ways in which dance and the visual arts have intersected, converged, dialogued, and propelled one another forward, whether through felicitous collaboration or the unique visuo-spatial talent of an individual.

    Learn more

  • 04 Jun 2016 8:26 AM | Anonymous member


    TCPM 2017 – Tracking the Creative Process in Music

    International conference, 4th edition

    Huddersfield, United Kingdom

    September 14-16th, 2017


    The TCPM international conference September 14-16, 2017 brings together researchers interested in artistic creativity and the study of processes of musical and sound creation. Researchers working on this cluster of problems are now welcome to submit proposals for presentations. 

    The Call is open to a wide variety of disciplines, such as dance, theatre, film, history, music analysis, psychology, philosophy, cognitive science, sociology, ethnomusicology and anthropology. 

    Please see below for further information.  The conference website will be up and running from September 1, 2016.

<< First  < Prev   1   2   3   4   5   ...   Next >  Last >> 
 Congress on Research in Dance
Powered by Wild Apricot Membership Software