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  • 03 Jul 2014 7:15 PM | Anonymous member (Administrator)

    Each season New York Live Arts (Live Arts) commissions two (2) writers to produce written pieces known as “Context Notes” to accompany each show on the season. Context Notes are published in Live Arts programs and are intended to frame questions, spark discussion, and explore/expand the experience of seeing work on the Live Arts stage. This year, Live Arts seeks to include new voices and diverse perspectives by issuing an open call for writers.

    Interested applicants must be engaged in an active writing practice and demonstrate a compelling history of publication (whether in print or online, self-published or by existing media outlets). Applicants must have an avid interest in live art, and be engaged with the form as writers, scholars, makers, curators, and/or educators. Applicants will be considered for the quality of their writing, ability to engage readers, and professionalism. Applicants interested in using new media and technology to supplement and/or interface with their writing are strongly encouraged to apply.

    Each writer will cover approximately five (5) shows across the season, writing a short 600-word piece on the artist and work being presented. The notes are not required to provide any specific information about the artist or their work. Aside from editing for factual errors, the works are not edited for content by the artists whose work is being discussed. Additionally, each writer will produce two (2) blog posts for the Live Arts blog, on topics of their choice that relate to Live Arts, the performing arts community in New York and abroad, and current events. Context Notes writers will receive an honorarium of $700, as well as a complimentary ticket to each Live Arts presentation on the 2014/2015 season for which they are writing. Samples of past context notes can be found here on the New York Live Arts blog.

    To Apply:

    Please send your application to as a single PDF file.

    Please include, in order:

    • Statement of Intent (no more than one page).
    • Why is participation in this program of interest to you? What do you hope to bring to Live Arts’ Context Notes program? What approach(es) do you use to engage your audience?
    • Resume of relevant experience (no more than two pages).
    • Please include experience relevant to writing in a professional capacity, including past publication, education, and research, as well as other non-writing experience that informs your work.
    • 2 samples of your writing on the topic of a specific performance or artist creating body-based work. Samples must be work that has been published in the public domain within the past 4 years.

    Applications are due by 5pm on Monday July 7, 2014. No late applications will be accepted.

    Please direct all questions to Jaamil Kosoko, Associate Curator, Humanities and Special Projects at No phone calls please.

  • 02 May 2014 12:47 PM | Anonymous member

    "I wanted to explore things that related to my life; less about the studio, more about what’s outside the studio."

    Charles Atlas (2011,

    This is a call for papers for volume 5 of the International Journal of Screendance. The theme for this volume will be community and screendance, and we are interested in papers that test the ways in which a broad range of ideas about community influence screendance practices, philosophy, debates and work, and, indeed, how screendance practices and critical thinking might help us to question or subvert the nature and value of community.

    Topics could include (but are not limited to):

    • Interior positions

    What happens to screendance practices when makers work from the inside of communities such as companies, collectives, and other organisations? Rather than standing outside existing works, dance companies, and artistic processes and outcomes, what are the ramifications of adopting an interior position? For example, how might thinking and methods from documentary practices and art film practices such as those used by Charles Atlas and Chantal Akerman suggest new strategies and approaches towards screendance?

    • Community dance

    Community Dance was once a label that signified choreographic processes and products which valued the social more than the artistic. What screendance practices have helped to question or redefine community arts practices? For example, practitioners like Andy Wood (UK) and Doug Rosenberg (USA) create work with and for their communities (and often with their friends). How is screendance being made through ideas of community? What are the community practices of screendance and why might they be important? Might these relatively small-scale community-oriented screendance practices be considered radical as our understanding of the idea of the social is stretched by the global reach of social media?  

    • Beyond and because of the computer

    Ubiquitous personal computers – particularly laptops – with free video editing software lie at the heart of post-production techniques in film-making and screendance. These techniques happen, for the most part, alone. What might this solitude reveal about community in screendance? If working in your bedroom through a single screen is also about accessing the work of other people in your screendance community, then how does this change and feed our practices? From online tutorials, to the sharing of practices, tests and films, as we work alone we are part of various social interfaces that inform, nurture, and change our thinking and practice.  

    • Crowd funding

    Has the rise of crowd-funding generated new or alternative economies that might support radical practices, emerging practice and minority practices? What alternatives exist, and how might work with – or experiences of – crowd funding generate or facilitate critical thinking about how our practices are part of social economies of practice, support and presentation?  

    • Support and collaboration

    What mechanisms and approaches through various types of communities allow us to practice and thrive as individual artists with distinct visions, and how do such communities allow us to support each other? What collaborative screendance practices are emerging as artists respond to complex and demanding socio-economic environments?

    • Screenings and festivals

    Screendance festivals are the most common platform for screendance artists to develop and participate in communities around the world. They are where we show and discuss work, meet other practitioners, and have our work placed alongside other works in programs that are curated to a greater or less extent. But what of other methods for showing work? For example, how might single screenings build, disrupt or broaden our understanding of community?  Further to this, what role do screenings of canonical screendance works – Maya Deren, Stan Brakhage – have to play in developing community-based dialogues about our discipline?

    We invite contributions of scholarly research, interviews, reviews, provocations, viewpoints, visual essays, and work by emerging scholars on the theme of community. For the purposes of review, please indicate which of the above categories best characterize your contribution. Please note: scholarly papers are peer-reviewed in a double-blind process, and should be 3500-6000 words. All other contributions will be reviewed by the editorial board. The deadline for all contributions is 1 August 2014. The volume will be published online in March 2015 following the peer-review and editorial process.

    Previous issues of the IJSD are available at

    Volume 5 of IJSD will be published online using the Open Journal System at This site is not yet active but will be ready to receive submissions by 1 June 2014.

    Very best wishes

    Harmony Bench and Simon Ellis (editors, Int J. of Screendance)

  • 17 Mar 2014 4:45 PM | Anonymous member (Administrator)
    Selma Jeanne Cohen Prize in Dance Aesthetics
    In memory of Selma Jeanne Cohen, the American Society for Aesthetics established a $1000 biennial prize in dance aesthetics, dance theory, or the history of dance. Begun in 2008, the next prize will be for a critical article or book of distinction published in English in the biennium from July 2012 to June 2014.

    The prize winner will be selected by a committee of three members appointed by the President of the ASA and will be notified by September 2014.The award will be announced publicly during the national meeting of the ASA on October 29 to November 1, 2014 in San Antonio, Texas.The winner will be encouraged but not be required to attend the meeting. The prize may not be awarded if, in the opinion of the judges, no nomination of sufficient merit and appropriateness is received.

    The ASA selection committee welcomes published work of distinction that contributes to dance aesthetics, dance theory, or the history of dance. Publication is understood to mean publication in venues with peer review recognized by the scholarly community and that are permanently available to the interested scholarly community of students and researchers. Nominations will be judged based on significance of the topic or issue, quality of the research, quality of the writing, originality, and contribution to the dance literature.

    Submissions should be directed to Dabney Townsend, ASA Secretary/Treasurer, at PO Box 915, Pooler GA 31322 or The nominated article or book must be submitted in full. Electronic submissions are strongly preferred, in PDF format replicating the original publication. If electronic submissions are not available, two copies must be submitted, whether books or articles. The deadline for receipt of nominations is August 1, 2014.

  • 12 Mar 2014 11:11 AM | Anonymous member (Administrator)

    Middlesex University

    Media and Performing Arts Research Studentships, 2014.

    The School of Media and Performing Arts, led by the Dean, Professor Carole-Anne Upton, has recently benefited from major investment in its research areas. We enjoy an exceptional group of Professorial and senior research staff in Media, Cultural Studies, Dance, Music and Theatre Arts and a strong research culture within which our PhD candidates are centrally positioned.

    Performing Arts celebrated considerable success in RAE2008, and includes the internationally-renowned Centre for Research into Creation in the Performing Arts ( ). Research in Media focuses on Cultural Theory and Communication Studies, with particular interest in Gender and Sexualities.


    Alongside traditional approaches to doctoral studies, we have particular expertise in practice-as-research. We offer two forms of practice-led research degrees, a “mixed-mode” PhD in which the integration of theory and creative practice is foregrounded, and a Doctorate of the Arts (80% expert arts practices), which is suitable for experienced practitioners.

    We welcome innovative and interdisciplinary proposals from excellent candidates that reflect the research interests of Middlesex Media and Performing Arts staff.  Applicants are advised to consult the School web pages and our staff profiles:


    Research areas of particular interest include:

    ·       Cultural studies: gender and sexuality, film and philosophy, cultural theory 

    ·       Dance:  choreography and improvisation, pedagogy, theatre dance histories and philosophies

    ·       Language and writing: creative writing, language and linguistics

    ·       Media industries: practice and analysis of policy and practice

    ·       Music: musicology, composition, performance

    ·       Theatre Arts: devising and dramaturgy, translation for performance, applied theatre and philosophical concerns

      We look forward to receiving your proposals.


    Any queries should in the first instance be directed to Prof Vida L Midgelow, Director of Research Degrees (School of Media and Performance):


    Full details and application forms:


    The deadline for receipt of applications is 11.59pm on 14th March 2014 and interviews will be held in April/May 2014.


  • 05 Mar 2014 12:46 PM | Anonymous member (Administrator)
    The Society for Ethnomusicology invites you to apply for the Nadia and Nicholas Nahumck Fellowship. The Nadia and Nicholas Nahumck fellowship supports research on dance-related subjects and is open to established scholars, recent PhDs, or PhD candidates who have completed all degree requirements except dissertation research. Preference will be given to applicants planning to enhance their research findings with movement notations such as Labanotation and/or with digital media. The fellowship consists of a $4,000 research fellowship and $1,000 award for publication. Applications are due April 1, 2014.  For more information on application materials and submission procedures, visit
  • 05 Mar 2014 12:43 PM | Anonymous member (Administrator)
    The American Society for Theatre Research is now seeking nominations for the Biennial Sally Banes Publication Prize.  This prize honors the publication (book or essay) that, in the opinion of the prize committee, best explores the intersections of theatre and dance/movement in the previous two calendar years. Deadline for submission is March 15, 2014.  Submission information is available at:
  • 11 Feb 2014 8:26 PM | Anonymous member
    Call for Papers:
    4th Annual Flamenco Research Symposium: New Perspectives on Flamenco

    Location: Albuquerque, New Mexico, USA
    Deadline for Submissions: March 31st, 2014
    Announcement Date: April 30th, 2014
    Conference Dates: June 8th and 9th

    Hosted by the University of New Mexico and the National Institute of Flamenco, the 3rd Annual Flamenco Research Symposium: New Perspectives on Flamenco will take place June 8th and 9th 2014. This event will be held in conjunction with the 27th annual Festival Flamenco Internacional de Alburquerque.

    The purpose of this research symposium is to engage scholars in a dialogue concerning various elements surrounding flamenco history, theory and culture; and to encourage public participation and provide public education regarding these views.

    We are seeking submissions for 20-minute paper presentations or lecture demonstrations of 20-40 minutes on all topics related to flamenco. If interested, please submit the following information to

    Name and affiliation of applicant(s)
    Title of Presentation
    Abstract of 1-2 pages
    Mailing address
    Email address
    Phone number

    Upon announcing acceptance, details regarding travel, lodging and any pertinent information will be provided. Questions concerning this event should be directed to Dolores Garcia at

  • 11 Jan 2014 4:00 PM | Anonymous member (Administrator)

    The Department of Performance Studies at Texas A&M University is accepting applications for the Master of Arts degree in Performance Studies. Graduate Assistantships, which include tuition, healthcare benefits, and a monthly stipend, are available for qualified students. Our students and faculty are committed to the ethnographic study of vernacular culture and the integration of practice and research.

    As an M.A.-only program, we focus on preparing students for professional careers in research, performance creation, and public outreach; for teaching at the high school and community-college level; and for admission to top-tier, research-intensive Ph.D. programs. Many of our students conduct ethnographic fieldwork and include performance as components of their M.A. theses. As they’re writing and researching, they’re also delivering papers at national and regional conferences, publishing book reviews, and winning university- and college-wide fellowships for their research and professional development.

    Performance Studies scholars examine relationships between performance and culture. The department has research strengths in Africana studies, dance and ritual studies, ethnomusicology, folklore, performance ethnography, popular music studies, religious studies, theatre history, media studies, and women’s studies.

    Information on the application process, courses, and the degree plan can be found at Please contact Dr. Kirsten Pullen, Director of Graduate Studies ( with any questions.

    For full funding consideration for Fall 2014, students should apply by January 15, 2014. Applications will be reviewed until February 15, 2014 or until all assistantships are filled.
  • 04 Jan 2014 5:06 PM | Anonymous member


    The School of Creative and Performing Arts in the Faculty of Arts invites applications for a senior academic at the rank of Associate Professor or Professor to serve as the Director, School of Creative and Performing Arts. The appointment as Director is for a five year period (with possibility of renewal) commencing July 1, 2014.

    As the successful candidate you will have a Masters Degree or PhD in a related discipline and will be an artist or a scholar with a demonstrated record of excellence in one of the disciplines of Dance, Drama or Music with some demonstrated record of engagement with at least one of the other disciplines. You will have developed strong leadership skills and will bring suitable experience for appointment as a faculty member. As the new Director, you will have a vision to lead the School to build on its current strengths and promote development of strategic research areas through faculty recruitment and program development as well as interacting with the community and government on a regular and sustained basis on academic, research and fundraising activities. Reporting to the Dean, the Director will be the academic leader for the School of Creative and Performing Arts and its principal representative.

    The School of Creative and Performing Arts provides academic and technical support for programs leading to eight degrees (BA Dance, BA Music, BFA Drama, BMus, MA Music, MFA Drama, MMus and PhD Music), three combined degrees (BA Dance/BKinesiology ,BFA Drama/BEd, BMus/BEd) and two interdisciplinary degrees in Computational Media Design (MSc, PhD) Annually, the School presents more than 200 public performances in its theatres and recital hall featuring the work of its faculty, students, alumni, and professional performers. Drawing its students from countries in every continent, the School of Creative and Performing Arts is a global cultural hub in Canada’s most enterprising city. Further details can be found at

    Individuals interested in this position are requested to submit their complete dossier including: cover letter, curriculum vitae, and three letters of recommendation (along with their contact information - mailing address, telephone and email) to:

    Anessa Friske, HR Advisor Faculty of Arts University of Calgary 2500 University Drive NW Calgary, AB T2N 1N4 Email:

    Review of applications will begin on January 2, 2014 and continue until the position is filled.

    All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. The University of Calgary respects, appreciates, and encourages diversity.

    Additional Information about the University of Calgary

    The University of Calgary is a leading Canadian university located in the nation's most enterprising city. The university has a clear strategic direction to become one of Canada's top five research universities by 2016, where innovative teaching and groundbreaking research go hand in hand, and where we fully engage the communities we both serve and lead. The strategy is called Eyes High, inspired by our Gaelic motto, which translates to 'I will lift up my eyes.'

    To succeed as one of Canada's top universities, where new ideas are created, tested and applied through first-class teaching and research, the University of Calgary needs more of the best minds in our classrooms and labs. We're increasing our scholarly capacity by investing in people who want to change the world, bringing the best and brightest to Calgary to form a global intellectual hub and achieve advances that

    matter to everyone.

    About Calgary

    Calgary is a city of leaders – in business, community, philanthropy and volunteerism. It has been named a cultural capital, and one of the best places to live in the world. Calgarians benefit from the strongest economy in the nation and enjoy more days of sunshine per year than residents of any other major Canadian city. Calgary is less than an hour's drive from the majestic Rocky Mountains and boasts the most extensive urban pathway and bikeway network in North America.

  • 18 Dec 2013 3:10 PM | Anonymous


    Dance and Gender:

    A Collection of New Research & Inquiry

    Wendy Oliver & Doug Risner, Editors

    We are seeking proposals and contributions for a collection of original research articles ranging from 4000 to 7000 words. As the first empirically-based research volume of its kind on dance and gender, the collection presents a range of new qualitative and quantitative research studies from professional, applied, educational, and popular culture realms.

    The aim of the collection is to interrogate the workings of gender across the lives of dancers, choreographers, directors, dance teachers and educators, students of dance, teaching artists, administrators, producers, recreational dancers, community workers, somaticists, therapists, and dance activists, among others who dance or make dance their livelihoods. The book also offers new research on the economic, political, social, media, and (multi)cultural systems in which dance and gender function, especially those systems which produce social inequality, promote gendered stereotypes and assumptions, and deny access, agency, and human dignity. A volume of empirical, research-based chapters and case studies that critically explores the production, representation, function, and outcomes of gender in dance is long overdue.

    Prospective contributors are encouraged to consider the questions below from a variety of research paradigms and perspectives. We welcome papers that employ diverse methodological approaches from quantitative, qualitative, and mixed methods designs. Possible topics and questions include, but are not limited to:

    • ·         How does gender influence dancers’ professional and personal lives?
    • ·         What social, economic, cultural, and educational systems continue to position western theatrical dance and its training as female?
    • ·         How does the feminization of dance contribute to gender inequality, bias, and gendered assumptions in the workplace, education, administration and research of dance?
    • ·         How are questions about gender made more complex by simultaneously considering social class, race/ethnicity, sexual orientation, ageism, and ability in dance?
    • ·         In what ways do gender differences impact teaching and learning in dance?
    • ·         What are the relationships between gender and power, authority, leadership and funding in dance?
    • ·         In what ways does gender determine who gets to dance, study dance, perform dance?
    • ·         How and under what circumstances does the gendered body inscribe someone who dances?
    • ·         Where does popular culture’s mediated image of gender reproduce or challenge dominant stereotypes about dance?
    • ·         How do children who dance understand gender?
    • ·         In what ways does gender impact student scholarship awards and apprenticeships, professional dancer casting, salary, contract renewal, and promotion?

    Contributors will address questions about dance and gender through original (unpublished) research-based chapters and case studies rooted in analyses from dance studies, women’s and gender studies, dance education, men’s and boys’ studies, critical theory, cultural studies, somatic practice, critical feminist theory and pedagogy, childhood studies, critical race theory, adolescent development, and gifted and talented studies, among others. It is anticipated that the book will become a primary text for advanced undergraduate and graduate students, teachers and faculty, researchers, scholars, and others whose interests intersect gender, class, race/ethnicity, sexuality, ability, education, and the arts.

    Because of the nature of this research-based volume and the time that will be necessary for contributors to design and conduct their research studies, we have not confirmed a publishing contract at this time. Please see the following timeline of submission deadlines:

    Proposal Abstracts: DUE February 28, 2014 [Early submissions appreciated]      

    Please submit a 500-word proposal abstract (including research methodology), working bibliography and CV (with publication record) as email attachments to the editors (email below) by February 10, 2014. Proposal abstracts will be reviewed within three weeks of submission. Full papers will be due December 31, 2014.                    

    Please submit proposal abstracts to the editors at their email addresses listed below:

    Wendy Oliver, EdD, MFA, is Professor of Dance and Women’s Studies and Chairperson of the Department of Theatre, Dance & Film at Providence College.  She is editor of the forthcoming Jazz Dance:  A History of the Roots and Branches, with Lindsay Guarino (University Press of Florida, 2014), and also edited Women in the Visual, Literary, and Performing Arts since 1960 (Peter Lang, 2001) with Deborah Johnson, among other books.  She has authored articles including "Body Image in the Dance Class," (JOPERD 2008) and "Reading  the Ballerina's Body:  Susan Bordo Sheds Light on Anastasia Volochkova and Heidi Guenther ( Dance Research Journal 2005).  She is the author of Writing about Dance (Human Kinetics, 2010) and Editor-in-Chief of the Journal of Dance Education.

    Doug Risner, PhD, MFA, is Professor of Dance in the Department of Theatre & Dance at Wayne State University, where he has served as Chair and Senior Assistant Chair of the department. He is the author of Stigma and Perseverance in the Lives of Boys Who Dance (Mellen, 2009), Hybrid Lives of Teaching Artists in Dance and Theatre Arts: A Critical Reader (Cambria, 2014) with Mary Anderson, “Rehearsing Heterosexuality: Unspoken Truths in Dance Education” (Dance Research Journal, 2003), “Challenging the ‘Boy Code’ in Dance Education” (Research in Dance Education, 2007), and “Bullying Victimization and Social Support of Adolescent Male Dance Students: An Analysis of Findings (Research in Dance Education, forthcoming). Risner served as editor-in-chief of the Journal of Dance Education from 2006-2012, and is Associate Editor (US) of the international journal, Research in Dance Education.

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