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.
  • 03 Aug 2015 11:00 AM | Anonymous

    The New York Public Library
    Curator, Jerome Robbins Dance Division

    The Dance Curator reports to the Director of the Library for the Performing Arts and is a member of the Director’s senior management team. The Curator has primary responsibility for administration of the Jerome Robbins Dance Division, the world's largest and most comprehensive archive of dance. The Dance Curator also supervises the Jerome Robbins Archive of the Recorded Moving Image and its AMI collections. Responsibilities include promoting and facilitating use of the collection, initiating outreach to the dance and dance research communities, and recommending collections for acquisition. The Curator is tasked with both building a collection and community that will see the division into the future and preserving the legacy of the division’s past.   

    The Curator of the Jerome Robbins Dance Division holds one of the most respected leadership positions in the global dance research community. S/he nurtures current relationships and develops new collaborations with the world’s most celebrated dance figures and organizations.  As leader of the world's most comprehensive dance collection that is free and accessible to all users, the curator ensures that the collection not only continues to flourish, but is an accessible worldwide resource. This is achieved through expert curation, and working in tandem with a number of NYPL departments. The Curator is a dance expert who will cultivate the subject expertise of the Dance Division staff, and will develop initiatives that will maximize the use of the collection and increase community engagement.

    Under the direction of the Director of the Library for the Performing Arts, the Curator of the Jerome Robbins Dance Division will perform the following functions:

    • Develops a clear strategic plan that will shape acquisitions and engage and inform the national and international dance community while providing leadership, vision, direction, advocacy, and accountability for the Jerome Robbins Dance Division and the Jerome Robbins Archive of the Recorded Moving Image.
    • Responsible for all areas of the Dance Division’s acquisitions and collecting scope, including ballet, modern, jazz, tap, ethnic, traditional, and Baroque dancing in various formats from paper manuscripts to digital video, from photographs to rare books.
    • Exposes in-depth knowledge about the Dance Division’s collections in a variety of formats including collection guides, blog posts, curated digital collections, and online exhibitions, which can be accessed by worldwide users.
    • Partners with NYPL’s educational outreach and other external institutions on educational initiatives, which may include developing and leading public curatorial and gallery talks, meeting with classes, or developing strategies for digital literacy.
    • Collaborates with NYPL’s departments on matters relating to preservation, access, cataloging, digitization, policy and stewardship of the collection, in its multiplicity of formats including AMI.
    • Engages with donors, creators, scholars, students, and general users in aligning the Jerome Robbins Dance Division’s mission with the current and future needs of the local, national and international dance community.
    • Participates in public programming, exhibitions, and events pertaining to dance.
    • Provides leadership and direction for the Dance Division’s Outreach, Advisory, and Fundraising Groups.
      • Committee for the Jerome Robbins Dance Division
      • Friends of the Jerome Robbins Dance Division
      • African Dance Advisory Group


    • Graduate degree in an arts discipline with focus on dance preferred
    • Substantial knowledge of the performing arts, particularly dance
    • Knowledge of current practices and emerging trends in humanities scholarship and publishing
    • Knowledge of preservation issues, both digital and traditional, and current trends facing large research libraries
    • Demonstrated understanding of archives and archival description/metadata
    • Successfully demonstrated ability to cultivate relationships with donors, peer institutions, the dance industry and dance community
    • Demonstrated active participation within the dance community on the development of collaborative projects
    • Successfully demonstrated experience with the development, management, and completion of digital projects
    • Demonstrated commitment to professional development through record of scholarly publications, presentations, and participation in professional associations
    • Excellent leadership and management skills and the ability to motivate, develop, and inspire people
    • Experience in forming strategic partnerships, building communities, and initiating and organizing events and collaborative projects
    • Excellent interpersonal, collaborative, oral and written communication skills, including demonstrated ability to work effectively with the public, with advanced scholars and independent researchers, and with a variety of NYPL staff, including curators and subject specialists, reference librarians, NYPL Labs, the web team, Marketing and Communications, Development, and Education.
    • Successfully demonstrated ability to prepare budgets

    For more information and to apply to this position, please visit our website:

  • 31 Jul 2015 2:32 PM | Anonymous

    Florida State University's School of Dance will host the 2015 Interdisciplinary Performance Symposium on October 24, 2015. Please see details below for submission guidelines. Deadline for Proposals: August 31st 2015.

    We are seeking interdisciplinary proposals including: 

    • Original research presentations
    • Performances of works-in-progress
    • Participatory workshops
    • Alternative formats

    Abstracts (250 words) describing the project should be submitted in a Word Document. Successful proposals will address the following:

    • Project’s contribution to interdisciplinary research and collaboration
    • Presentation Format
    • Interactive/participatory components of project (encouraged, but not 
    • required)
    • Presentation’s use of time (Sessions typically 30 min. with audience engagement)
    • Resources Required (A/V, dance floor, props, set pieces, etc.)

    Submissions and additional questions should be sent to Amanda Sieradzki at

  • 05 Jul 2015 7:05 PM | Anonymous member


    September 30, 2015

    Date Posted

    July 1, 2015


    Tenured, tenure track



    Employment Type


    Seeking candidates with a record of artistic achievement who are able to contextualize their practice within the larger discourses of dance history, cultural studies, or aesthetic or critical theory. Teaching load is two course credits each semester, which will include modern dance technique, choreography/composition, improvisation, and dance as art-making activity (the latter for students with or without formal dance training), as well as producing and choreographing for departmental dance concerts. Those with additional expertise in one or more of the following: ballet technique, dance history, screendance, or dance and digital technology are especially encouraged to apply. We welcome candidates whose teaching, research, or worldview enhances the diversity of the college. The successful candidates will possess effective collaborative skills, an interest in interdisciplinary initiatives, and enthusiasm for teaching, mentoring, and advising a diverse population of liberal arts students. Qualifications: terminal degree (M.F.A. or Ph.D.; ABD considered if requirements for the degree will be completed by the time of appointment).


    Bowdoin College accepts only electronic submissions. Please visit to submit letter of application, curriculum vitae, an artist's statement, a statement of teaching philosophy, web links to videos of three dances choreographed by the applicant, and the names and contact information for three references who have agreed to provide letters of recommendation upon request.


    Review of applications will continue until September 30, 2015.


    Bowdoin College offers strong support for faculty research and teaching. We recognize that recruiting and retaining faculty may involve considerations of spouses and domestic partners. To that end, where possible, the College will attempt to accommodate and respond creatively to the needs of spouses and partners of members of the faculty.


    A highly selective liberal arts college on the Maine coast with a diverse student body made up of 29% students of color, 3% International students and approximately 15% first generation college students, Bowdoin College is committed to equality and diversity and is an equal opportunity employer. We encourage inquiries from candidates who will enrich and contribute to the cultural, socio-economic, and ethnic diversity of our college. Bowdoin College does not discriminate on the basis of age, race, creed, color, religion, marital status, gender, sexual orientation, veteran status, national origin, or disability status in employment, or in our education programs. For further information about the college and the department, see our website at

    - See more at:


  • 05 Jul 2015 7:03 PM | Anonymous member

    Date Posted

    June 25, 2015





    Employment Type


    The Hong Kong Academy for Performing Arts

    In a city renowned for its internationalism, the Hong Kong Academy for Performing Arts has played a unique and influential role in developing generations of performing, screen and technical artists. The Academy's six Schools Chinese Opera, Dance, Drama, Film and Television, Music, and Theatre & Entertainment Arts make the Academy a vibrant centre of practice, teaching and practice-based research. Its outstanding international reputation is reinforced by the quality of its performers and its partnerships with other centres of excellence locally, regionally and internationally. With international residencies, visiting artists and alumni, which number amongst them some of the most respected professionals in the industry, the Academy is prolific in its creativity and dedicated to the training of future leaders in the performing arts and the creative and cultural industries.

    The School of Dance is one of the three Schools comprising the newly-established College of Allied Arts, along with the School of Chinese Opera and the School of Music. Within this structure, opportunities exist to develop exciting interdisciplinary and inter-School objectives ranging from performance productions to joint contextual studies courses.

    The School offers full-time programmes from sub-degree Diploma to MFA level, together with its part-time Gifted Young Dancer Programme. In keeping with its conservatoire status, the School's philosophy is centred around performance practice, and reflects the unique cultural mix of Hong Kong, with emphasis on both Chinese and Western traditions. The principle of integration is a key defining feature of the School, with the integration of theory and practice a primary objective.

    Due to recent changes in its staffing profile, the School is seeking to appoint a dynamic individual to join its Contextual Studies team. The applicant should hold a higher degree, have extensive teaching experience in a higher education institution (preferably in the conservatoire context), and be committed to current practice in learning and teaching, especially as it applies to the performing arts. A global perspective is also an expectation.  Although subject to negotiation, expected commencement date is 4 January 2016.


    The successful applicant will lead the School's Academic and Contextual Studies stream, and coordinate its thriving MFA in Dance programme. Applicants should hold a higher degree (preferably a PhD), have extensive professional experience, substantial scholarly achievement, and experience of teaching at Master's level. Appropriate academic leadership and management experience is also a must. The appointee will be required to teach in one or more of the following: Contemporary Dance/Arts Practice, Aesthetics and Criticism, Dance History, Dance Education, or Dance Science.

    The appointee will be a member of the School's Executive team, and will be expected to play a strategic role in the further development of Contextual Studies in the School in line with Academy and College priorities, especially as they relate to research in practice-based programmes.

    Applicants should have:
    Essential Criteria

    • Advanced-level academic qualifications in dance studies (preferably at doctoral level); and a minimum of five years' experience in teaching in conservatoire context, including teaching at Masters level.
    • Substantial academic leadership and administrative/management experience in a dance conservatoire context or equivalent.
    • Demonstrated commitment to the scholarship of learning and teaching; and to practice-based research.
    • Demonstrated commitment to the integration of theory and practice, of curriculum content, and innovative teaching practices, including e-learning.
    • A good understanding of contemporary dance practice, and current developments in the discipline, especially as they relate to practice-based research.
    • Experience in curriculum design and writing.
    • Fluency in spoken and written English.

    Desirable Criteria

    • Experience of/teaching in a multi-cultural context.
    • Fluency in spoken and written Chinese.

    Appointment will be on a two-year contract, with possibility of renewal, subject to mutual agreement.  A gratuity payment equal up to 15% of basic salary earned during the contract period will be payable upon satisfactory completion of contract.  Fringe benefits include leave, medical, and dental benefits. Housing subsidy will be provided to the eligible appointee.  The current standard rate of income tax in Hong Kong is 15%.

    Interested parties should forward their applications with detailed curriculum vitae to:

    The Deputy Registrar (Corporate) and Director of Academic Links
    The Hong Kong Academy for Performing Arts
    No.1 Gloucester Road, Wanchai, Hong Kong
    Fax: (852) 2584 8953

    Closing date for application is 18 September 2015. Please quote reference code 'H(ACS)' on the envelope.  Information is also available on the Academy's website

    Personal data collected will be used for recruitment-related purposes only.

    - See more at:


  • 05 Jul 2015 7:01 PM | Anonymous member


    Open until filled

    Date Posted

    June 17, 2015


    Non tenure track


    Commensurate with experience

    Employment Type



    The School of Music and Dance is seeking a lecturer in Dance Theory and Interdisciplinary Studies. The po- sition is anticipated to be full-time based upon candidates skills beginning August 19, 2015 with an option for renewal. The position is for a practitioner researcher in dance. The position requires the candidate to teach dance classes such as 20th Century Dance History, Introduction to Dance, Dance & World Cultures, Aesthet- ics & Criticism, Dance Pedagogy, and Ballet and/or Contemporary Modern Dance Technique. The candidate will be encouraged to contribute to collaborative relationships across the School of Music and Dance, culti- vate and maintain active connections with the local dance community, and participate in the recruitment and retention of outstanding students. Active involvement in professional growth beyond the university is en- couraged. Participation in faculty governance is expected.


    Earned Master in Fine Arts Dance required. A Ph.D. in Dance is preferred. The successful candidate will posses teaching and performance abilities at the highest artistic level. A demonstrated capacity as a dance in- structor at the university or professional level is required. The candidate should possess superior administra- tive and organizational skills and be able to work with students, faculty, and staff. The successful candidate should demonstrate a track record of dance theory curriculum development at the university level along with the ability to determine program effectiveness through student assessment.


    The School of Music and Dance offers music degrees for undergraduates and graduates in music (BA, BM, MA, MM, Advanced Artist Diploma) and dance (BA, BFA.) The School enrolls over 325 majors and serves thousands of general students each academic year through its general education courses, performing ensem- ble opportunities and public performances. 16 full-time, 15 part-time, and approximately 30 studio instructors deliver comprehensive professional curricula. The School of Music and Dance is part of the College of Pro- fessional Studies and Fine Arts. Website:


    SDSU is a large, diverse, urban university and Hispanic-Serving Institution with a commitment to diversity, equity, and inclusive excellence. Our campus community is diverse in many ways, including race, religion, color, sex, age, disability, marital status, sexual orientation, gender identity and expression, national origin, pregnancy, medical condition, and covered veteran status. We strive to build and sustain a welcoming envi- ronment for all. SDSU is seeking applicants with demonstrated experience in and/or commitment to teaching and working effectively with individuals from diverse backgrounds and members of underrepresented

    - See more at:


  • 03 Jul 2015 1:03 AM | Anonymous member (Administrator)

    Collegium for African Diaspora Dance (CADD)
    "Dancing the African Diaspora: Embodying the Afrofuture"
    Duke University -- February 19 - 21, 2016
    • How might we imagine the impact and import of Black dance within the context of afro-futurism?
    • What sorts of movement practices reflect an embodied Black feminist/womanist perspective?
    • What does Black Dance contribute within the context of ongoing brutality and practices of resistance? 
    CADD's second conference, Dancing the African Diaspora: Embodying the Afrofuture aims to re-ignite the discourse on defining Black Dance on a global scale by bringing together scholars, practitioners, educators, and other stakeholders for three days of intellectual and artistic inspiration.  Anchored by critical dialogue and provocative research presentations, the conference will also feature breakout sessions, movement workshops, film screenings, and a performance by Kyle Abraham/Abraham.In.Motion culminating their Duke residency.  

    This three-day conference seeks to center African diaspora dance as a resource and method of aesthetic identity. The Collegium for African Diaspora Dance aims to facilitate an interdisciplinary discussion that captures the variety of topics, approaches, and methods that might constitute Black Dance Studies.

    "Dancing the African Diaspora,” suggests multiple exigencies and interests. We are interested in papers/presentations that consider dance practices throughout the African diaspora, and the specific contexts that engender them. We are also interested in dance as an approach to the understanding/engaging the African diaspora itself. This convening situates black dance as constituted by theories of black performance. We invite you to explore black movement as a technology of African diasporic identity-making. Presentations are invited along any theoretical line of inquiry concerned with African diaspora dance. We welcome papers that engage any site or topic related to black movement and those that represent a rigorous engagement with a number of disciplinary and methodological perspectives.

    Possible topics include:

    • Black dance, virtuality, and technologies of mediation
    • Pedagogical politics
    • Identity and community making
    • Gender and sexuality in African diaspora dance
    • Colonialism, neoliberalism, commodification

    Conference Committee|Collegium for African Diaspora Dance (CADD) Founding Members
    Takiyah Amin, Thomas F. DeFrantz, Shireen Dickson, Jasmine Johnson, Raquel Monroe, C. Kemel Nance, Carl Paris, 
    John Perpener, Will Rawls, Makeda Thomas, Andrea E. Woods Valdés, Ava LaVonne Vinesett.

    Sponsors for this event include: SLIPPAGE: Performance|Culture|Technology in residence at Duke; Humanities Writ Large @ Duke; the Collegium for African Diaspora Dance; the Corporeality Working Group @ Duke; the Duke Dance Program; African and African American Studies at Duke.

    To submit your proposal, visit:

  • 24 Jun 2015 8:18 AM | Anonymous


    The Department of Dance of Barnard College, Columbia University in New York City, invites applications for a full-time, renewable three-year appointment as an Assistant, Associate, or Full Professor of Professional Practice to begin July 1, 2016.  The ideal candidate will be a performing artist with a national or international reputation, a demonstrated capacity for creative work, the potential for continuing to make professional work of a high order and for expanding the Department’s artistic and teaching profile.  Experience in college teaching is required.  Teaching responsibilities could include composition, several levels of technique, performance, and repertory in addition to choreographing occasionally for Department concerts. Expertise in areas such as new media/digital, community-based, or site-specific performance, somatic practice, and/or global forms is desirable.  Additional responsibilities include advising and mentoring students and performing department and college service within a liberal arts environment.  Leadership potential is a must.  Preference will be given to candidates with an M.F.A. or related academic credentials.

    To apply, see

    Applicants will need to submit following materials:

    • a cover letter that integrates a statement of artistic practice and teaching philosophy as well as links to two or three relevant moving-image examples of creative work
    • a curriculum vitae
    • two sample syllabi
    • three letters of reference

    Review of applications will begin on December 1, 2015.

    Please direct any questions to

    Barnard College is an Equal Opportunity Employer. Barnard does not discriminate due to race, color, creed, religion, sex, sexual orientation, gender and/or gender identity or expression, marital or parental status, national origin, ethnicity, citizenship status, veteran or military status, age, disability, or any other legally protected basis, and to the extent permitted by law. Qualified candidates of diverse ethnic and racial backgrounds are encouraged to apply for vacant positions at all levels.

  • 31 May 2015 8:26 AM | Anonymous

    Performing Psychologies: Minding The Remembered Present (working title)

    Edited by Pil Hansen, School of Creative and Performing Arts, University of Calgary, CA (Dramaturgy and Cognitive Performance Studies) with Bettina Blaesing, Faculty of Psychology and Sport Sciences, Bielefeld University, GE (Neurocognition and Action – Biomechanics).

    This book is the second of two Performing Psychologies volumes, the first of which is edited by Nicola Shaughnessy, University of Kent, UK (Theatre), with Philip Barnard, University of Cambridge, UK (Neuroscience) on the topic of imagination and other minds.

    We invite proposals from scholars, researcher-practitioners, and scientists working between the performing arts and cognitive sciences on the subject of processes of memory in dance, theatre, or music performance.

    The aim of this essay collection is twofold: (1) discuss how performing arts practices strategically target cognitive processes of human memory and (2) present insights into memory that derive from the study of such practices.

    In recent years, a growing number of cognitive scientists study memory through experiments with performance subjects; at the same time, the number of artists that make use of cognitive memory studies and theory to develop creation approaches and lines of artistic inquiry is also increasing. A shift from a general understanding of memory as archived and retrievable information to a cognitive conception of long-term memory as a reconstructive process, involving our active engagement with our surroundings in the present, changes the possible avenues of working through memory in performance. In turn, cognitive scientists working with performing arts cases discover that performers’ advanced learning, memorization, and retrieval abilities depend on a complex combination of multisensory perceptions, articulations, and clues that question more classical concepts of memory. Scientists are motivated to advance the ability to study complex dynamics of artistic practice and artists are looking beyond broad concepts of intuition, presence, and cultural memory towards more detailed and precise cognitive understandings.

    This volume will map, articulate, and support the continued realization of the possibilities identified by this rich field of reciprocal exchange between the performing arts and cognitive sciences. Contributors are encouraged to consider, but not be restricted by, the following topics when forming proposals:

    • Entrainment in performance as a source of joint/collective memory construction and retrieval
    • The role of trained, implicit memory in entrainment and improvisation
    • Performing arts training as a form of cross-modal perceptual specialization embedded in procedural and implicit memory
    • Performers’ stage presence as a mode of perceptual attention that prioritizes working memory processes
    •  Expansion of working memory capacity through performing arts practices
    • Creative strategies and “impossible tasks” that aim to hinder reliance on implicit memory (skills and habits) in an attempt to create something new
    •  The cognitive advantages of using marking and other forms of physicalized or sounded memory recall when reflecting upon compositional options
    • Creative approaches that make strategic use of declarative and explicit memory for memorization, to access source materials, or to activate performance tasks, rules, and structures.
    • Neuroplasticity and creative strategies for the adaptation of autobiographical memory
    • Performance as a mediator between cognitive processes of memory and external archives, records, and notations
    • Strategies for expanding, synchronizing, or hindering spectators’ processes of memory in ways that relate to the strategies used by performers

    We welcome abstracts (400 – 500 words) on a broad range of approaches to these and related topics. Proposals are to be submitted by June 1st, 2015. First drafts of selected contributions will be due no later than October 1, 2015, and final versions of the chapters will be due on March 1st, 2016.

    Note that priority will be given to proposals that either 1) are based on methodologically defined empirical cases, experiments, or practice-based research or 2) present hypothetical proposals that build on reviews of such studies. While selected authors will be invited to write in the language of their respective disciplines, some additional introduction of central concepts and presentation of research methods used will be requested in order to achieve interdisciplinary accessibility.

    Please send submissions and questions to both Pil Hansen and Bettina Blaesing at and

  • 18 May 2015 12:57 PM | Anonymous
    On behalf of the Institute for Dunham Technique Certification, we would like to invite you to attend the 2015 Dunham Symposium:

    Black Lives Matter:

    The Relevance of Katherine Dunham’s Legacy for Today’s Artist-Activists 

    The Symposium will take place on Sunday, June 28, from 1-4pm in Tampa at the University of South Florida, Room TAR 249. Sign-in and refreshments will start at 12:30pm. This symposium is free and open to the public.

    Katherine Dunham was an artist, activist, scholar, and educator who fought tirelessly against racism and discrimination throughout her life. She is a role model for today’s artist-activists, a source of inspiration as we come together to fight for racial justice in Tampa, Baltimore, New York, Ferguson, and across the country. Join us to learn more about her example and to develop tools to build a movement. Together, we can draw upon the strength of our past to create a better future. Please visit our website for more information:

    In Solidarity,

    Saroya Corbett, Joanna Dee Das, and Brittany Williams

    2015 Dunham Symposium Co-Organizers

  • 20 Apr 2015 3:28 PM | Anonymous
    The CORD Awards Committee is pleased to announce the 2015 CORD Outstanding Graduate Research Award Winner:  Elizabeth Schwall, Columbia University, for her paper "Carmen (1967): Elided Experiments, Alternative Meanings, and Monopolizing Canons."
 Congress on Research in Dance
Powered by Wild Apricot Membership Software