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.  

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  • 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 member
    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."
  • 20 Mar 2015 4:24 PM | Anonymous member
    BEYOND Ballet Why & How, April 16-18, 2015 in Arnhem, The Netherlands, is an international conference, initiated by education, partnered by the dance profession. CORD member Robin Lakes is one of the invited speakers. BEYOND Ballet Why & How continues where the 2012 conference Ballet: Why and How? left off. Then, the conference was geared toward one aspect of dance education, namely the role of ballet technique in vocational schools and the life of the professional dancer of today. The main objective was to promote dialogue between professionals about the challenges education faced in relation to that particular subject. Now, ArtEZ School of Dance and Balettakademien Stockholm join forces once again and offer a different perspective. The aim of BEYOND is to stimulate discourse on dance and dance education in a broader social context. We do so by inviting experts from the world of dance, but also external professionals to present their unique perspective. The education and the professional field partner up by sharing viewpoints and insights, to take solid steps towards building the dance educators and professionals of the future.

    The themes for BEYOND are as followed:

    Educational: This theme examines various methods developed by dance practitioners based on their questions and challenges in educating the dancer of today.

    Artistic: This theme invites choreographers to conduct extended workshops and share their artistic and choreographic research methods.

    Urban: This theme is particularly interesting for those who wish to experience how urban performance art, in particular training principles and methods, can be used in other dance settings.

    Preservation: This theme explores notation, archiving, repertoire, authorship and the relevance of heritage.

    Medicine and Science: This theme focuses on applied dance and sports science & medicine research to provide a deeper understanding of the challenges involved in the care of students and professionals.

    General: In addition to the specific themes detailed above, this theme will offer subjects of general interest.

  • 22 Feb 2015 12:29 PM | Anonymous member
    The Passion of Flamenco 
Symposium & Performances
    Duke University, Durham, NC
    February 27-March 1, 2015

    SYMPOSIUM - Free and open to the Public

    Saturday, Feb. 28, 2015 10 a.m.-2:30 p.m. | White Auditorium, Duke East Campus (master class in the Ark Dance Studio). Duke University, Durham, NC.

    Free and open to the public.

    Flamenco, a dance and music form of Southern Spain, was forged by a remarkable intercultural exchange among Arabic, Judaic and Iberian cultures, inhabitants of Spain, and subsequently enriched by rhythms and influences from the East Indian gypsies and from Latin America.

    The Passion of Flamenco Symposium is inspired by the exhibit “100 Years of Flamenco in New York” mounted at The New York Public Library for the Performing Arts in 2013. One of the curators of that exhibit, Meira Goldberg, is a featured speaker at the symposium, along with scholar Estela Zatania, and Brook Zern, who has been knighted by the King of Spain for his contributions to flamenco. The Symposium will culminate with a 75-minute master class led by Antonio Hidalgo, Associate Artistic Director of Flamenco Vivo.

    For more information, see the biographies at the bottom of the page, and the link:

    PERFORMANCES: The Passion of Flamenco: Up Close and Personal

    Friday, Saturday, Sunday Feb. 27, 28, and March 1

    Friday & Saturday | 8 p.m. | Motorco Music Hall, 723 Rigsbee Ave, Durham, NC 

    Sunday | 7 p.m. | Motorco Music Hall, 723 Rigsbee Ave, Durham, NC

    For 3 nights, Flamenco Vivo Carlota Santana <> will perform in a tablao (café) setting at Motorco Music Hall, 723 Rigsbee Avenue in Durham. Patrons can opt for table seating for $30/person or sitting on risers for $20/person. Limited student tickets available for $10. Tickets for sale at the door or in advance at the Duke University Box Office. Dinner and drinks are not included, but may be purchased at the bar. Seating one hour before curtain.

    To purchase tickets:

    These events are sponsored by the Duke University Dance Program <>, the Duke University Department of Romance Studies, the Durham Arts Council, NC Arts Council, and are made possible by a Visiting Artist grant from the Council of the Arts, Office of the Vice Provost, Duke University.


    Meira Goldberg, Symposium Speaker
    K. Meira Goldberg “La Meira” (M.F.A., Ed.D.) is a flamenco performer, teacher, choreographer, and scholar. She is co-editor and translator for an anthology, Imagining Flamenco: Historical, Critical, and Theoretical Perspectives, forthcoming in 2015 from McFarland. She co-curated the 2013 exhibit “100 Years of Flamenco in New York” at the New York Public Library for the Performing Art at the Lincoln Center, and co-authored the catalog. Her article “Sonidos Negros: On the Blackness of Flamenco” is in Dance Chronicle 37:1; she is writing a book with the same title. She is the lead organizer of a conference on "The Global Reach of the Fandango in Music, Song, and Dance" (April 2015) at The Graduate Center of the City University of New York’s Foundation for Iberian Music, whose proceedings will be published by the Junta de Andalucía. Goldberg’s doctoral dissertation on Carmen Amaya, Border Trespasses: The Gypsy Mask and Carmen Amaya’s Flamenco Dance, is a widely-used resource within the English-speaking Flamenco community. She currently teaches at Sarah Lawrence College and at the Fashion Institute of Technology, and she has also taught or guest-lectured at New York University, Bryn Mawr College, Duke University, Julliard, Princeton University, Smith College, and the Flamenco Festival International in Albuquerque.

    Estela Zatania, Symposium Speaker
    Estela Zatania’s career in flamenco as singer, guitarist, dancer, writer and journalist spans more than 50 years. In 2002, she was named editor-in-chief of the online magazine In 2003, she received a research grant from the Cultural Ministry of Andalucía which led to the publication of her investigation “Flamencos de Gañanía”, selected Best Flamenco Book of 2007 by popular vote. In 2004, she was awarded Spain’s national prize for Flamenco Journalism. She was contributing writer for the books “Flamenco Project: una ventana a la visión extranjera 1960-1985”, “100 Años de Flamenco en Nueva York” and “La Cañeta de Málaga, José Salazar y La Pirula”, and acted as advisor for numerous documentaries, most recently “The Fabulous Sabicas” which she presented at Lincoln Center in New York City. Founding member of the cultural forum “Morón 2004”, Zatania is a regular panel member on the weekly radio program “Los Caminos del Cante” broadcast from Jerez, and currently gives lectures and workshops throughout Europe, Canada and the United States.

    Brook Zern, Symposium Speaker
    A guitarist, historian and widely-published writer on flamenco, Brook Zern was knighted in 2008 by King Juan Carlos I of Spain for his work in the field, receiving the Cruz de Isabel la Catolica (Officer’s Cross of the Order of Queen Isabella) – the highest honor that Spain can bestow upon a non-Spanish citizen. He is a Contributing Scholar at The Graduate Center of the City University of New York’s Foundation for Iberian Music, and a Consultant on Flamenco in the Ethnomusicology Department of Columbia University. His writing has been published in dozens of American and Spanish publications, and his contributions to The New York Times have been recognized by Spain’s Melia Journalism Prize.

    Antonio Hidalgo, Associate Artistic Director, Flamenco Vivo Carlota Santana (Master Class Leader)
    Antonio Hidalgo is from Córdoba, Spain and has worked with the companies of Jose Antonio, Paco Romero, Jose Greco and Antonio Gades. Now Associate Artistic Director of Flamenco Vivo Carlota Santana, he has been a choreographer and principal dancer with the Company since 1998. With Inmaculada Ortega, he also directs the company Aroma Flamenca and works with the Fundacion Antonio Gades as Assistant Director, soloist and choreography assistant.

    Barbara Dickinson
    Professor of the Practice of Dance
    Duke University Dance Program
    2 Brodie Gym Drive
    Suite 205 Bivins Building
    Box 90686
    Durham, NC 27708-0686
    Phone: (919) 660-3352
    Fax: (919) 668-7858
  • 18 Jan 2015 9:09 AM | Anonymous member

    Position Title

        ITALIC Lecturer


        Stanford University Main Campus


    Position Description

        Working closely with the teaching team of three Stanford faculty, the program’s Assistant Director, and one other lecturer, the ITALIC lecturer will lead two discussion sections of 15 students per quarter and offer individualized instruction to his/her students. The lecturer will work with freshmen in probing the nature of artistic and aesthetic invention, discovery and issues.


    Through a series of close investigations and analyses of major works and ideas of the visual, performing and filmic arts, as well as less considered instances of the aesthetic in everyday life, this three-quarter class will question what the cultivation of aesthetic perception, analysis, art making skills and experience in art can bring to creativity and perception in important areas of human endeavor outside of art.   


    Initial appointments are for a term of one year with a start date of September 1, 2015. The position may be renewable for additional years should the pilot program be continued beyond the start-up period. Salary and full benefits package is competitive.



        The successful candidate will demonstrate excellence in college-level teaching, both in small seminar style classes as well as larger lectures. Must be sensitive to the particular demands of teaching freshmen in a year-long, residence-based course, and committed to effective, engaging pedagogy. Exceptional communication skills and experience in working collaboratively and in team-taught courses is also highly desirable. Evidence of distinction in relevant scholarship and research and (if relevant) arts practice, is required. The successful candidate will hold a Ph.D., M.F.A, M.A., or DMA in one of the Arts or affiliated fields (e.g. Art History, Cultural Studies, American Studies, Music, Dance Studies, Film Studies, and related arts and humanities disciplines), conferred no later than June 2015.


    About Stanford University


    Stanford University, located between San Francisco and San Jose in the heart of California’s Silicon Valley, is one of the world’s leading teaching and research universities. Since its opening in 1891, Stanford has been dedicated to finding solutions to big challenges and to preparing students for leadership in a complex world.


    To apply for the ITALIC Lecturer position, please visit:


    Stanford University is an equal employment opportunity and affirmative action employer and is committed to recruiting and hiring qualified women, minorities, protected veterans and individuals with disabilities.


    - See more at:


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