News

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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  • 23 Nov 2012 9:30 AM | Anonymous member
    Manual Labour, Manifesto, and York University Present

    PRIMARY SOURCE:
    Documenting, Archiving & Preserving Local HIP HOP Histories

    Manifesto Studio
    37 Bulwer St. (Behind the Rivoli)
    Toronto, ON
    Canada
    7-10:30pm

    Public talks and discussion about the documentation, archiving and preserving of local hip hop histories with a special emphasis on dance.

    SPEAKERS

    Andrew “Andycapp” Hicks

    Andrew “Andycapp” Hicks is a multi-talented DJ/Community Arts Promoter/Filmmaker who just finished his M.A. in Global Film Cultures. His thesis titled “New York Beat: Collaborative Video and Filmmaking in The Lower East Side and the South Bronx from 1977-1984” examines the media, artists and creative practices that emerged in the New York City downtown art scene in the Lower East Side and the uptown hip-hop scene in the South Bronx during the late 1970’s and early 1980’s.

    Andrew will be discussing the cultural and political milieu of the Lower East Side, South Bronx and Times Square in conjunction with the collaborative artworks, alternative media spaces (clubs, bars, parks, abandoned warehouses, television studios) and technologies (Super 8, 16mm, video) and how these art practices might be used as inspiration for future collaborative work in Toronto.

    http://bangtheparty77-84.com/

    Mary Fogarty

    Dr. Mary Fogarty is Assistant Professor of Dance at York University. She is the author of "Each One Teach One: B-Boying and Ageing," a chapter in a new anthology Ageing and Youth Cultures (Berg 2012). She was recently invited to participate in a symposium at the Schomburg Centre in Harlem about preserving and archiving hip-hop histories. She will be a Visiting Scholar at NYU in 2013 to continue her research about international b-boy/b-girl histories.

    Mary will be discussing her research about the significance of video mediation for the cultural memory of b-boy/b-girl history focusing on the value and impact that underground b-boy videos had for the local Toronto history in the 1990s. Her research is further discussed in the article "Breaking Expectations: Imagined Affinities in Mediated Youth Cultures," (2012) in Continuum, and in that work she challenges older theoretical models for thinking about youth culture by arguing that mediation produced experiences of inclusivity, rather than homogeneity of movement as previously argued by scholars.

    http://dance.finearts.yorku.ca/people/faculty/mary-fogarty


    Robin “Rocabye” Coltez


    Robin is the creator of Fat Laces, an on-line magazine with the purpose of documenting the Hip Hop Street Dance Culture from a Canadian perspective covering various styles of Street Dances such as Bboying, Popping, Locking & House. This site shows the ties between various dances and disciplines that has it’s beginnings or influences from the streets such as Capoeira, Tap, and Salsa. The name Fat Laces was chosen because it was the first symbol of hip hop: specifically Breaking that my twin brother Collin Coltez and I were introduced to in 1983 by our childhood friend and fellow crew member, Rod Oyco (B-Boy Chi Ko).

    From the early 1990’s to present, Freestyle Hip Hop/ House Dancing and the reenergized Breaking scene in Canada around 1992 inspired Robin to form The HardNox Skoolerz Dance Company in 1997 with his brother to represent teh clothing line BobbyNox. While teaching Breaking and Freestyle Hip Hop/House Dancing for 10 years starting in 2001, Robin was inspired to dig into the reasons of what influenced him to begin Street Dancing and to search for and document the stories of the Canadian Street Dancers past and present that has inspired him throughout the years. In this talk Robin will focus on the factors that lead to the hiatus of Breaking in Toronto in the mid 80’s.

    http://www.fatlaces.net


    MANIFESTO

    Manifesto Community Projects is a non-profit grassroots organization working to unite, energize, support and celebrate Toronto’s vibrant and diverse music and arts community, and find innovative ways of working together towards common goals. Through art exhibitions, dance competitions, workshops, free outdoor concerts, film screenings, networking opportunities, seminars, a pop-up arts market, and much more, Manifesto creates powerful and engaging experiences, and provides opportunities for young artists to grow.

    The Manifesto Studio at 37 Bulwer St. is a social hub where great energies merge! The space has been used to host; artist talks, yoga classes, gallery exhibitions, workshops & collaborative meetings, culinary events and other creative endeavours. 37 Bulwer embraces artistic expression, education and entrepreneurship and aims to be a foundation to connect passionate individuals, groups, and collectives. With multi-purpose spaces available for short-term rentals, we aspire to support the capacity of artists, community builders, and local organizations.

    http://themanifesto.ca/
  • 21 Nov 2012 3:41 PM | Anonymous member
    The Performing Body in the Hollywood Film Musical: An Interdisciplinary Symposium
    April 4-6, 2013
    Colgate University, Hamilton, NY


    Since its emergence in the 1920s, the film musical has woven together utopian visions and cultural realities, simultaneously creating, reflecting, and critiquing contemporary social, political, and economic conditions. Frequently, film musicals communicate these ideologies through the performing bodies of the film’s cast and crew. This symposium will consider the ways in which bodies perform in the film musical, and what such performances signify. Papers are invited that consider the following questions, among others: how do song and dance animate and define bodies onscreen? When and why are performing bodies marked in terms of gender, race, class, sexuality, and when do these bodies remain unmarked? In what ways does the film musical regulate bodies, and to what extent are performers permitted to regulate themselves? How do onscreen performances differ from those bodily performances that remain invisible to audiences, including those of crew members, sideline and film orchestra musicians, vocal and dance doubles, and so on? How do the film musical’s modes of performance both reflect and influence contemporary production practices?

    Submissions from across disciplines are encouraged this symposium is intended as a space for scholars from film studies, musicology, dance, theater, and other fields to share their work and consider various disciplinary methodologies and approaches to the genre. We are delighted to welcome three distinguished keynote speakers: Steven Cohan (Syracuse University), Caryl Flinn (University of Michigan), and Adrienne McLean (University of Texas-Dallas).

    Proposals for 20-minute papers should include a name, institutional affiliation (if appropriate), and an abstract of no more than 300 words. Please submit all proposals to filmmusicals (at) colgate (dot) edu by December 15, 2013. The program will be announced by February 1, 2013.

    More information is available at www.colgate.edu/filmmusicals, or by contacting Mary Simonson, Assistant Professor of Film & Media Studies and Women’s Studies at Colgate University.
  • 19 Nov 2012 11:36 AM | Anonymous member
    Call for Proposals

    The Dance of the Future: Cultivating Duncan Dance for the 21st Century

    June 16-18, 2013
    at George Washington University
    Washington, DC

    You are invited to present at the first Isadora Duncan International Symposium.

    The symposium is open to Duncan Dance practitioners of different fields, genres, techniques and forms including performance, choreography, repertory, instruction, research and scholarship, criticism, photography, visual and multimedia art and biography.

    The symposium invites performers, choreographers, teachers, educators, artists, dance critics, dance researchers and artistic directors from all over the world interested in sharing and learning traditional methods and contemporary approaches in Duncan Dance to attend as presenters or participants. This symposium offers potential for international collaboration.

    The conference working language is English.

    You are welcome to take part in the conference as a Speaker, Presenter, Teacher, Panelist, Participant, and Observer

    REGISTRATION FOR PRESENTERS AND SPEAKERS:
    The symposium is an opportunity for Duncan Dance practitioners to demonstrate their methods and techniques, share important experience and knowledge, and present research and scholarship to a wider international Duncan community. It is also an opportunity for both presenters and participants to learn from each other in practical, theoretical, physical and artistic realms.

    We will attempt to accommodate as many presenters as possible. However, the number of slots is limited.

    The proposal deadline is MARCH 1, 2013. 

    PRESENTATION FORMATS:

    • practical workshop/master class
    • choreography, repertory and works in progress (not requiring special technical conditions)
    • reading/lecture/presentation
    • panel discussions
    • roundtable discussions with moderator
    • video showings
    • other formats suggested by the presenter can be considered

    To submit your proposal, please see the submission guidelines.

    SYMPOSIUM REGISTRATION:
    All attendees, including presenters, must register for the symposium. Symposium registration is $150 for the three-day event, and all sessions are open to all attendees. Please click here to register. Accommodation, location and other information about the conference is available on the Symposium Information page.

    We appreciate in advance if you could spread the word among your Duncan Dance friends, colleagues and community. Thank you very much for your creative work in the field of Duncan Dance, and we look forward to your participation at the symposium.
  • 11 Nov 2012 10:46 AM | Anonymous member
    If you have any students ready to start an MA, have a look at Choreomundus (http://www.ntnu.edu/studies/ choreomundus) there are scholarships available. Deadline for application 1sr December.
  • 10 Nov 2012 11:11 AM | CORD Office
    Dear Colleagues:

    In the summer of 2013 there will be an exciting festival and a series of related classes at the University of Hawai'i. Below, and attached as a flyer, is information about these activities. Please share this with faculty and students you think might be interested in it.

    We hope we might see you in Hawai'i!

    Warm aloha,

    Judy

    Judy Van Zile
    Professor Emerita of Dance
    Department of Theatre and Dance
    University of Hawaii at Manoa

  • 06 Nov 2012 11:09 AM | CORD Office

    Curtains Up – ATDS Emerging Scholars Panel (ATHE)

    CALL FOR PAPERS

    Emerging Scholars Panel – American Theatre and Drama Society (ATDS) The Association for Theatre in Higher Education (ATHE) 2013 Conference Orlando, Florida, 1-4 August 2013 Hyatt Regency Grand Cypress

    “P[L]AY: Performance, Pleasure and Pedagogy”

    Paper Due: 1 April 2013

    Please note: Emerging scholars must not have previously presented at a major, national conference.

    The American Theatre and Drama Society (ATDS), in co-ordination with the Latino/Latina Focus Group (LFG) and Black Theatre Association (BTA), is pleased to announce its fifth annual emerging scholars panel, “Curtains Up,” introducing new scholarship in American, Black, Latina/o and Latin American Theatre and Drama. We invite new scholars who have not yet presented at a major national conference to submit papers.

    Papers submitted may treat any aspect of United States theatre and drama, its varied histories, traditions, literatures, and performances within its cultural contexts. While all submissions are encouraged, we particularly recommend submitting papers that also address the conference theme: “P[L]AY: Performance, Pleasure and Pedagogy.”

    (Please note that the Black Theater Association and the Latina/o Focus Group will also issue calls for emerging scholars whose research addresses African American theater or Latina/o and Latin American theater for participation in this jointly coordinated debut panel.)

    To be considered for this panel, please email to Lisa Jackson-Schebetta (lisajsch@pitt.edu) by April 1, 2013:

    ·    a cover page with your name, paper title, affiliation and contact

    information

    ·    your 8-10 page paper (sans name and contact information).

     Essays will be evaluated on their originality, the quality of their writing and research, and their critical/theoretical sophistication.

    Submissions will be vetted by a committee of select ATDS scholars. Two of the essays will be chosen for inclusion on this competitive panel.

    The selected authors are expected to attend the conference in August to present their papers. Winners will receive a year-long membership to ATDS, which includes subscription to the journal The Journal of American Drama and Theatre, as well as a $200 cash award. Successful applicants will be notified by 1 May 2013.

    Contact Lisa Jackson-Schebetta (lisajsch@pitt.edu) with any questions.

    For more information on the ATHE conference visit www.athe.org For more information on ATDS visit www.atds.org

    The American Theatre and Drama Society (ATDS) is an incorporated organization dedicated to the study of United States theatre and drama, its varied histories, traditions, literatures, and performances within its cultural contexts. ATDS also encourages the evolving debate exploring national identities and experiences through research, pedagogy, and practice. ATDS recognizes that notions of America and the US encompass migrations of peoples and cultures that overlap and influence one another. To this end, ATDS welcomes scholars, teachers, and practitioners world-wide.

  • 10 Oct 2012 1:34 PM | CORD Office
    The MFA program in the University of Michigan's Department of Dance offers dance artists the opportunity to explore and examine choreography and performance within the setting of one of the U.S.'s great research universities. Candidates combine an intensive immersion in dance studies with a broad array of interdisciplinary opportunities and extraordinary resources.

    Find out more.
  • 26 Sep 2012 1:53 PM | CORD Office
    Across the Threshold: Creativity, Being & Healing
     Interdisciplinary Conference
    Exploring Diverse Paths Leading to
    Personal/Social/Environmental Transformation

    key presenters: Chris Jordan, Lily Yeh, Ronald K. Brown
     
    Hosted by Duke University Dance Program
    Duke University, Durham, North Carolina, USA
    February 28 – March 3, 2013

    The Organizing Committee announces the call for papers, panel proposals, lecture-demonstrations and workshops
    Proposals may address one or more of the following questions:
    • What are the links between personal, social, and environmental transformation?
    • Can we simultaneously bear witness to the effects of our (human) activity on our earth “home” while holding a vision for a different paradigm?
    • What is the power of art in activating social transformation?
    • How can the arts allow us to experience our interconnection with all sentient beings and our environment?
    • What bridges can connect us across cultures and other perceived boundaries to collectively face the global environmental crisis?

    More information: danceprogram.duke.edu/threshold

    Deadline for Proposals Extended: October 15, 2012

    Hosted by the Duke University Dance Program, with support from a Visiting Artist Grant from the Council for the Arts, Office of the Provost, Duke University and the
    Mary Duke Biddle Foundation. Co-sponsors: UNC-CH Department of Physical Medicine and Rehabilitation, Program on Integrative Medicine, Nicholas School of the
    Environment, Duke Center for Documentary Studies, the Franklin Humanities Institute, The Program in Women's Studies at Duke University, Duke Center for Civic Engagement, Office of Durham and Regional Affairs, SLIPPAGE: Performance/Culture/Technology and the following Duke Departments: Asian & Middle Eastern Studies, Arts of the Moving Image, Music, and the Duke Service-Learning Program.
  • 17 Sep 2012 11:20 AM | CORD Office

    Dear friends and colleagues

     It is with great pride that we announce the publication of  POST-APARTHEID DANCE-many bodies many voices many stories. Published by Cambridge Scholars Publishing in the UK, this book is the first of its kind in South Africa, for as yet, there has been no collection of writings in book form that attempts to provide a scholarly, cohesive account of the range of voices within dance in post-apartheid South Africa. This book aims to bridge that gap. The intention of this book is to present perspectives on post-apartheid dance in South Africa by South African authors (9 chapters, 8 authors).  Beginning with an historical context for theatre dance in South Africa, the book moves on to reflect the multiplicity of bodies, voices and stories suggested by the title. Given the diversity of conflicting realities experienced by artists in this country, contentious issues have deliberately been juxtaposed in an attempt to draw attention to the complexity of dancing on the ashes of apartheid. Although the focus is dance since 1994, all chapters are rooted in an historical analysis and aim to offer a view of the field. Given the range of the writing and the context in which it is based, the material is relevant beyond the dance community and would be appropriate for studies in cultural history, in performance theory and in African history. And there are lots of pictures!!!

    The book may be ordered from Cambridge Scholars Publishing -12 Black Chapman Street-Newcastle -upon-Tyne NE2XX, UK. The ISBN numbers are 

    (10):1-4438-4036-X and ISBN(13): 978-1-4438-4036-1 http://www.c-s-p.org/Flyers/Post-Apartheid-Dance--Many-Bodies--Many-Voices--Many-Stories1-4438-4036-X.htm

    Please note that, within the next 4 weeks, the text will be updated, an image of the front cover will be added, and a sample PDF will be made available in the webpage.

    The book will be included in CSP October Book of the Month campaign.

    The discount will be one third (33%) and will be valid from 1-31 October 2012. A discount code will be created later this month and will be shown on the Book of the Month marketing materials. I will send this on as soon as I receive it. Given the Rand /Pound exchange rate, October would be a really good time to by personal copies as well as encourage the libraries. Also please excuse possible multiple postings all the authors will be sending out a similar announcement.

    Sharon Friedman

    Editor

    Co-author

  • 05 Sep 2012 1:58 PM | CORD Office
    CALL FOR PROPOSALS
    Performance Studies Focus Group
    Association for Theatre in Higher Education (ATHE) Conference
    1-4 August 2013, Hyatt Regency Grand Cypress, Orlando, FL

    Deadline (for complete session proposals, submitted online directly to ATHE at www.athe.org):
    1 November 2012

    The Performance Studies Focus Group (PSFG) of the Association for Theatre in Higher Education (ATHE) invites session proposals for ATHE?s 2013 conference in Orlando, Florida. Proposals will be welcomed in many formats?e.g., scholarly panels, seminars, roundtables, performance-based presentations, working groups, and alternative session structures?and on all theater- and performance-related themes, particularly those that address the 2013 ATHE conference theme of "P[L]AY: Performance, Pleasure, and Pedagogy." Coming together in a luxury resort just minutes away from the marvels, attractions, and distractions of the Magic Kingdom, we will stage an ongoing discussion on the ways performance continues to intersect meaningfully with questions of play, pleasure, and payment in contemporary research. More than forty years after Jacques Derrida articulated a concept of performativity predicated on an idea of play, and thirty years after Victor Turner foundationally asserted ?the human seriousness of play? in From Ritual to Theatre, what new avenues of performance inquiry can ludic activity open up? And how do economic considerations provide a set of contours against which performance can approach this activity?

 Congress on Research in Dance  Emailinfo@cordance.org
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