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.  

DSA Members - You may add your own announcements to the website by clicking "add post" below.
  • 01 Nov 2017 10:21 AM | Anonymous member (Administrator)

    The Williams College Dance Department invites applicants for a full-time tenure track position in Dance History and Theory beginning fall 2018. Primary responsibilities will include teaching dance history and theory from a global perspective. Scholar/artists able to teach courses in anatomy/kinesiology, dance media and technology, choreography/improvisation are welcome to apply. In addition to sustaining scholarly and/or creative research, the successful candidate will collaborate with department faculty to expand curricular offerings and to develop innovative pedagogy that engages multiple disciplines at the college. Ph.D. or MFA in Dance, Performing Arts, or a related field should be in hand or expected by September 2018.

    Dance has been active as a program at Williams since the 1970's and became an academic department in 2009. Our focus is the exploration of dance as an art form that reflects the past and the 21st century via embodied, creative and research practices that offer potential engagement with other disciplines of study at the college. Link to the department website at for more information.

    All applications should be submitted online via Interfolio at Application components must include a cover letter, CV, three letters of reference, teaching statement, writing sample, and other pertinent materials (e.g, reviews of professional projects, writing sample, media sample). In your cover letter please discuss your ability to work effectively with a broadly diverse student population in regard to gender, race, ethnicity, nationality, sexual orientation and religion. We welcome applications from members of groups traditionally underrepresented in the field. The application deadline is December 1, 2017.

    Questions can be directed to Sandra L. Burton, Department Chair ( or Willa Simon, Department Administrator (

    All offers of employment are contingent upon completion of a background check. Further information is available at

    Williams College is a coeducational liberal arts institution located in the Berkshire Hills of western Massachusetts. The college has built its reputation on outstanding teaching and scholarship and on the academic excellence of its approximately 2,000 students. Please visit the Williams College website ( Beyond meeting fully its legal obligations for non-discrimination, Williams College is committed to building a diverse and inclusive community where members from all backgrounds can live, learn, and thrive.



    Williams College

    Online App. Form:

  • 01 Nov 2017 10:15 AM | Anonymous member (Administrator)

    Deadline December 1, 2017. For more information, click here

  • 31 Oct 2017 10:49 AM | Anonymous member (Administrator)

    The Ohio State University Department of Dance seeks a dance artist/teacher/scholar with expertise in community engagement through dance pedagogy, art-making processes, and movement practice. We welcome a colleague interested in forging collaborations between OSU Dance and underserved local, national, and international communities to engender greater public engagement with their voices and histories. We particularly welcome applicants whose foci embrace African American, Latinx, immigrant, and refugee community contexts. Full position announcement available:

  • 31 Oct 2017 10:04 AM | Anonymous member (Administrator)

    The Department of Music and Dance at Swarthmore College invites applications for an Assistant Professor or Lecturer in Dance with specialization in contemporary dance. This is a renewable three-year position with competitive salary and full benefits, beginning in Fall 2018. It is not eligible for tenure. Academic rank will be dependent on educational background.

    This colleague will teach courses in all levels of contemporary dance technique, repertory, and dance composition as part of our globally-focused program that blends theory and practice. The successful candidate will bring to our program a strong record of creative work, excellence in undergraduate teaching, and knowledge of curriculum development and design. We are particularly interested in candidates whose practice draws on techniques of the African, Asian, or Latinx diaspora. The successful candidate will teach three courses per year as well as contribute to the support of student productions and events with visiting artists. Other responsibilities include administrative work and service to the College.

    Swarthmore College is a highly selective liberal arts college in the suburbs of Philadelphia, whose mission combines academic rigor with social responsibility. The College is especially interested in qualified candidates who can contribute, through their research, teaching, and/or service, to the diversity and excellence of the academic community.   For more information on Faculty Diversity and Excellence at Swarthmore, see


    The ideal candidate will hold a M.F.A. in Dance completed by the appointment starting date of August 1, 2018.


    Qualified applicants should submit an online application through Interfolio at by December 2, 2017. Please include a letter of application, curriculum vitae, three reference letters, one sample of creative work, and a sample syllabus. 

    Swarthmore College actively seeks and welcomes applications from candidates with exceptional qualifications, particularly those with demonstrable commitments to a more inclusive society and world. Swarthmore College is an Equal Opportunity Employer. Women and minorities are encouraged to apply.

  • 11 Oct 2017 9:53 AM | Anonymous member (Administrator)

    Click here to view a PDF version of this announcement

    Dance critic and historian Camille Hardy has completed over 500 articles, interviews and reviews for Dance Magazine, Village Voice, Contemporanea, The World and I, Ballet News, Ballet Review, Dance Chronicle, Stagebill, Ballett International, and London's Dancing Times, as well as broadcasts with Voice of America and PBS's WNET/Thirteen. Her collaborations includeThe New Harvard Dictionary of Music (1986 and 2003), Encyclopedia Britannica (in press),International Encyclopedia of Dance (1998) andAmerica's Irreplaceable Dance Treasures: the First One Hundred (2001). Hardy was commissioned in 1987 to complete "State of the Arts: Dance" as mandated by U.S. Congress, and in 1991 wrote Michelangelo and the Pauline Modello: Art, Document and Odyssey. She produced "Pauline Koner" for the online edition ofAmerican National Biography (2001).

    She has been a member of the Society of Dance History Scholars (SDHS) since helping to found the organization in 1978. Hardy was on the SDHS board of directors (1982-1985) and was conference chair in 1983 and 1991. On the board of directors for the Dance Critics Association (1981-1983 and 1984-1987), she also chaired national conferences in 1980 and 1987. Hardy was on the Dance Panel of the National Endowment for the Arts (1979-1987) and was a consultant to state arts councils in Michigan, Illinois, Texas and New York. She has served as a consultant to the Rockefeller Foundation, Exxon Education Foundation and the John D. and Catherine T. MacArthur Foundation. She designed the Literacy Component for the City Center Dance Outreach Program in New York City and was founding editor of The City Center Chronicle.  For Dance Magazine, she was contributing editor from Chicago (1978-1984) and became a senior critic in New York in 1984.

    From October 2001 until 2005, Hardy served as a principal researcher and researcher-at-large for the Popular Balanchine Project, sponsored by the George Balanchine Foundation. The project documented all the London revues, Broadway musicals and Hollywood films for which Balanchine provided choreography. As principal researcher, she assembled and analyzed information on The Boys from Syracuse (1938), Stars in Your Eyes (1939) and Courtin' Time (1951). In addition, she contributed material to the dossiers for fifteen other Balanchine productions as researcher-at-large. 

    Hardy has been a faculty member at New York University's Tisch School of the Arts, Cornell University, The University of Texas at Austin, National Academy of Arts and University of Illinois at Urbana-Champaign, where she served as Assistant to the Dean of Fine & Applied Arts from 1979 to 1984.  She was a cofounder of the Midwest Institute for Dance Criticism and directed the Critics Program for the American Dance Festival.  Personal data appears in Who's Who of American Women and Five Thousand Personalities of the World.  Hardy holds a Ph.D. in Theater from the University of Michigan, an M.A. in Dramatic Arts from the University of North Carolina at Chapel Hill and a B.A. in Political Science from Duke University.

  • 11 Oct 2017 9:04 AM | Anonymous member (Administrator)

    Call for Submissions
    Deadline: July 1st 2018

    Choreographic Practices
    Special issue, Spring 2019
    Dancing Urbanisms:
    Flows, Architecture and the Everyday
    Guest edited by Victoria Hunter, Melanie Kloetzel and Karen Barbour

    This issue is dedicated to explorations of site dance practice created and performed in urban environments. We invite submissions that consider how site dance and the choreographic, broadly conceived engage with urban environments, practices and systems. In particular, submissions taking intellectual and aesthetic risks that push authors and readers to consider how site-dance situated within urban spaces might respond to, contest, amplify or expose systems of urban design, navigation, embodiment, regulatory control, and socio-economic norms are encouraged.

    We welcome submissions that connect site dance and choreography to urban contexts and encourage contributions that comment on or critique locally based practices in relation to broader, geo-political contexts or speak from a global perspective through which localized acts are implicated. Contributions that position personalized and intimate accounts of everyday movements, urban flows and relationality articulated through the lens of site dance practice are also encouraged.

    In keeping with the aesthetic and intellectual ethos of Choreographic Practices, we invite diverse perspectives taking the form of critical essays, creative documentation, visual essays, dialogues, interviews and debate. We encourage submissions in both conventional and alternative modes of writing, including performative and visual essays.

    We are seeking a broad range of perspectives addressing dance practices in relation to dancing urbanisms. Possible areas of focus in this respect include:

    • Dance and acts of dwelling
    • Dancing flows and urban rhythms
    • Urban resistance, site-dance and defiance
    • Embodied mapping / Embodying the City
    • Architectures and in-between spaces
    • Everyday acts, amplification, coercion and subversion
    • Urban scores, patterning and sited dance responses
    • Dancing the urban and peri-urban, outskirts and peripheries, insides and outsides.

    Submission Guidelines

    It is our intention to publish this special issue in Spring 2019. Please submit completed contribution by July 1, 2018 to

    If you have any questions about the theme or focus of your submission please, in the first instance, contact Vicky Hunter ;, Melanie Kloetzel;, or Karen Barbour; (guest editors for this special issue):

    Instructions for Authors

    1. Full article should be approx 6,000 words or equivalent in other formats. Include article title, abstract (200 words) and 6 keywords.

    2. Shorter submissions and submissions employing non-traditional modes of writing are also welcome. Include article title, abstract (200 words) and 6 keywords.

    3. In another document, please include author’s name, affiliation and biography (200 words), and contact details, including postal and email addresses.

    4. Format: Word format File

    5. Labeling: Clearly name your file with the title of your submission

    6. Spacing and fonts: Please double-space your article and use Arial (or similar) font, size 12.

    7. Referencing: Choreographic Practices follows the Harvard Style Guide with a full reference list at the end of the article. See Intellect’s Style Guide for full presentation details.

    8. Images: Choreographic Practices will be able to carry photographic images. If you have access to high quality images appropriate for your article it would be very helpful if you could send 2 or 3 such images in a separate file but with your article. Images should be sent as JPeg or tiff files at 300 dpi. If you are able to send us images please ensure that each contains relevant information including date, title and name of photographer and that the file name is clear.

    NB. You are responsible for obtaining all appropriate permissions.

    9. Writing style: We encourage a diverse range of writing styles and layouts in line with the form, purpose and content of each submission. You might also consider our readership of dance artists, scholars, students, teachers, academics and practitioners in dance and related fields when writing. It will also be assumed that the author has obtained all necessary permissions to include in the paper items such as quotations, musical examples, images, tables, etc.

    Peer Review

    Choreographic Practices is an international peer-reviewed journal, thereby all articles published in the journal undergo rigorous peer-review, based on initial editor screening and anonymised refereeing by at least two anonymous referees. All reviewers are internationally recognized in their fields. Peer-review reports will normally be returned to us within two months and the editors will provide feedback to you shortly after. Submission of an article to the journal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. By submitting a manuscript, the authors agree that the exclusive rights to reproduce and distribute the article have been given to the publishers.


    If you have more general questions about Choreographic Practices or how to submit, contact Vida Midgelow or Jane Bacon at:

    We very much look forward to receiving your submissions and continuing the conversation.

    Guest Editors,

    Vicky Hunter, Karen Barbour, Melanie Kloetzel

  • 09 Oct 2017 9:27 AM | Anonymous member (Administrator)

    The Isabella Stewart Gardner Museum Presents Migrations

    An Evening of Dance Inspired by Writer Henry James: Thurs. Nov. 2

    BOSTON, MA (September 2017) – As part of the Henry James and American Painting exhibition, the Isabella Stewart Gardner Museum will host an evening of four new dance works centered on the idea of Migrations. On Thursday, Nov. 2, four choreographers will address topics ranging from political and cultural refugees, to voluntary and involuntary exile, to gender transience, through bodies in motion.

    Featured performances include: a production created by Jean Appolon that meditates on the “lakou” and its loss in the Haitian imagination in a way that also speaks to a universal condition. It explores the questions, “Where can we find meaning?” and “Where is home?” The lead artists in Vwayaj worked with MacArthur Genius Fellow and award-winning Haitian-American author Edwidge Danticat as a collaborator and adviser to create the narrative that underpins and drives the production. Danticat worked with the artists to knit together stories of migration, immigration and home as recordings that are a part of the production’s soundscape created by electronic music artist Val Jeanty. An important touchstone in the production’s narrative is Appolon’s own immigration story, as well as those of Haitian immigrants living in Boston.

    In addition to being the Co-founder and Artistic Director of Boston-based Haitian contemporary dance company Jean Appolon Expressions, Jean Appolon is a successful choreographer and master teacher based in Boston and Port-au-Prince, Haiti. Appolon studied in Boston from 1995 to 1996 at Harvard and Radcliffe Dance Programs. He teaches regularly at Boston Ballet, UMASS Boston and The Dance Complex, based in Cambridge, among other locations in Metro Boston. He continues to perform at local schools and colleges, including Harvard University, Lesley College, and Wheaton College.

    Ida Saki will make her Boston debut as a choreographer and dancer in a new work that will address the topic of migration from her perspective as an Iranian-American artist. The piece will be set to Nico Muhly’s “A Hudson Cycle” and “Perpetual Motion.” She is a classically trained dancer who has performed in a variety of forms: with the Cedar Lake Ballet, in the immersive theater show Sleep No More, and even in a celebrated appearance on the television program, “So You Think You Can Dance?”

    Saki attended the Tisch School of the Arts of New York University. She has received such accolades as modern dance winner by the National Foundation for Advancement in the Arts YoungArts, named a Texas Young Master in dance, Iran’s Person of the Day, and received five national honors, including Distinguished Performer of the Year and Outstanding Dancer of the Year. Ida has graced the cover of the prestigious Dance Spirit Magazine, Parastoo Magazine, and has appeared within the magazines numerous times.

    Immigrant: Choreographer and dancer Richard Move will re-envision Martha Graham’s lost work from 1928, Immigrant, working with the same music that Graham used by Josip Slavenski. One of the seminal figures of modern dance, Graham often spoke out though her work against injustices she saw in American life. Her lost solo was in part an artistic response to the harsh treatment of immigrants enshrined by the Immigration Acts of 1917 and 1924, the former passed the same year nativist James Murphy Ward published his broadside The Immigration Problem or America First. Since the mid-1990’s, Move has performed and interviewed as Graham. Move’s performances as Graham are not simple impersonation, but rather a spiritual and physical migration of one artist into another, one of the most striking transformations in modern dance.

    Richard Move is a Director, Choreographer, Performing Artist, Filmmaker and Artistic Director of MoveOpolis! and Move It! Productions. Move’s recent film Bardo premiered January 9, 2009 at the Lincoln Center Dance on Camera Festival and was nominated for the Jury Prize. Move choreographed the film Strangers With Candy, a feature based upon the Comedy Central series starring Amy Sedaris, Stephen Colbert and Paul Dinello. Move also choreographed the new musical The Fartiste, with music by Michael Roberts, book by Charles Schulman and directed by John Gould Rubin. In 1996, Move created Martha @ ..., an homage in word and dance to the 20th Century Icon, Martha Graham. Martha @ ... received two New York Dance and Performance Awards (a.k.a. "Bessie" Award). His choreography has been described as "stunning, first rate work," and “glorious” by the New York Times.

    Within the Quota: Yury Yanowsky will introduce new choreography to a historic, almost unknown, score by Cole Porter. In 1923 Porter lived in Venice for a summer in what had been Isabella Stewart Gardner’s favorite house on the Grand Canal, the Palazzo Barbaro. It was there where Porter met Gerald Murphy, a former friend of Gardner’s, who persuaded Porter to collaborate with him on a dance work for the avant-garde troupe, the Ballets Suédois. The resulting ballet, called Within the Quota, is a surrealist retelling of the experience of an immigrant to America, written on the eve of the new immigration quotas of 1924.

    Yury Yanowsky was a principal dancer with the Boston Ballet for over twenty years. He was the recipient of the first prize at the Prix de Lausanne and won the Silver medal at both the Varna International Ballet Competition and the International Ballet Competition in Jackson, MS. Yanowsky’s work has been featured at the Kansas City Ballet, Berklee College of Music, The New England Conservatory, and Festival Ballet Provide. Holding a degree in Coreografia y Tecnicas de interpretation de la Danza from the Academica de Ensenanzas de Musica y Artes Enscenicas, Spain, 2009, Yanowsky is currently on faculty at Harvard University and Centro Coreographico, Las Palmas Spain.

    The Henry James and American Painting exhibition is the first to explore the relationship between James’ literary works and the visual arts. On view at the Isabella Stewart Gardner Museum from Oct. 19 to Jan. 21, 2018, it offers a fresh perspective on the master novelist and the significance of his friendships with American artists John La Farge, John Singer Sargent, and James McNeill Whistler, and close friend and esteemed arts patron, Isabella Stewart Gardner.

    Henry James and American Painting originated at the Morgan Library and Museum in Manhattan over the summer and moved to Boston in October. It is co-curated by Colm Tóibín, the renowned Irish novelist and Jamesian specialist, and Declan Kiely, Robert H. Taylor Curator and Head of the Department of Literary and Historical Manuscripts at the Morgan. Marc Simpson, independent curator and a specialist in 19th- and early 20th-century American art, serves as consulting curator. An illustrated catalogue will include essays by Tóibín and Simpson.

    Migrations begins at 7 p.m. in the Museum’s sonic cube, Calderwood Hall. Tickets are required and include Museum admission. Ticket pricing is as follows:


    Adults $40, seniors $37, members $28, students & children 7–17 $15 (children under 7 not admitted.


    Adults $35, seniors $32, members $23, students & children 7–17 $15 (children under 7 not admitted).

    For information or to purchase tickets in advance, visit or call 617-278-5156.


    The lead sponsors of Migrations are Amy and David Abrams. The Gardner Museum is additionally supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts.

    The Isabella Stewart Gardner Museum - a magical creation of one woman's daring vision - invites you to awaken your senses and be transported. Modeled after a Venetian palazzo, unforgettable galleries surround a luminous courtyard and are home to masters such as Rembrandt, Raphael, Titian, Michelangelo, Whistler, and Sargent. The Renzo Piano wing provides a platform for contemporary artists, musicians, and scholars, and serves as an innovative venue where creativity is celebrated in all of its forms.

  • 27 Sep 2017 4:37 PM | Anonymous member (Administrator)

    Edited Volume: The Oxford Handbook of Contemporary Ballet
    Editors: Dr Kathrina Farrugia-Kriel (Faculty of Education, RAD)
    Dr Jill Nunes Jensen (Loyola Marymount University)

    We are seeking potential contributions to an edited volume on Contemporary Ballet. The book will posit ‘Contemporary Ballet’ as a new domain within the broader frameworks presently recognized by discourses in dance.  

    In May 2016 we welcomed more than one hundred attendees, including over fifty presenters and ten invited speakers to the Center for Ballet and the Arts and Barnard College in New York City. Professionals from many fields of dance spoke about ballet as it related to gender, race, the choreographic form as tradition and innovative, as well as national practices and politics from the global north and south. Attendees witnessed the range and breadth of scope that confirms a new chapter in ballet’s history is being written. The proposed volume looks to bring into dialogue those who understand the examination of contemporary ballet to be an emergent area of study.

    The book will feature essays not only from scholars but also historians, choreographers, practitioners, music specialists, critics, and performance theorists. We seek to collect diverse perspectives and scholarship on ballet. Topics may include the following: contemporary narratives, legacies and exchanges, pedagogy and training, emerging and current choreographers, global connections and border-crossing repertoire, theater and new re-imaginings of iconic works; exchanges between global north and global south, amongst others. We also welcome co-authored works, particularly those in partnership with ballet choreographers, practitioners and pedagogues and other creative interpretations of the theme.

    Please send a specific abstract of no more than 300 words, alongside a short biography, to the editors by November 01, 2017. Selected authors will be notified by December 2017. Completed essays of 6,000-8000 words will be due March 30, 2018, subject to contract.

  • 27 Sep 2017 4:28 PM | Anonymous member (Administrator)
    The Duke University Program in Dance seeks an outstanding, ambitious dance research and movement practitioner who will contribute to the development of the undergraduate program as well as to the new proposed MFA in Dance: Embodied Interdisciplinary Praxis. 

    To view the full job description, click here

  • 26 Sep 2017 2:33 PM | Anonymous member

    Texas Woman’s University – Denton Campus

    College of Arts and Sciences, School of the Arts

    Department:               Department of Dance

    Title:                            Assistant Professor of Dance

    Job Codes:                   IRC7515

    Date Closed:               Review of Applications will begin October 2, and position will remain

    open until filled.

    JOB DESCRIPTION: The Department of Dance at Texas Woman’s University invites applications for the full-time tenure-track position of Assistant Professor of Dance starting in Fall 2018. The successful candidate will have a PhD in dance or a closely related field with a strong emphasis in dance. The department seeks an individual with innovative ideas about the integration of theory and practice in art making, research, and pedagogy, as well as a commitment to transdisciplinary inquiry and the examination of research methodologies across multiple contexts and dance practices.  An active research agenda, expertise in qualitative modes of inquiry, and an ability to work with a diverse, multi-ethnic student body are a must. Additionally, preference will be given to candidates with an active movement practice who can teach multiple levels of studio courses in one or more of the following dance forms: African Diaspora, Latinx and Latin American, Indigenous, Middle-Eastern, Asian, or other forms of dance.

    Applicants must have teaching experience, scholarship, and a service record commensurate with appointment at the rank of assistant professor in an accredited dance program. Strong applicants will demonstrate a commitment to excellence in teaching, potential to direct doctoral-level research, and an interest in graduate education offered in face-to-face, hybrid, and online formats. They will also have a record of regional and national presentations and an emerging publication portfolio. Furthermore, strong candidates will demonstrate the interest and potential to engage in active service to the department, university, and profession.

    RESPONSIBILITIES: Primary teaching responsibilities will be in the Ph.D. in Dance program, including directing doctoral dissertation research. Candidate should also be able to teach selected BA, M.A. and M.F.A. courses.  Additionally, contribution to developing new online courses for the University core curriculum and teaching at least one studio course a semester is necessary.

    Advising doctoral students, serving on graduate committees, supporting the choreography/ performance mission, participating in shared governance through committee service, and making substantive contributions to the Department of Dance recruitment/retention plan and project initiatives are required.  The candidate must also show clear potential for scholarly productivity in the form of research publications and presentations in national and/or international forums.


    Texas Woman's University occupies a notable position in higher education as the nation's largest university primarily for women. Established in 1901, TWU is a doctoral/research-intensive public university that emphasizes the liberal arts and sciences as well as specialized and professional studies in business, nursing, health sciences, and education. Dance is housed in the College of Arts and Sciences, which has thirty five percent of TWU's graduate and undergraduate population of over 14,000. TWU operates three campuses: Houston, Dallas, and the main campus in Denton (population 100,500), located 35 miles north of the Dallas/Fort Worth area. This metroplex, the nation's ninth largest urban center, has world-class museums, orchestras, opera, ballet, theatre companies, as well as an array of professional and collegiate sports venues. Additional information about the University is available at http//


    Please submit via email a cover letter, CV, teaching evaluations, a teaching philosophy, a published journal article or equivalent, and three recommendation letters to be sent to: Recommendation letters must include the position/job code and candidate’s name in the subject line.

    Texas Woman's University strives to provide an educational environment that affirms the rights and dignity of each individual, fosters diversity, and encourages a respect for the differences among persons. Discrimination or harassment of any kind is considered inappropriate.

    Texas Woman's University is committed to equal opportunity in employment and education and does not discriminate on the basis of race, color, religion, sex, sexual orientation, national or ethnic origin, age, veteran's status, or against qualified disabled persons.

    "All positions at Texas Woman's University are deemed security sensitive requiring background checks.”

 Congress on Research in Dance
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