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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  • 26 Jan 2017 3:44 PM | Anonymous member (Administrator)

    Pop-Up Culture and the Anticipation of the End
    Call for Participants– CATR Roundtable
    Organizers: Alana Gerecke and Laura Levin

    This roundtable will explore pop-up culture in context of the geological time that structures the Anthropocene. As several theorists note, the Anthropocene has been shaped by the acceleration of consumption and production since the mid 20th century, an orientation to time and space coincident with what Jonathan Crary views as the non-stop, “world-destroying patterns” of 24/7 late capitalism. How might this orientation towards time give rise to and propel the recent pop-up trend in Canada and beyond, with its attendant urgency and hyper-temporality? Here we are specifically thinking of events and experiences that emerge temporarily in vacant, underused, or about to be demolished urban spaces, but also a much wider range of temporary inhabitations whose appearances—and meanings—are predicated upon their imminent disappearance.

    With this session, we hope to start a conversation about the pop-up as a mode of address and a mechanism of assembly that is definitively structured by the anticipation of its own end. How does the pop-up spring from and speak to a culture of urgency that is preoccupied with inevitable endings and impossible futures? In selecting pop-up events to discuss, participants might consider the following prompts:

    • Is the pop-up simply a signature of a culture bent on filling every available moment and space with consumable (and/if exclusive) content? When does the form explicitly resist forces of consumerism (climate change awareness, human rights protests, Occupy, etc.)?
    • Can pop-up culture think long-term? What might this tell us about our relationship to possible futures?
    • Pop-up culture appears to be acutely contemporary: what are some historical precedents for the pop-up, ones that might also complicate the temporalization of the Anthropocene? 
    • How has the popularization of temporary inhabitation shaped perceptions of, and rationalized (dis)investment in, arts infrastructure in Canada and other national contexts (as Jen Harvie has noted in relation to the UK)?
    • The pop-up implies a leave-no-trace ethos; but, of course, events mark and make space. What does the pop-up leave in its wake: what physical, material, psychic, spatial, and/or social stuff remains? What detritus? What vacuums or ghosts?
    • What are the dynamics of inclusion/exclusion that structure pop-up events?

    Structure: In the spirit of a fervent pace, this ninety-minute long PechaKucha-style roundtable will allow each participant 6.66 minutes to show 20 image-based slides (20 slides x 20 seconds each) while theorizing some aspect of pop-up culture. These brief presentations will be followed by a sustained conversation about all things pop-up. Slides are to be added to a roundtable Dropbox folder by 20 May 2017.

    Please send 250-300 word abstracts and a brief bio to organizers Alana Gerecke ( and Laura Levin ( by 17 February 2017.

  • 26 Jan 2017 3:37 PM | Anonymous member (Administrator)

    The University of Minnesota Duluth (UMD) is seeking qualified candidates for the position of Dean of the School of Fine Arts (  The position of Dean (job code 9311) is a 100% Professional and Administrative appointment (negotiated employee contract, three year term).  The salary is competitive and commensurate with credentials and experience.  

    The Dean is responsible for academic leadership of the School of Fine Arts (SFA), administration of ongoing programs and resources, program development and assessment, promotion and maintenance of effective relationships with the community, development of effective fundraising strategies, and maintenance of productive administrative relationships at UMD and with other units of the University of Minnesota system.  The Dean reports directly to the Executive Vice Chancellor for Academic Affairs on the Duluth campus.

    More information online. Go to and search for Job Requisition 315216.

  • 25 Jan 2017 10:18 AM | Anonymous member (Administrator)

    Taubert-Tanzabend am 22. September 2017 um 19 Uhr im Festsaal des Alten Rathauses Leipzig

    in connection with the International Symposium Gottfried Tauberts „Rechtschaffener Tantzmeister“ (Leipzig 1717): Contexts – Readings – Practices

    at the Musikinstrumentenmuseum der Universität Leipzig, 20.–23. September 2017.

    We request proposals for a presentation of up to 25 mins. in duration, on the theme of dance performance in Germany between 1700 and 1720, with special relevance to Gottfried Taubert, and demonstrating a convincing connection to his descriptions of the courante and minuet.

    The proposal is to be emailed no later than 31 January 2017 to, and should contain the following information:

    A brief summary of the basic idea and plan of presentation
    A list of the musical and choreographic repertoire to be employed, with precise source citation
    Names and biographies of dancers

  • 25 Jan 2017 10:17 AM | Anonymous member (Administrator)

    Gottfried Taubert’s “Rechtschaffener Tantzmeister” (Leipzig 1717)

    Contexts – Readings – Practices

    From 20 to 23 September 2017 at the Musikinstrumentenmuseum der Universität Leipzig hosted by the Institut für Theaterwissenschaft der Universität Leipzig

    The presentations and Lecture Demonstrations should not exceed 25 minutes in length. A subsequent publication is planned.

    Please submit an abstract of your presentation (max. 250 words), a brief personal profile (academic background, research areas, and (if applicable) publications), and the type(s) of equipment you would need (PC, projector, audio, video etc.) by email to by 31 January 2017. The decision as to which submissions are accepted will be made by 31 March 2017.

  • 25 Jan 2017 10:16 AM | Anonymous member (Administrator)

    La danse française en Allemagne et son enseignement au début du XVIIIe siècle

    Autour du Parfait Maître à danser (Rechtschaffener Tantzmeister) de Gottfried Taubert (Leipzig, 1717)

    Paris, 5-8 September 2017

    Send proposals, not exceeding one page in length, followed by a brief bio-bibliography, before 31 January 2017 to:

    A response will be sent by 31 March 2017. 

  • 23 Jan 2017 1:26 PM | Anonymous member
    MAY 11, 2017

    As members of a field that is in productive and perpetual friction with traditional academic structures, scholars who work on dance often come from a range of disciplines. Although this can be viewed as a challenge for defining the field, it also provides fertile ground for exploring the opportunities interdisciplinarity provides in dance scholarship.

    Structured around working sessions and a roundtable discussion with (subject to change) Thomas DeFrantz (Duke), Nadine George-Graves (UCSD), André Lepecki (NYU), VK Preston (University of Toronto), Katherine Profeta (Queens), and Paul Scolieri (Barnard), this day-long conference aims to discuss and exchange methodological approaches to dance and to build a network for emerging scholars inside and outside of dance studies. We will interrogate how interdisciplinary approaches to topics such as movement, choreography, embodiment, and corporeality can enter into and expand dance studies. Additionally, we seek to ask what a dance studies perspective can bring to scholarship in other fields. We welcome papers on any dance subject, broadly construed, from fields including but not limited to performance praxis, theatre and performance studies, musicology, visual arts, art history, anthropology, cultural studies, sociology, political science, history, literary studies, women and gender studies, queer theory, disability studies, critical race studies, and architecture.

    Our goal is to think through the theoretical and methodological opportunities and challenges posed by transdisciplinarity and interdisciplinarity:

    • What are the common threads and trends among different academic disciplines in the analyses of artistic and social performances that are predicated on dance and movement, broadly construed?
    • How is scholarship shaped by dance practice? What can thinking through practice offer to methodological and analytic approaches to movement and dance?
    • How do different disciplinary methodologies respond to dance? How do they communicate with or differ from discipline-specific dance scholarship in knowledge production? What can they learn from each other?
    • As concepts of “dance” and “choreography” are further deconstructed and used in an expanded way, what does it mean to use knowledge specific to them as theoretical tools for analysis?

    Participants will be grouped into working sessions with papers circulated in advance, followed by targeted discussion at the conference itself facilitated by student leaders partnering with participating scholars. There will be a session on publishing in Dance Studies led by Norm Hirschy, Senior Editor at Oxford University Press. The day will culminate in a roundtable discussion, and a performance by The Bureau for the Future of Choreography, co-sponsored by the Martin E. Segal Theatre Center.

    Please submit a brief bio and a 250-word abstract to by February 15, 2017. Participants will be notified in late February, 2017.


  • 23 Jan 2017 12:04 PM | Anonymous

    Special Issue of Studies in Musical Theatre: Dance in Musical Theatre 

    In defining musical theatre as a genre, Pamyla Stiehl argues that a show must contain three components: music, text, and dance, or what she calls the “golden triangle” (Stiehl 2008). Of these three, dance has received the least scholarly attention. When one leg of the “golden triangle” goes unstudied, the whole cannot fully be seen. The wonderful alchemy of a musical occurs when its constituent parts converge, and without understanding how dance contributes to the functioning of a show, deeper knowledge of that show’s meanings get lost. As the fields of theatre studies and musicology have gradually moved away from textual analysis and toward performance analysis, understanding the body in motion has only become more crucial to articulating what happens in live performance and how it differs from the text on the page. Therefore, the time is ripe for an in-depth scholarly discussion of the role of dance in musical theatre. 

    This special issue of Studies in Musical Theatre will help define and expand a scholarly subfield, creating space for dialogue among academics interested in dance in musical theatre. We also aim for the issue to serve as a resource for all scholars of musical theatre. We are open to historical period and geographic location; while we are particularly interested in expanding beyond the Golden Age, even the musicals of de Mille, Fosse, Robbins, and others from that period still warrant greater in-depth critical attention and analysis. 

    We welcome scholars from all disciplines to contribute. Topics might include: 

    -Dance in musicals beyond Broadway 

    -Broadway dance before, during, and/or beyond the Golden Age 

    -The “dansical” phenomenon 

    -Offstage contributions to dance (dance arrangers, dance assistants, casting personnel) 

    -The politics of reconstructing/restaging dances; choreographic copyright 

    -Re-thinking the canon 

    -Dance and design (costume, lighting, set) in musicals 

    -Dance and class, race, gender, and/or sexuality in musicals 

    -How dance in musicals uses virtuosity and spectacle 

    -Non-Anglo/American approaches to dance in musicals 

    -The role of social dance on the musical stage 

    -Training the triple threat performer 

    -The relationship between concert dance and Broadway 

    -Musical theatre dance and disciplinarity 

    Abstracts of 250-500 words are due by April 1, 2017 and should be submitted via this formIf you have any questions, contact the editors at Selected abstracts will be invited to be developed into articles of 5,000-6,000 words, which will be due by November 2017 for a projected publication date of January 2019. Submissions will undergo full blind peer review, which will determine final selection.

  • 04 Jan 2017 2:08 PM | Anonymous member

    The Faculty of Arts School of Creative and Performing Arts (SCPA), Division of Dance, and the Faculty of Kinesiology invite applications for a joint tenure track position at the rank of Assistant Professor in the area of Dance Science. The anticipated start date is July 1, 2017.

    The University of Calgary’s combined Bachelor of Arts (Dance) / Bachelor of Kinesiology degree, the first of its kind in Canada, highlights the relationships between the sciences, arts, and humanities, emphasizes the importance of interdisciplinary perspectives in the investigation of movement studies and promotes a holistic paradigm for examining human movement. The successful candidate will serve as the liaison between the Dance Division of the School of Creative and Performing Arts (SCPA) and the Faculty of Kinesiology and will provide leadership and mentoring to students enrolled in the combined program. See the full job description HERE  

    Application deadline: February 15, 2017.

    Best wishes,



    Pil Hansen, PhD

    Assistant Professor: Drama, Dance

    School of Creative and Performing Arts

    University of Calgary


  • 16 Dec 2016 1:48 PM | Anonymous member

    The School of Dance seeks to hire three full-time Assistant Professors of Studio Practice. The positions are 3-year appointments with potential for renewal. Candidates should bring to the curriculum expansive pedagogical approaches to the practice and research of dance and dance making in the 21st century. Principal duties and responsibilities include teaching studio courses at the undergraduate level, ability to teach one or more courses within the School’s Thinking, Making & Doing and/or Body Pathways (somatic practices) curriculum, staging and coaching repertory and/or creating new work for and with students, mentoring senior projects and/or MFA thesis work, and leading capstone courses at all levels. In keeping with the expansive reach of the School, we seek innovative candidates with strong leadership skills and pedagogical goals informed by consistent artistic practice and research. Requirements: demonstrated university teaching skills and professional experience within the US and/or abroad and MFA degree in dance. 

    For more information about the position, please visit:

  • 05 Dec 2016 4:14 PM | Anonymous member

    The USC Glorya Kaufman School of Dance seeks a Non Tenure Track, Assistant Professor of Practice in Dance Studies with scholarly expertise in at least one of the following areas: Dance History, Origins of Jazz Dance, Dance As An Art Form, World Perspectives on Dance, and Dance and Popular Culture with additional teaching in Contemporary Technique. Additional experience in Laban Theory preferred.

    Additional duties include student mentoring, non-major program oversight; collaborating with student assessment, participating in recruitment and selection of prospective student dancers; facilitating rehearsals, directing dance productions on a rotating basis with other faculty; and serving on departmental committees. Candidate will be expected to represent USC Kaufman both within the university as well as the local, national, and international levels.

    The USC Glorya Kaufman School of Dance is interested in recruiting candidates who have demonstrated the highest standards of scholarship and/or creative activity.

    For additional information and to apply, please visit: 

 Congress on Research in Dance
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