Seaver Theatre at Po

The 2016 Joint Conference of the Congress on Research in Dance and the Society for Dance History Scholars was hosted by Pomona College in Claremont, California.

The conference title is: 

BEYOND AUTHENTICITY AND APPROPRIATION: 
BODIES, AUTHORSHIP AND CHOREOGRAPHIES OF TRANSMISSION



About Pomona College

Established in 1887, Pomona College is a private liberal arts college, about 35 miles east of Los Angeles. The College offers a comprehensive curriculum, with 47 majors in the arts, humanities, social sciences and natural sciences. Our conference is hosted by the Dance Program of the Department of Theatre and Dance.


Pomona College

The faculty and staff of Dance at Pomona will serve as our hosts at the 2016 conference.

Dance at Pomona, a program of the Department of Theatre and Dance, is a vibrant component of the performing arts at the College.  Grounded in the philosophy that Dance and the greater field of Movement Studies are essential to the complete liberal arts experience, Pomona Dance challenges students of all levels to master technical skills, express themselves creatively, and deepen their understanding of the human experience through the lens of movement.  The Pomona Dance faculty, all dedicated professionals, are committed to bringing their expertise as dancers, choreographers, researchers, and scholars to the learning environment at Pomona College Dance.

Pendleton Dance Center,at the south end of the Pomona campus, is home to the Pomona Dance Program. A studio/theatre, a second spacious studio with dressing rooms, studio/classroom, and faculty offices are located just a short walk from the Seaver Theatre complex and the main campus parking structure.

Surrounding a beautifully landscaped courtyard, the award-winning Byron Dick Seaver Theatre Complex houses a 335-seat thrust-proscenium theatre, the 125-seat Virginia Princehouse Allen “black box” theatre, and two performance-ready studio classrooms. The main theatre was designed to enable audience-actor integration with runways, overhead galleries and adaptable caliper stages for flexibility. Performance facilities are equipped with state-of-the-art lighting, sound and projection equipment.

A design studio, smart classroom, scene shop, costume shop, recording studio, makeup and dressing rooms, greenroom, offices and a well-stocked theatre library complete the Seaver Theatre Complex. Built in 1990, the building received an award of merit in 1995 from the U.S. Institute for Theatre Technology, which noted its handsome courtyard and flexible, non-intimidating teaching spaces, inside and out.

Claremont, California

Much of what Claremont is today is the direct result of actions taken by the community's founders more than 100 years ago. Trees planted at the turn of the century now compete with nearby mountain peaks for dominance of the local skyline. The Claremont Colleges have become some of the nation's most highly respected educational and cultural institutions. The historic central core remains a vital residential and retail district, one of the last true "downtowns" in the region. And the spirit of Claremont's original "town meeting" form of self-governance lives on in today's active and involved citizenry -- citizens who continue to build on the successes of the past in order to ensure an even brighter future.

Due east from Hollywood, at the edge of Los Angeles County, lies a town that a studio executive might have ordered up as a real-life Main Street USA movie set.

It might look like an Eastern seaboard village with blocks of bustling, locally owned shops. Or maybe a small Midwestern, railway town with a train depot within walking distance of trendy restaurants and hearty pubs. Or even a Southern community with its tree-lined streets of well-kept craftsman homes providing the ideal setting for a leisurely bicycle ride.

Claremont’s tree-lined streets, Village shopping district, five distinctive hotels, locally owned day spas, and stately college campuses make it a destination for Southern Californians seeking an overnight staycation, and a quiet change-of-space for harried Ontario Airport business travelers.

Let us help you start to Discover Claremont. From boutiquing through dozens of unique, locally owned shops during the day to experiencing some of Southern California’s best live music and dueling piano clubs at night, Claremont packs an experience unmatched in the region into just 14 square miles.

Have international tastes? Claremont boasts more than 80 cafes, restaurants and coffeehouses across a wide variety of cuisines, most of them owned and operated by “Claremontonians.”

And you’re just minutes from experiencing year-round recreation at Mount Baldy, participating in world-class cycling training along the Glendora Ridge route, watching professional auto racing at Auto Club Speedway or the Auto Club Raceway at Pomona, or hitting the outlets at Ontario Mills.

Come Discover Claremont, the best-kept secret in L.A.

Call for Proposals

Issues of authenticity and appropriation, although fraught, remain pertinent. For the 2016 joint conference, we call for papers and presentations which critically interrogate issues around the choreographies of tradition, innovation, and appropriation in dance. How do moving bodies counter, resist, support or negotiate ideologically constructed notions of these complex terms? How do authenticity and appropriation structure the legal, political, economic, aesthetic, and theoretical approximations of dance?Under what conditions does the transmission of movement between bodies become framed as ‘appropriation’; and what assertions of ownership, identity, or history underlie this framing? How is the transmission of movement between bodies, and across apparent boundaries, framed in terms of rights, property, propriety, or in some other manner?

Topics to consider:

  • The role of whiteness in the discourse on the ‘authentic’ and ‘appropriation’
  • Transcultural, transhistorical, and dialogic embodied exchanges
  • Historical and contemporary power relationships in dance
  • Copyright and property rights in dance
  • Heritage, tradition, and property in indigenous dance
  • The role of the archive in generating visibility and invisibility
  • The role of taxonomy, choreography, and codification in the generation of pedagogies of the ‘authentic’
  • Nation, modernity, and folklore  in light of scholarship on migration and neo / decolonial and postcolonial theory

We encourage submissions of papers, panels, roundtable discussions, lecture-demonstrations, movement workshops, performative engagements, individual and collaborative presentations, or posters. We highly encourage fully formed panel and performance submissions.

The committee will also consider general submissions not directly aligned with the conference theme. 

Submissions are due by February 15.

Debut Panel Submissions

For the first time, graduate students and early career scholars who have not previously presented at CORD+SDHS have the option to apply for a Debut Panel that includes mentorship from a senior scholar. The scholar will mentor Debut Panel participants by reading papers in advance, providing feedback, and moderating the panel at the conference.

Panelists have fifteen minutes to present their papers (submissions should be approximately eight pages, double spaced), and there will be a maximum of four panelists per Debut Panel.

Interested applicants should indicate that they are applying for a Debut Panel on their conference proposal submission by February 1. Applicants will receive general conference acceptance notices in May. If applicants are accepted to the general conference, they must submit their conference paper for Debut Panel consideration by June 15. They will be notified if they are selected for a Debut Panel by August 1. Debut Panel Mentor Faculty will contact panelists by September 1 to coordinate feedback.

Applicants who are accepted for the conference but not chosen for a Debut Panel are still invited to present their research at the conference.


Proposal Submission Instructions:


  • Below these instructions, click on the button indicating "Click here to Submit."
  • You will be taken to the CORD + SDHS Submission Manager, where you will see the call for proposals. Click Submit just below the call for proposals.
  • You will be asked to CREATE A USER ACCOUNT (or sign in if you already have a Submittable account). 
Creating a user account, which is quite simple (type in your first name, last name, a valid email address and a password), allows the committee to share important information with you, such as whether or not your submission was successfully received and acceptance or rejection notifications.
  • After you create an account or sign in, you will be taken to the submission form. Please complete all fields related to your kind of proposal.
  • You can save a draft of your submission and return to it later, or if you have completed all necessary fields in the submission form and are ready to submit your proposal, click Submit. 
  • You will receive an email confirmation that your submission was received.
  • PLEASE NOTE: Fully-formed panels submissions and roundtable submissions require only one abstract detailing the overall topic of the session. Please list the names and contact details of all participants.

  • If you have any questions, please don't hesitate to contact us at submissionquestions@sdhscordconference.org.
 Congress on Research in Dance  Emailinfo@cordance.org
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