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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  • 21 Mar 2017 11:14 AM | Anonymous member
    Call for Participation: PSi Working Group on Dramaturgy and Performance, Hamburg 2017.  

    We invite artists and scholars, planning to attend the PSi conference in Hamburg 2017, to participate in an open Working Group meeting on Dramaturgy and Performance. This year we will facilitate discussion in rotating groups around themes and problems drawn from participants' responses to a series of questions.

    Thus we invite each participant to send us a written response to any of the questions highlighted below. These responses will be distributed among all responders. Please forward your response (max. 500 words) and a short bio (max. 100 words) to by May 1, 2017. 

    The PSi working group on Dramaturgy and Performance will engage three broad subjects over the coming years: How we respond to the ways in which new research paradigms have expanded dramaturgy; the forms of emergent and embodied thinking that dramaturgical awareness facilitates; and the ethical dimensions of the choices that dramaturgy enables. In the 2017 session in Hamburg, we address these subjects through a focus on dramaturgical attention to interactions, affect, and forms of agency. There currently are dramaturgical and theoretical tools available to consider an overwhelmingly large amount of factors that inform agency and affect interaction. To offer a few examples these include:         

    -- Understandings of human cognition that enable us to make choices about how we direct attention, facilitate sensory and embodied perception, draw on autobiographical memory, and generate new memories.

    -- Notions of presence that consider implicit memory of skills and new learning active parts of the interactions between collaborators that generate performance.

    -- Approaches that take into account the agency of environments, objects, and processes that are not human-centred and how they act on the embodied perception of human beings as they perform and respond to performance.  

    With this context in mind, we invite the PSi community to join us in responding to the following questions:

    1.    How do we act on this impossible-to-grasp-at-once overflow of factors when dramaturging or researching processes of creation, performance, and audience experience within and beyond the performing arts? 

    2.    Why do we look at some factors and not others and how do we choose positions?

    3.    How do our choices actively shape the attention, relationships, and actions we take part in fostering?

    4.    What are the ethical and political implications of such choices?

    5.    Are we promoting or constituting new hierarchies or relationships between elements in the world?  

    The objective of this Working Group session is to map positions, generate possible answers, and articulate new questions. All members of the Performance Studies community are welcome to contribute in writing, during the session, or both.  

    The PSi Dramaturgy and Performance working group is chaired by Pil Hansen (CA) and co-curated by Imanuel Schipper (GE) and Maaike Bleeker (NL). We would like to recognize the important contribution of the group’s founders, Peter Eckersall and Marin Blazevic, and thank them for trusting us with the future of the group. Questions can be addressed to

  • 15 Mar 2017 12:43 PM | Anonymous member (Administrator)

    The Jerome Robbins Dance Division of The New York Public Library for the Performing Arts has just announced a $7,500 fellowship on Jerome Robbins for the final six months of 2017, leading up to his centennial in 2018. Application deadline is April 15, 2017.  

    Dance Research Fellowship important dates

    Application Deadline: April 15, 2017
    Notification:  May 1, 2017
    Award Period:  June 1, 2017 – December 31, 2017

    More information is available at
  • 02 Feb 2017 2:08 PM | Anonymous member (Administrator)

    The National Institute of Flamenco and the University of New Mexico College of Fine Arts are accepting proposals for the 6th Biennial New Perspectives in Flamenco History and Research Symposium in conjunction with the 30th Annual Festival Flamenco Internacional de Alburquerque.

    Deadline for proposals: March 1, 2017 by 11:59 PM MST

    The National Institute of Flamenco is excited to collaborate with the University of New Mexico and the College of Fine Arts to present the 6th Biennial New Perspectives in Flamenco History and Research Symposium on Saturday, June 17, 2017. This year’s conference theme is “Identity: Diving into the Legacy and Transmission of Flamenco.” The Symposium will present academic-based and practice-based research presentations, panels, and lecture demonstrations, peer-reviewed by faculty of the University of New Mexico and experts from the non-profit National Institute of Flamenco. Conference registration includes access to one day of conference presentations, boxed lunch, and refreshments throughout the day, concluding with a keynote presentation by flamenco historian Juan Vergillos of Sevilla, Spain. The New Perspectives in Flamenco History and Research Symposium welcomes theorists, practitioners, artists, patrons, and members of the public, allowing all to discuss various aspects of the art form of flamenco, including flamenco dance, music, performance, pedagogy, history, and costuming. Presentations may be made in English or Spanish per presenter preference. An English translator will be provided for Spanish-speaking presenters.

    Download the Call for Proposals

    For more information, please contact the National Institute of Flamenco at (505) 242-7600 or email Dolores Garcia,

  • 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 member

    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.

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