Dance Chronicle: 2017 Founding Editors’ Awards Honoring George Dorris and Jack Anderson

2017 Founding Editors’ Awards
Honoring George Dorris and Jack Anderson

Dance Chronicle is currently seeking manuscript submissions for the 2017 Founding Editors’ Awards, honoring George Dorris and Jack Anderson. The purpose of the awards is to encourage the highest quality scholarship in dance history research (broadly defined) among scholars at the early phase of their careers. Entrants must have attained their doctoral degree between July 1, 2014, and July 1, 2017, in order to be considered for the award. The winning author will receive a cash prize of $1,000.00 | Click here for the list of eligibility requirements.

We anticipate making three awards biennially, contingent upon the quality of manuscripts submitted for adjudication. Prizes are as follows:

  • First Place: Cash prize of $1,000.00, free subscription to Dance Chronicle for one year, and publication of submitted article in Dance Chronicle.
  • Second Place: Free subscription to Dance Chronicle for one year and publication of submitted article in Dance Chronicle.
  • Third Place: Publication of submitted article in Dance Chronicle.

Manuscripts should be submitted digitally to the journal’s Editorial Manager site at by August 1, 2017. Each manuscript submission will be vetted for its eligibility based on the published requirements (see above) by the editors. The editors will announce the names of awardees and return results to all entering scholars on December 1, 2017.

Questions regarding your submission may be directed towards the editors, Joellen A. Meglin at or Karen Eliot at

For more information about Dance Chronicle, please visit:

Stanford University: Theater and Performance Studies Department

The department of Theater and Performance Studies (TAPS) and the Institute for Diversity in the Arts (IDA) are seeking a three-year visiting Artist-in-Residence with expertise in Dance Practice. Expertise teaching a range of classes in black and African diasporic dance practices (including traditional and contemporary techniques,) dancemaking and performance, as well as repertory in the contexts of social and cultural issues related to African diasporic dance traditions required. Experience in helping to shape a presence for dance in a university highly desirable.  In addition to teaching studio courses for TAPS and IDA, the candidate will have a leadership role as Artistic Director for the Institute for Diversity in the Arts / Committee on Black Performing Arts and as a mentor for undergraduate students dance and performance projects. The candidate will also help program events that bring artists and arts events to campus with a vision toward bridging the academic practice of dance with its role as a medium of social change in communities and the profession beyond campus. The appointment will begin Autumn 2017.  

The Department of Theater & Performance Studies (TAPS) is an interdisciplinary department that engages many facets of live performance, from traditional theater, to experimental performance, dance and Dance Studies. It functions as the campus hub for engaged scholarship and practice in dance, theater, and performance. The Institute for Diversity in the Arts is an interdisciplinary program in the humanities that involves students in the study of culture, identity and diversity through artistic expression. Its mission is to create, support and advance powerful, collaborative and transformative arts practice and arts leadership by supporting student-artists as they explore the rigors of creativity and by exposing students to the leaders, artists and cultural workers changing our world.


Teaching: The candidate will be involved in all levels of a diverse curriculum. Teaching a wide range of black and African diasporic dance practices. Possible additional teaching of an occasional lecture course in Dance Studies in a way that forwards the candidate’s own research.

Mentoring: The candidate will cultivate and maintain active mentoring relationships with students across the university and view student work and concerts. The candidate will work through the Institute for Diversity in the Arts to develop and implement a vision for students and others participating in the Committee on Black Performing Arts. The candidate will also develop and maintain connections with other dance programs in the region as well as participating in the recruitment and retention of students to classes and the dance minor and contributing to curricular development and programming innovations.


Advanced professional degree (M.A., MFA, PhD) and/or exceptional record of creative achievement. University teaching experience a plus and established expertise in Black dance practices essential.

The Successful candidate:

  • Is a practicing artist with a deep commitment to teaching.
  • Has substantial experience teaching university students, many of whom may be new to dance as a novel experience outside their major.
  • Has an ongoing commitment to advancing the profession of dance and demonstrates an understanding of current ideas about teaching including new pedagogic models and strategies for engaging underrepresented populations.
  • Can engage, educate and facilitate dialogue between dance and non-dance communities within and outside of academic settings.

Applicants must submit the following:

  1. letter of application
  2. CV
  3. statement of teaching philosophy (specify dance courses taught)
  4. sample syllabus
  5. Links to 15 minutes of video materials showing choreographic and/or performing expertise.

To receive full consideration, application materials and reference letters must be received by January 20, 2017. The posting can be found at http:///

Please direct any questions to: Patrice O’Dwyer at

Stanford is an equal opportunity employer and is committed to increasing the diversity of its faculty. It welcomes nominations of, and applications from, women, members of minority groups, protected veterans and individuals with disabilities, as well as others who would bring additional dimensions to the university’s research, teaching and clinical missions.

Movement 2017: Brain, Body, Cognition- July 9-11, 2017 Oxford University

Dear colleagues,

We are honored to invite you to attend the world conference Movement 2017: Brain, Body and Cognition, taking part in Oxford, July 2017.

The purpose of the conference is to share knowledge of all those whose interests lie in the
nature of human movement. The conference will address issues related to gait, kinesiology, motion and balance, dance as a cognitive and physical skill, movement and cognition, human factors and ergonomics, as well as optimized movement in elite athletes, movement rehabilitation, disorders of movement ,developmental issues of movement and coordination.

In the conference, there will be a specific section dedicated to The Science of Dance, which will be composed of two types of presentations:

  • Research Lectures – themes include: Brain imaging and dance; Physiology and kinesiology of dance; Dance and cognition; Dance and nutrition, Dance and motor skills, Dance education; Imagery for dance practice.
  • Demonstrative Lectures – whereby choreographers and dancers presents how they use body knowledge and cognitive understanding as tools for choreography and for refining dance techniques

We invite you to submit 1-page (250 words) abstract for the “The Science of Dance” section. Please denote your technical needs (such as studio).

Abstracts should be sent to no later than September 30, 2016.

You are also welcome submit a full paper for publication, by December 30th 2016. The
conference abstracts as well as selected principal papers will be published in the journal
Functional Neurology, Rehabilitation and Ergonomics published by Nova Scientific publishers.

We welcome your participation in this event that addresses the relationship between movement and cognition and we welcome your enquiries and suggestions.
In the meantime, please check out our website at:
and contact by mail:

The meeting is sponsored, in part, by the Harvard University School of Medicine’s Spaulding Rehabilitation Hospital, the M.I.N.D. Institute at M.I.T., the Hebrew University of Jerusalem, the Wingate Institute for Sports and Exercise Science, the National Institute for Brain and Rehabilitation Sciences, Nazareth, Israel, the Institute for Neurology and Neurosurgery, Havana, the University of the Medical Sciences Facultad ‘Manuel Fajardo’ Havana, the School of Public Health of the University of Havana, and Bielefeld University in Germany, The Jerusalem Academy of Music and Dance.

On behalf of the scientific board of the Movement 2017: Brain, Body and Cognition conference,
Dr. Vered Aviv, chairperson of the Science of Dance section
Prof. Dr. Gerry Leisman, head of the conference scientific board

CFP: The Bloomsbury Companion to Performance and Interculturalism

Call for Proposals

 The Bloomsbury Companion to Performance and Interculturalism

 co-edited by Daphne Lei (University of California, Irvine) and Charlotte McIvor (National University of Ireland, Galway)

Interculturalism is one of the most contested terms in theatre and performance studies. Despite the invitation to promote the collaboration, hybridity, synthesis and exchange among heterogeneous cultures and artistic traditions, interculturalism in performance has been overwhelmingly shaped by Western imperatives in the “long twentieth century” (Arrighi).  In today’s global and transnational world increasingly characterized by a spectrum of volatile political situations, interculturalism desperately needs new definitions for its raison d’être in theatre and performance studies.

Building on recent new directions in scholarship, The Bloomsbury Companion to Performance and Interculturalism aims to reexamine the key concepts of interculturalism and foundational debates, to pioneer new directions in research by featuring cutting edge methodologies, and to expand the scope of representation to include studies that interrogate gender, race, ethnicity, sexuality and power from minoritarian and non-elite cultures and underrepresented regions in the globe.

This companion will have a strong emphasis on methodological approaches to the study of interculturalism vis-à-vis performance.

We invite specifically proposals that cover African, Latin American, Middle Eastern and South and Southeast Asian engagements with interculturalism and performance in addition to East Asian and Western case studies.

We are looking for chapter proposals that cover the following thematic/theoretical areas in terms of evolving methodological approaches to interculturalism within theatre and performance studies:

  • Reassessments of key debates and figures of intercultural theatre from the 1970s-early 2000s, such as Peter Brook’s Mahabharata (1985) and The Battlefield (2016)
  • Reroutings of intercultural networks that challenge HIT models of collaboration (Lei) on the festival networks and beyond
  • Differential global economies of prestige vis-à-vis intercultural performance practice and scholarship
  • Dance and interculturalism
  • Intercultural Shakespeares
  • Actor training and interculturalism
  • Migration, race, ethnicity and the ‘new interculturalism’
  • Shifting state/international appropriations of interculturalism as social policy keyword
  • Historical approaches to interculturalism
  • New technologies and evolving approaches to intercultural performance practice/scholarship
  • Postcolonialism and interculturalism now
  • ‘Interweaving performance cultures’ as an evolution of the intercultural theoretical paradigm (Fischer-Lichte)?

Please submit a 200 word proposal  by October 1 to Daphne Lei ( and Charlotte McIvor (

Please also include a short bio (100 words) and one-page CV which also lists your major publications.

About co-editors:

Daphne Lei is Professor in Drama at University of California, Irvine. She is internationally known for her work on Chinese opera, Asian American theatre, intercultural theatre, and diasporic and transnational performance.  She is author of Operatic China: Staging Chinese Identity across the Pacific (Palgrave, 2006) and Alternative Chinese Opera in the Age of Globalization: Performing Zero (Palgrave, 2011).   She is the current president of American Society for Theatre Research.

Charlotte McIvor is Lecturer in Drama and Theatre Studies at NUI Galway. She is author of Migration and Performance in Contemporary Ireland: Towards A New Interculturalism (Palgrave Macmillan, 2016) and co-editor of Staging Intercultural Ireland: Plays and Practitioner Perspectives (with Matthew Spangler) and Devised Performance in Irish Theatre: Histories and Contemporary Practice (with Siobhán O’Gorman).  Her research addresses contemporary Irish theatre and performance and intercultural performance at the intersection of migration and critical race and gender studies.

Maggie Allesee National Center for Choreography (MANCC): PT Research Associate

Maggie Allesee National Center for Choreography (MANCC)
2016-2018 Research Associate

MANCC is seeking a part-time Research Associate, funded through 2018 by The Andrew W. Mellon Foundation. The Research Associate will report to the Managing Director and work directly with the MANCC team, including the Director, Residency Coordinator and Media Specialist. Applicants must be available 25 hours a week during standard office hours 8:30am to 5:00pm M-F and for occasional evening and weekend residency events. This is a one-year, renewable, paid OPS position, hourly wage commensurate with experience and/or skill level, with the possibility of annual raises based on performance.

Job Description: The Research Associate (RA), in collaboration with MANCC staff, supports artist residencies through researching MANCC artists’ areas of inquiry, arranging community engagement opportunities (Entrypoints), coordinating residency evaluations and contributing to residency documentation and public relations efforts. Community engagement opportunities (Entrypoints) in the academic and/or Tallahassee communities are arranged by the RA in close communication with each artist in order to support the artist’s research while in residence. Engagement activities can be wideranging, from meetings with experts and/or academic scholars in related fields of study, student engagements, discussions, lecture/demonstrations, open rehearsals and work in progress showings for the FSU and Tallahassee communities, among other activities.
Once arranged, the RA attends and/or facilitates all Entrypoint activities. The RA then follows up with the artists post-residency to implement an evaluation process. The RA also is the primary liaison across MANCC, the School of Dance (SOD) and the College of Fine Arts regarding communication and marketing of MANCC’s season and activities, and works closely with MANCC staff on two new initiatives. These include looking towards the long-term utility of MANCC’s extensive archives and bringing writers to MANCC residencies to observe artists’ creative processes. Occasional tasks related to MANCC’s season of residencies are also part of the position, including some general office duties.

Requirements and/or Desired Skills:
● Knowledge of contemporary/experimental dance and performance helpful.
○ If outside the field of dance, strong interest in and curiosity about the artform.
● Ability to work 25 hours a week between 8:30am and 5:00pm with occasional night and weekend hours based on artist residency needs.
● Solid writing and verbal communication skills.
○ Ability to effectively communicate with and across various entities including MANCC staff, faculty, scholars, SOD administration, community members and artists.
● Computer skills including Google Apps Suite, data entry and research proficiency via internet.
● Ability to work both independently and as part of a team.
● Experience overseeing others helpful.
● Strong people skills, mature, responsible, and has a sense of humour and desire to support the research needs of a diverse range of contemporary artists.
If interested, please send a cover letter, writing sample, and resume to: Ansje Burdick
Managing Director Maggie Allesee National Center for Choreography

Position will remain open until filled. Applications will be considered beginning August 15th, 2016.

About MANCC:
MANCC, located at the Florida State University (FSU) School of Dance (SOD), is a  choreographic research and development center that provides visiting artists with unique resources to help further the art of contemporary dance. MANCC’s mission is to raise the value of the creative process in dance by: 1) providing a model of support for professional choreographic creativity within a comprehensive research university. 2) providing choreographers access to a stimulating environment where experimentation, exploration and lifelong learning are both valued and encouraged, and 3) providing opportunities for the students, staff, and faculty, the community of Tallahassee and the national dance field at large to engage with the creative process in dance.
MANCC shares facilities with the SOD at FSU, considered one of the premier facilities for dance in the United States. Resident artists have 24/7 access to a dance studio, black box theater and, when available, a fully equipped 380 seat proscenium theater, as well as an audio lab, computer media lab, conditioning studio and private office in which to work.
Choreographers and companies are brought into the center for two to four week
research based choreographic residencies to experiment, reflect, edit and hone their research and choreographic process and ultimately develop new work. Artists are selected through a competitive nomination and panel review process, in partnership with other organizations and/or by invitation of the Director. Artists are encouraged to take full
advantage of MANCC’s laboratory environment in whatever way most useful to their own artistic development. This might involve the testing of new ideas on professional dancers, working with lighting designers, dramaturges, composers, other collaborators, the inclusion of audiences in the creative process, or the development of dialogue about their work. To date, MANCC will have hosted over 70 regionally or nationally significant artists and their 350 + national and international collaborators in over 90 residencies through its residency programs. The work developed at MANCC has toured to over 140 communities reaching over 225,000 audience members worldwide.

During 2016-2018, MANCC will host approximately 15 nationally and internationally known contemporary choreographers and their collaborators per year as part of MANCC’s creative development residency programs.
Please visit for further information.

FSU is an Equal Opportunity/Access/Affirmative Action/Pro Disabled & Veteran Employer. FSU’s Equal Opportunity Statement can be viewed at:

Bucknell University seeks TT faculty in Africana Studies

Applications will only be accepted through Interfolio ByCommittee at


Bucknell University invites applications for a full-time, open rank, tenure-track faculty position in Africana Studies beginning fall semester of the 2017-18 academic year. Bucknell University seeks to hire a dynamic educator who is committed to teaching and creative practice that integrates Africana (African, African-American, and/or African diasporic) studies with performance studies. Our chief concern is not with a specific arts disciplinary specialization, but rather with attracting an artist-teacher-scholar with an Africana Studies orientation, who is eager to work with students and faculty in creative, collaborative, interdisciplinary, imaginative, and original ways. Expertise of the successful candidate includes but is not exclusive to one or more of the following areas: theater, dance, museum studies, creative writing, cultural studies, music, ethnomusicology, multi-media performance, performance art, performance pedagogy, community-based performance, digital storytelling, performance for social change, and/or mediated communication in art, film, and transmedia.

The successful candidate will be charged with contributing to curriculum development and student practice in Africana Studies and arts with an interdisciplinary focus and community-engaged research and pedagogy. S/he will have engaged in interdisciplinary teaching, research, and learning in experimental ways, ideally in a liberal arts setting, and will be prepared to offer courses that uphold and challenge traditions. The ideal candidate will show evidence in his/her performance, scholarly work, and/or teaching of an ability to bring diverse perspectives to bear on questions of justice and equality. S/he will be dedicated to pursuing appropriate professional career objectives. Appropriate professional and/or academic credentials and experience required. An MFA or Ph.D. is required. Salary will be commensurate with qualifications and experience.

Application materials must include a cover letter (including a link to a creative portfolio), CV, and three confidential letters of recommendation. Review of applications will begin in late summer and will continue until the position is filled. Applications will only be accepted through Interfolio ByCommittee.

Bucknell University is a private, highly selective, unique national University where liberal arts and strong professional programs in engineering, business, education and music complement each other. Apart from its excellent academic departments and programs, it boasts the Center for the Study of Race, Ethnicity, and Gender, which supports faculty teaching and scholarship in these areas, and the Griot Institute for Africana Studies, which provides faculty and student intellectual and creative engagement with the interdisciplinary investigation of the cultures, histories, narratives, peoples, geographies, and arts of Africa and the African diaspora. In the Spring of 2014, Bucknell also introduced a 5-Year Diversity Plan aimed at enhancing the diversity of the faculty, staff, student body, and curriculum of the university.

CFP: Dance Chronicle Special Issue

Kinetic, Mobile, and Modern: Dance and the Visual Arts

Dance ChronicleEver since Degas’s dancers twisted and reached their bodies through codified regimens of movement practice and everyday studio rituals, the intimate relation between dance and the visual arts has entered into discussions of modernism. The mysteries of motion in dance have challenged visual artists to create new forms: Toulouse-Lautrec’s Moulin Rouge performers seem to bend space with their very movements; and Matisse’s cut-outs of dancers and other subjects seem to transcend their materiality by literally detaching themselves from the page. Dancers, in turn, have pushed the boundaries of their art form to respond to theories and currents in the visual arts. Yvonne Rainer’s post-modernist manifesto, “The Mind Is a Muscle,” propounds that dancers ought to apply the minimalist tendencies of contemporary sculpture to dance to chart new territory, and she did just that in her choreography The Mind Is a Muscle, Trio A.

With this in mind, we invite research manuscript submissions for a special issue of Dance Chronicle on the theme of “Kinetic, Mobile, and Modern: Dance and the Visual Arts,” to be edited by Joellen A. Meglin and Lynn Matluck Brooks. We want to explore the ways in which dance and the visual arts have intersected, converged, dialogued, and propelled one another forward, whether through felicitous collaboration or the unique visuo-spatial talent of an individual. Below we list just some of the examples of topics that spring to mind.

  • How have various art movements, such as Cubism, Expressionism, Vorticism, Biomorphism,etc., influenced or been influenced by dance?
  • How has the changing sense of what exactly constitutes the stage or performance space contributed to the changing architecture of movement?
  • How have dancers partaken of objects, materials, or environments, and/or objects, materials, or environments partaken of dancers in evolving designs that emerge as the performance progresses or time lapses (e.g., Kei Takei, Shen Wei, Eiko & Koma)?
  • In what ways have certain 20th-century forms, such as mobile, kinetic sculpture, and audio-kinetic art, been driven by or related to dance (e.g., George Rhoads’s Forty-Second-Street Ballroom)?
  • How have African-American and Latino forms of social dancing and street dancing inspired visual artists and vice versa?
  • How have collaborations across media inspired artists/performers to reinvent the art/performance forms they practice?
  • How have certain artists (e.g., Oskar Schlemmer) fused dance and design to challenge our notions of what constitutes the body?

Submission Instructions

All manuscripts will receive double-blind peer review. Submissions will be accepted at any time before December 31, 2016. Manuscripts should be submitted electronically at

All inquiries can be sent to Joellen Meglin at

Editorial information

  • Editor: Joellen A. Meglin, Temple University
  • Editor: Lynn Matluck Brooks, Franklin & Marshall College

Visiting Position in Dance, Williams College

The Dance Department at Williams College seeks to hire a visiting assistant professor in dance history and theory for a one- year appointment in 2016-17.

Candidates should have a Ph.D. or be in the final stage of their doctoral dissertation. Teaching experience is preferred. The teaching load is two courses each semester. The fall semester includes a 100 level Dance History course (co-taught) and a 200 level offering on Writing for Dance. The spring semester includes a 200 level course on Global Perspectives in Dance and a 200 level course on Gender and the Dancing Body.

Applicants will participate in other aspects of department life and join a community of colleagues and students dedicated to the study of dance as an evolving human practice through embodied, creative and research practices. The department’s home is the ’62 Center for Theater and Dance. We offer studio and seminar courses, workshops, lectures, performances and field trips.  We collaborate with other departments and area institutions including the Williams College Museum of Art, MASS MoCA, Jacob’s Pillow Dance Festival and Massachusetts College of Liberal Arts.

This position is eligible for the full package of faculty benefits.

We are interested in individuals who have experience with diverse populations who can contribute to the diversity and excellence of the academic community at Williams through their research, teaching and service.

The deadline for application is May 6, 2016 Applicants should submit a letter of application, curriculum vitae and contact information for three references via

Letters should be addressed to

Sandra L. Burton, Lipp Family Director and Chair of Dance

’62 Center for Theater and Dance

Williams College

1000 Main Street

Williamstown, MA01267

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 academic excellence of its approximately 2,000 students. Please visit the college website (

Stanford University Arts Research Fellowships: “Creative Cities”


Stanford University Arts Research Fellowships: “Creative Cities”

The Stanford Arts Institute invites applications for one-year visiting fellowships. Fellows are expected to conduct interdisciplinary research on the theme “Creative Cities.” Each Fellow will be affiliated with the Stanford Arts Institute, as well as with a relevant department or program at Stanford.

The Stanford Arts Institute offers interdisciplinary arts curricula and research programs, drawing on the wide-ranging intellectual resources of Stanford University. Peggy Phelan (English, Theater & Performance Studies) is the Denning Family Director of the Institute.

2016-17 Fellowship Theme: “Creative Cities: The Role of Art in Reimagining Cities”

New Orleans, Detroit, Mumbai, and Beijing—to name a few—are cities whose recent histories have been reconsidered (and are being rebuilt) with art as a central lens. This fellowship seeks candidates with a strong record of scholarly research and/or creative work on the intersection of art and urban centers. We are interested in candidates who can reach across disciplines (such as economics, public policy, urban renewal) as well as artistic media.

Eligibility and Requirements

Fellowships are for one full academic year, and require the fellow to be in residence at Stanford during Autumn, Winter, and Spring Quarters (mid-September 2016 through mid-June 2017). Candidates will normally have an MFA or interdisciplinary PhD in the arts. Independent artists and scholars must demonstrate artistic or scholarly achievement equivalent to a relevant terminal degree. Candidates will be expected to teach one undergraduate course and contribute to University-wide seminars and public discussions. Candidates will also be expected to produce a tangible contribution to the “Creative Cities” theme during the course of their fellowship.

There are no citizenship requirements for these fellowships; non-U.S. nationals are welcome to apply.


Fellows will be awarded a stipend of $50,000 plus benefits and travel/research funds of up to $3,000.

How to Apply

All materials must be submitted by 11:59pm (PST) on February 5, 2016.

Applicants should submit the following through Interfolio (

  • Cover letter describing the goals and achievements of your work to date
  • Curriculum Vitae
  • Written work sample
  • Fellowship Proposal detailing the research that the fellow would undertake while at Stanford (five page limit) and a course description for an undergraduate seminar. Research projects may include a creative practice component.
  • Three confidential letters of recommendation

Fellows will be chosen by a multidisciplinary selection committee on the basis of the promise of the proposed project, the originality and distinction of the candidate’s previous work, and the candidate’s perceived ability to contribute to the intellectual and artistic life of campus.

For more information:

Stanford Arts Institute

Stanford University

365 Lasuen Street, Second Floor

Stanford, CA 94305-5010

Stanford is an equal opportunity employer and is committed to diversity. It welcomes applications from women and members of minority groups, as well as others who would bring additional dimensions to the university’s research and teaching missions.