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 (dlei@uci.edu) and Charlotte McIvor (charlotte.mcivor@nuigalway.ie).

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 aburdick@fsu.edu

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 mancc.org for further information.

FSU is an Equal Opportunity/Access/Affirmative Action/Pro Disabled & Veteran Employer. FSU’s Equal Opportunity Statement can be viewed at: http://www.hr.fsu.edu/PDF/Publications/diversity/EEO_Statement.pdf

Bucknell University seeks TT faculty in Africana Studies

Applications will only be accepted through Interfolio ByCommittee at https://apply.interfolio.com/35700

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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 http://www.editorialmanager.com/dc.

All inquiries can be sent to Joellen Meglin at jmeglin@temple.edu.

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 http://apply.interfolio.com/34744

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 (http://www.williams.edu)

Stanford University Arts Research Fellowships: “Creative Cities”

***DEADLINE EXTENDED***

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.

Stipends

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 (http://apply.interfolio.com/32429):

  • 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

stanfordarts@stanford.edu

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.

The University of Cape Town seeks Lecturers in Dance Studies

The University of Cape Town’s Drama Department and School of Dance are merging to become a dynamic centre for contemporary performance practice in Africa.

Built on a proud tradition of excellence, the new centre will be committed to nurturing creative and academic achievement within the context of a vibrant local and international performing arts community. We are seeking dynamic individuals to continue this tradition of excellence and who will also contribute to the ongoing project of transformation of the curriculum to reflect the challenges of contemporary realities globally and specifically of South Africa. This would include embracing principles of diversity and inclusion in performance practices, pedagogies and research.

We seek to fill the following positions:

1 Full-time Senior Lecturer

2 Full-time Lecturers

1 Part-time Lecturer (Teaching only)

Requirements include:

• An appropriate postgraduate qualification

• A commitment to and experience of research (inclusive of creative works) and postgraduate

• Demonstrated ability to teach both academic and practical aspects of performance at undergraduate and postgraduate levels.

• Experience in teaching at least 2 of the following: Acting; Voice; Movement for actors; Performance-supervision in contemporary performance practice. Making (Choreography and Theatre-making) Dance Teaching Methodologies; Musicology; Dance History and/or Dance Techniques (African Dance, Classical Ballet, Contemporary Dance).

Responsibilities include:

• Planning, implementing, coordinating and teaching both theory and practice across all 4 undergraduate

• Coordinating, planning and teaching on academic development programmes.

• Supervising postgraduate studies.

• Presenting sustained research and creative works.

The respective annual remuneration packages, including benefits, for 2015 are as follows:

Lecturer: R 528 275 (Full-time)

Lecturer: R 330 172 (Part-time 25hours a week)

Senior Lecturer: R 649 534 (Full-time)

To apply, please e-mail the below documents in a single pdf file to Mr. Craig Alexander at recruitment02@uct.ac.za

– UCT Application Form (download at http://web.uct.ac.za/depts/sapweb/forms/hr201.doc)

– Cover letter, and

– Curriculum Vitae (CV)

Please indicate the post and level at which you are applying.

Please ensure the title and reference number are indicated in the subject line.

An application which does not comply with the above requirements will be regarded as incomplete.

Only shortlisted candidates will be contacted.

Telephone: 021 406 1508 Website: www.uct.ac.za

Reference number: E15226 Closing date: 15 January 2016

UCT is committed to the pursuit of excellence, diversity and redress in achieving its equity targets. Our

Employment Equity Policy is available at http://www.uct.ac.za/downloads/uct.ac.za/about/policies/eepolicy.pdf

UCT reserves the right not to appoint.

Temple University: Scholar-in-Residence Spring 2016

Temple University

DANCE DEPARTMENT

 

CALL FOR APPLICATIONS

Scholar-in-Residence Spring 2016

The Dance Department at Temple University invites applications for a week-long scholar-in-residence program. Due to the generous support of Dr. Robert Stroker, Dean and Vice Provost for the Arts, we welcome a visiting dance scholar as part of our mission to generate new research in dance, and provide mentoring opportunities for faculty and graduate students.

Dates of the Residency:        March 28-April 1, 2016

Terms of the Residency:

The Department will provide:

  • 5 nights’ accommodation at the Doubletree Hotel in Philadelphia
  • 5 days of per diems at $65 per day
  • Travel expenses of up to $1500
  • Honorarium of $1500

The Scholar-in-residence will:

  • Deliver two guest classes
  • Read and provide feedback on a draft chapter by a PhD dance student
  • Read and provide feedback on some draft writing by a dance faculty member
  • Provide a draft chapter of your own work (3 weeks in advance of visit) in preparation for two mentoring sessions with two dance faculty

Application Process:

Please submit:

  • Recent CV
  • 2-page statement outlining your current research activity and how it would benefit from engagement with specific Temple Dance faculty

Deadline for Applications:   December 22nd, 2015

Submit Applications to:        Dr. Sherril Dodds (sherril.dodds@temple.edu)

Results Notifications:            January 25th, 2016

Assistant Professor – Dance School of Film, Dance and Theatre Herberger Institute for Design and the Arts at Arizona State University

Assistant Professor – Dance School of Film, Dance and Theatre Herberger Institute for Design and the Arts at Arizona State University

The School of Film, Dance and Theatre in the Herberger Institute for Design and the Arts at Arizona State University seeks an assistant professor of Dance to teach undergraduate and graduate classes in contemporary modern dance, contemporary ballet and/or urban movement practices and creative practices.

Arizona State University is a new model for American higher education, an unprecedented combination of academic excellence, entrepreneurial energy and broad access. This New American University is a single, unified institution comprising four differentiated campuses positively impacting the economic, social, cultural and environmental health of the communities it serves. Its research is inspired by real world application blurring the boundaries that traditionally separate academic disciplines. ASU serves more than 80,000 students in metropolitan Phoenix, Arizona, the nation’s fifth largest city. ASU champions intellectual and cultural diversity, and welcomes students from all fifty states and more than one hundred nations across the globe.

The Herberger Institute for Design and the Arts, the largest comprehensive design and arts school in the nation, is a vibrant example of the of the New American University philosophy. With 4,700 students, more than 400 faculty and faculty associates, 135 degrees and a tradition of top-ranked programs, the Herberger Institute is built on a combination of disciplines unlike any other program in the nation. The institute includes the School of Art, The School of Arts, Media + Engineering, The Design School, The School of Film, Dance and Theatre, The School of Music, and the ASU Art Museum.

Through recognizing that design and the arts are critical resources for transforming society and solving complex problems, the Herberger Institute is committed to positioning artists, scholars, designers, and educators at the center of public life. http://herbergerinstitute.asu.edu/

The School of Film, Dance and Theatre is a collaborative community of artists, scholars, students, faculty and staff. Through inventive curricula and innovative programming, we are paving the way to the future of film, dance, and theatre. At the center of our philosophy are the four “Cs”: creativity, community, collaboration and collegiality. We build on these core values in our classrooms and studios, research endeavors, public programming and community engagement. Each year we present a season of productions that push the boundaries of contemporary theatre and dance and an annual student film festival that highlights the best emerging talent in digital film and media production.

Facilities include two film and media production teaching studios, high definition and digital video equipment, three editing labs, a sound editing lab, the 482-seat Galvin Playhouse with adjacent scene, costume, and lighting shops, the 250-seat Margaret

Gisolo Dance Studio, the 162-seat Lyceum Theatre, the flexible Prism Theatre, and six classroom/rehearsal studios with marley floors.

With over 400 undergraduate film majors, over 250 undergraduate theatre majors, 100 undergraduate dance majors and over 50 graduate theatre students, the School of Film, Dance and Theatre is a dynamic teaching, learning, and discovery environment in which production and curriculum are mutually supportive.

As an Assistant Professor of Dance, the successful candidate will have a distinguished record of creative activity (performance, choreography, new media, or related fields) and/or scholarship. The duties will include teaching graduate and undergraduate courses in contemporary modern dance, contemporary ballet, and/or urban movement practices and creative practices. The faculty member will be expected to provide individual mentorship to students, serve on MFA committees, and develop a significant research agenda that includes the presentation of creative work and/or scholarly publications. Participation in curriculum development and faculty governance at the school, institute and university levels are required.

Required Qualifications:

National/international record of creative activity and/or scholarship in performance, choreography, new media, dance pedagogy, movement studies, or related fields; Terminal degree in dance or related field; Teaching experience in higher education and at least one other context (e.g. K-12, community classes).

Desired Qualifications:

An interest in innovative and interdisciplinary practices that broaden current notions of dance and education; An interest in interdisciplinary collaborations across multiple artistic disciplines and/or across school boundaries; Ability to teach performance research, theory and methodology in current dance and art making practices; Certification in K-12 education, a somatic discipline, and/or movement analysis; Expertise in additional movement practices (e.g. urban movement practices, contact improvisation, dances of Africa); Strong interpersonal and communication skills; Computer and media/technology skills.

Instructions to Apply:

Please submit a letter of interest, curriculum vita and contact information of three (3) references.

Applications by email are preferred. Submit all materials to: fdtjobs@asu.edu.

Applications sent via mail must be addressed to: School of Film, Dance and Theatre Chair, Dance Search Committee c/o Elizabeth Olson PO Box 872002 Arizona State University Tempe, AZ 85287-2002

Please include a self-addressed stamped envelope if you would like your materials returned.

Application Deadline: The application deadline is 11:59pm (MST), November 22, 2015; if not filled, reviews will occur every two weeks thereafter until search is closed.

ASU conducts pre-employment screening for all positions, which includes a criminal background check, verification of work history, academic credentials, licenses and certifications.

Arizona State University is a VEVRAA Federal Contractor and an Equal Opportunity/Affirmative Action Employer. All qualified applicants will be considered without regard to race, color, sex, religion, national origin, disability, protected veteran status, or any other basis protected by law. See ASU’s complete non-discrimination statement at https://asu.edu/aad/manuals/acd/acd401.html. See ASU’s Title IX policy at https://www.asu.edu/titleIX/.

Call for Papers: Theatre Journal

Two Linked Special Issues for 2016:

Theatre and the Technological Turn(s)

These special issues investigate the ways in which technology continues to transform theatre and performance. Theatre has historically taken advantage of (and indeed initiated) ground-breaking historical experimentations with emerging technology from the Futurists’ Synthetic Theatre to the pioneering mise-en-scène of Josef Svoboda to the Fluxus experimentation; through these advances, media and performance scholars have continued to explore a rapidly developing technological age. Such transformations are, in turn, having a significant effect on practice and research in the discipline. Submissions (6000-9000 words) should be e-mailed to managing editor Bob Kowkabany (doriclay@aol.com) no later than 31 January 2016.

Special Issue 1

Digital “Issues”: Rethinking Media in/and/as Performance

In Theatre Journal’s 1999 special issue on “New Technologies,” Susan Bennett wrote that “some theatre scholarship has started to explore and exploit the multidimensional capacities that new technologies permit.” Building from this point, scholars and artists have continued to track and develop an emerging sub-field of media and performance. Called Digital, Multimedia, Mixed-Media, Internet, Cyborg, Virtual, or Intermedial theatre, to mention a few terms, this form has interrogated the growing use, and effects, of new technologies in a globalizing world. Revisiting the topic in the 2009 “Digital Media and Performance,” David Saltz finds a maturing form raising “social, aesthetic, and ontological theoretical issues.”

Bonnie Marranca’s concept of “Mediaturgy” develops out of her 1977 “Theatre of Images,” and is described in PAJ 96 (2010) as “a particular focus in methods of composition in media works that I hope will suggest new critical modes of comprehending and writing.” Now, in 2015, mediatization has been absorbed so thoroughly into everyday life that it is increasingly invisible. In a neoliberal political economy in which a cultural “mediaturgy” contains Donald Trump’s presidential bid, political refugees washing up on shores and screens, and gun violence and racial tensions played out across a myriad of ever-present media devices, mediatization has arguably become the fractured lens through which we understand the world.

If it has become so commonplace to see screens, projections, animations, and electronic objects on stage that we could consider reverting “multimedia theatre” back to just “theatre,” how might theatre now take up the effects of mediatization and find new ways to respond to a neoliberal, increasingly technologized, anthropocentric world? This special issue asks: what are the current challenges and concerns posed by media in/and/as performance? At a time when social and political action is framed by documentation and media capture, how can theatre respond to the mediatization of life? What are the methods in media works that demand new critical modes of thinking about performance? How can media in theatre and performance be used to explore new terrains, or to speak to the over- as well as the under-saturated sites across the globe?

This special issue will be edited by Theatre Journal co-editor Jennifer Parker-Starbuck. Submissions (6000-9000 words) should be e-mailed to managing editor Bob Kowkabany (doriclay@aol.com) no later than 31 January 2016. Note: the deadline for both special issues is the same.

Special Issue 2

Theatre, the Digital, and the Analysis and Documentation of Performance

Throughout its history, theatre has capitalised on advances in technology, from shifts in lighting to the development of machinery for creating special effects to the advent of multimedia in contemporary performance, and beyond. Considerations of multimedia are now integral to contemporary performance but also increasingly to the way in which research takes place in our field as the role that digital humanities can play becomes increasingly prominent. This special issue seeks contributions that engage with forms of technology that extend theatrical analysis and/or provide new ways of interrogating performance. Specifically, the issue looks to attract papers in theatre analysis that rely on quantitative methods, interrogations of large data sets and/or databases, or visualisation of theatre and performance and/or simulated environments.

Writing in these pages in May 2015, Debra Caplan quoted Sarah Bay-Cheng’s comment that “as the digital humanities become more performative [. . .] our discipline’s methodologies have never been more apt, or more useful, to the larger field.” This special issue asks: what do these technologies say about theatre and performance today? What can they elicit that ‘conventional’ research may overlook? How do they facilitate additional forms of investigation and understanding of our discipline(s)? How do we integrate them into other forms of analysis? How, for instance, do the enormous data files for a documentation form such as motion capture ‘translate’ to significant research outcomes? What are the effects of what Franco Moretti calls ‘distant reading’ to our fields? What obstacles might they set in place for understanding the nature of performance?

As is appropriate to such a topic, we hope to be able to load any necessary supporting data (data sets, visualisations, colour images) on the Johns Hopkins University Press site for essays in these issues. Please indicate any specific technological requirements for additional or different forms of critical support in your cover letter.

This special issue will be edited by Theatre Journal editor Joanne Tompkins. Submissions (6000-9000 words) should be e-mailed to managing editor Bob Kowkabany (doriclay@aol.com) no later than 31 January 2016. Note: the deadline for both special issues is the same.