Actualités de la recherche en danse
mardi 20 octobre 2009
DIAGHILEV
this is the final version of the event series around Diaghilev and the Ballets Russes in Venice (October and November 2009).
COLLOQUE
Colloque en danse
Atelier de la danse N°4
Traces : (Dé)racines
Université de Nice Sophia-Antipolis (UNS)
Département des Arts, Section Danse
Laboratoire de Recherche RITM EA 3158(Centre de Recherche pour l’Analyse et l’Interprétation des Textes en Musique et dans les Arts du Spectacle)
Ecole doctorale Lettres Arts et Sciences Humaines
Festival de danse de Cannes
27, 28 et 29 novembre 2009
Cannes, Palais des Festivals et des Congrès
Comité scientifique et organisation :
Doctorants en danse à l'UNS: Claire Buisson, Ga-Young Lee, Karen Nioche, Camille Paillet, Mattia Scarpulla, Marie Tholon, Marian G. del Valle, Lieselotte Volckaert
Marina Nordera, professeur en danse et directrice du Laboratoire RITM à l'UNS (coordination)
Ces rencontres prennent la forme d'ateliers de recherche afin de poursuivre l'expérience d'une réflexion théorique conjuguée à des pratiques de la danse. L'Atelier de la danse n° 1 (Cannes 2005) fut consacré à la “Transdisciplinarité” à la fois dans la pratique des arts vivants et dans les approches théoriques qui les interrogent. L'Atelier de la danse n° 2 a été organisé en collaboration avec le Monaco Dance Forum en 2006 autour d'une première exploration du thème “Mémoires”. L'Atelier de la danse n° 3 visait à questionner la notion de Trace dans les dimensions théorico-méthodologiques de la recherche en danse. La Trace est entendue comme marque laissée par la danse sur l'homme, son histoire, ses objets, mais aussi marque laissée par l'homme, son histoire, ses objets sur la danse.
Cette année la réflexion porte plus particulièrement sur les « Racines » et les «Déracinements» culturels et intimes de la Trace, sur l'ancrage permanent d'une création ou d'un rite dansé dans un entourage de relations humaines, et sur le changement perpétuel d'une vie dans ses mémoires.
Doctorants, chercheurs et chorégraphes seront rassemblés autour de sessions thématiques.
L’inscription est gratuite, mais obligatoire.
Contact : marina.nordera@unice.fr
Pour plus d’information pratiques et sur le programme du Festival de Danse de Cannes
http://www.festivaldedanse-cannes.com
Atelier de la danse N°4
Traces : (Dé)racines
Université de Nice Sophia-Antipolis (UNS)
Département des Arts, Section Danse
Laboratoire de Recherche RITM EA 3158(Centre de Recherche pour l’Analyse et l’Interprétation des Textes en Musique et dans les Arts du Spectacle)
Ecole doctorale Lettres Arts et Sciences Humaines
Festival de danse de Cannes
27, 28 et 29 novembre 2009
Cannes, Palais des Festivals et des Congrès
Comité scientifique et organisation :
Doctorants en danse à l'UNS: Claire Buisson, Ga-Young Lee, Karen Nioche, Camille Paillet, Mattia Scarpulla, Marie Tholon, Marian G. del Valle, Lieselotte Volckaert
Marina Nordera, professeur en danse et directrice du Laboratoire RITM à l'UNS (coordination)
Ces rencontres prennent la forme d'ateliers de recherche afin de poursuivre l'expérience d'une réflexion théorique conjuguée à des pratiques de la danse. L'Atelier de la danse n° 1 (Cannes 2005) fut consacré à la “Transdisciplinarité” à la fois dans la pratique des arts vivants et dans les approches théoriques qui les interrogent. L'Atelier de la danse n° 2 a été organisé en collaboration avec le Monaco Dance Forum en 2006 autour d'une première exploration du thème “Mémoires”. L'Atelier de la danse n° 3 visait à questionner la notion de Trace dans les dimensions théorico-méthodologiques de la recherche en danse. La Trace est entendue comme marque laissée par la danse sur l'homme, son histoire, ses objets, mais aussi marque laissée par l'homme, son histoire, ses objets sur la danse.
Cette année la réflexion porte plus particulièrement sur les « Racines » et les «Déracinements» culturels et intimes de la Trace, sur l'ancrage permanent d'une création ou d'un rite dansé dans un entourage de relations humaines, et sur le changement perpétuel d'une vie dans ses mémoires.
Doctorants, chercheurs et chorégraphes seront rassemblés autour de sessions thématiques.
L’inscription est gratuite, mais obligatoire.
Contact : marina.nordera@unice.fr
Pour plus d’information pratiques et sur le programme du Festival de Danse de Cannes
http://www.festivaldedanse-cannes.com
CALL FOR PROPOSAL REMINDER
SDHS 2010 CONFERENCE
Dance & Spectacle
Society of Dance History Scholars Annual Conference
University of Surrey, Guildford and The Place, London, UK
8-11 July 2010
Dance and spectacle exist in tension with each other. This conference invites discussion of their related histories, aesthetics and politics. From movement choirs in ancient Greece to the forms of spectacle in modern Olympic ceremonies; from the Baroque ballets de cour to indigenous corroboree; from protest sit-ins to Yvonne Rainer’s "no to spectacle," the moving body exhibits meaning through choreographies of the visual.
The conference marks a collaboration between the University of Surrey, Guildford and The Place, London. The Place is one of the leading training and performance centers for contemporary dance in the United Kingdom and during 2010 it celebrates its 40th anniversary as an instrumental institution in the development of British modern dance. The Saturday of the conference will be sited at The Place and papers and performances will be co-curated by its Artistic Director Eddie Nixon. In addition, the University will host a series of events by leading British artists engaged in explorations of vertical, aerial and site-specific dance on campus and in Guildford town centre.
DEADLINE FOR PROPOSALS: 2nd November 2009
Details for how to submit proposals can be found here.
Dance & Spectacle
Society of Dance History Scholars Annual Conference
University of Surrey, Guildford and The Place, London, UK
8-11 July 2010
Dance and spectacle exist in tension with each other. This conference invites discussion of their related histories, aesthetics and politics. From movement choirs in ancient Greece to the forms of spectacle in modern Olympic ceremonies; from the Baroque ballets de cour to indigenous corroboree; from protest sit-ins to Yvonne Rainer’s "no to spectacle," the moving body exhibits meaning through choreographies of the visual.
The conference marks a collaboration between the University of Surrey, Guildford and The Place, London. The Place is one of the leading training and performance centers for contemporary dance in the United Kingdom and during 2010 it celebrates its 40th anniversary as an instrumental institution in the development of British modern dance. The Saturday of the conference will be sited at The Place and papers and performances will be co-curated by its Artistic Director Eddie Nixon. In addition, the University will host a series of events by leading British artists engaged in explorations of vertical, aerial and site-specific dance on campus and in Guildford town centre.
DEADLINE FOR PROPOSALS: 2nd November 2009
Details for how to submit proposals can be found here.
CALL FOR PROPOSAL
Annual Conference of Performance Studies international
PSi 16 Performing Publics
Toronto, 9-13 June 2010
PSi 16, Performing Publics, will take place in Toronto as part of a collaboration between York University’s Faculty of Fine Arts and the Ontario College of Art & Design. The conference will investigate the power of performance to intervene in, reshape, and reinvigorate the public sphere at the beginning of the twenty-first century. We invite proposals that take up notions of “public” in a variety of ways, pointing to the critically generative and fraught aspects of the term as it has been adopted within performance studies.
The conference will theorize the relationship between performance, “official” public culture (public culture framed and sanctioned by state and/or corporate institutions), and the production of what Michael Warner calls “counter-publics” (social formations developed in opposition to the discourses and interests of the official public sphere). As such, it will explore the coming together of individuals as a social totality – as a community, nation, organization, etc. – and the enactment of public as a form of social activism, as a means of rehearsing, querying, and producing alternative forms of local and global citizenship. In both contexts, performance has the potential to frame affective and critically nuanced responses to public events, issues and crises and thus to model politically and ethically engaged forms of public life. The conference also seeks to problematize the idea of “publics” as it has been applied to performance by exploring the limitations of this term and the kinds of social exclusions that it often has been used to rationalize.
Guiding questions will include: How are we hailed by various publics, and how does this shape our behaviors and social interactions? How are publics spatially and temporally constituted? In what ways do publics participate in forms of activism, civic engagement, and “poetic world-making” (Warner)? What affects and effects are produced by such utopian interventions? Our discussion of these issues will reflect the vibrant history of urban intervention and “public spacing” movements in Toronto in which artists and activists have worked together to change the shape of our shared local and civic spaces.
Proposals might address (but are not limited to):
- publics and counter-publics
- issues of public space
- performance and civic engagement
- performance as an act of public witness
- performance and public relations
- the audience (live or virtual) as public
- public events: rallies, protests, flash mobs, etc.
- the relationship between the public and the private
- the role of gender, sexuality, race, and class in performing publics
- public feelings and affects
- performative utopias and utopian performatives
- site-specific performance and urban intervention
The conference will be staged during Toronto’s annual Luminato Festival, and will provide several opportunities for participants to experience and reflect on its dynamic arts programming. Luminato is a multidisciplinary festival that celebrates music, dance, theatre, film, literature, and the visual arts, and showcases the work of local, national, and international artists. As part of its mandate to offer “accidental encounters with art,” Luminato is committed to presenting a variety of free events in public spaces. These public art projects run concurrently with exciting performance premieres at venues throughout the city.
Paper proposals (Due November 15): Proposals for individual papers should include a 250-word abstract. Conference papers are normally allotted 20 minutes. Traditional and performative papers are welcome.
Panel proposals (Due November 15): Panel proposals and proposals for other discursive formats (roundtable discussions, position papers, etc.) should include a 250-word abstract, along with the names, paper titles (if applicable) and affiliations of participants. Panels are normally allotted 1.5-2 hours. Proposals that interweave traditional and performative papers are welcome.
Shift proposals (Due November 1): Continuing the explorations of PSi 15, we invite proposals for “shifts”: innovative session formats that push the boundaries of the well-constructed panel. These may include workshops, performances, and interactive events. We welcome shifts that engage with “Performing Publics”—e.g., site-specific projects that activate public space, the urban landscape, or the immediate environs of the conference site. Proposals should include a 250-word abstract. Please note that shifts and panels will receive the same basic level of AV support, and there will be a limited number of places for shifts at PSi 16.
All proposals should be submitted online by filling out the PSi 16 “Proposal Form” at: http://psi16.com/cfp/submissions/
Questions about the conference can be directed to: info@psi16.com
PSi 16 Performing Publics
Toronto, 9-13 June 2010
PSi 16, Performing Publics, will take place in Toronto as part of a collaboration between York University’s Faculty of Fine Arts and the Ontario College of Art & Design. The conference will investigate the power of performance to intervene in, reshape, and reinvigorate the public sphere at the beginning of the twenty-first century. We invite proposals that take up notions of “public” in a variety of ways, pointing to the critically generative and fraught aspects of the term as it has been adopted within performance studies.
The conference will theorize the relationship between performance, “official” public culture (public culture framed and sanctioned by state and/or corporate institutions), and the production of what Michael Warner calls “counter-publics” (social formations developed in opposition to the discourses and interests of the official public sphere). As such, it will explore the coming together of individuals as a social totality – as a community, nation, organization, etc. – and the enactment of public as a form of social activism, as a means of rehearsing, querying, and producing alternative forms of local and global citizenship. In both contexts, performance has the potential to frame affective and critically nuanced responses to public events, issues and crises and thus to model politically and ethically engaged forms of public life. The conference also seeks to problematize the idea of “publics” as it has been applied to performance by exploring the limitations of this term and the kinds of social exclusions that it often has been used to rationalize.
Guiding questions will include: How are we hailed by various publics, and how does this shape our behaviors and social interactions? How are publics spatially and temporally constituted? In what ways do publics participate in forms of activism, civic engagement, and “poetic world-making” (Warner)? What affects and effects are produced by such utopian interventions? Our discussion of these issues will reflect the vibrant history of urban intervention and “public spacing” movements in Toronto in which artists and activists have worked together to change the shape of our shared local and civic spaces.
Proposals might address (but are not limited to):
- publics and counter-publics
- issues of public space
- performance and civic engagement
- performance as an act of public witness
- performance and public relations
- the audience (live or virtual) as public
- public events: rallies, protests, flash mobs, etc.
- the relationship between the public and the private
- the role of gender, sexuality, race, and class in performing publics
- public feelings and affects
- performative utopias and utopian performatives
- site-specific performance and urban intervention
The conference will be staged during Toronto’s annual Luminato Festival, and will provide several opportunities for participants to experience and reflect on its dynamic arts programming. Luminato is a multidisciplinary festival that celebrates music, dance, theatre, film, literature, and the visual arts, and showcases the work of local, national, and international artists. As part of its mandate to offer “accidental encounters with art,” Luminato is committed to presenting a variety of free events in public spaces. These public art projects run concurrently with exciting performance premieres at venues throughout the city.
Paper proposals (Due November 15): Proposals for individual papers should include a 250-word abstract. Conference papers are normally allotted 20 minutes. Traditional and performative papers are welcome.
Panel proposals (Due November 15): Panel proposals and proposals for other discursive formats (roundtable discussions, position papers, etc.) should include a 250-word abstract, along with the names, paper titles (if applicable) and affiliations of participants. Panels are normally allotted 1.5-2 hours. Proposals that interweave traditional and performative papers are welcome.
Shift proposals (Due November 1): Continuing the explorations of PSi 15, we invite proposals for “shifts”: innovative session formats that push the boundaries of the well-constructed panel. These may include workshops, performances, and interactive events. We welcome shifts that engage with “Performing Publics”—e.g., site-specific projects that activate public space, the urban landscape, or the immediate environs of the conference site. Proposals should include a 250-word abstract. Please note that shifts and panels will receive the same basic level of AV support, and there will be a limited number of places for shifts at PSi 16.
All proposals should be submitted online by filling out the PSi 16 “Proposal Form” at: http://psi16.com/cfp/submissions/
Questions about the conference can be directed to: info@psi16.com
CHANGEMENT D'ADRESSE
L'Association pour un Centre de Recherche sur les Arts du Spectacle des XVIIe et XVIIIe siècles change d'adresse internet.
L’adresse du site Internet est désormais http://acras17-18.org.
L'adresse de correspondance spectacles17e18e@gmail.com reste inchangée.
L’adresse du site Internet est désormais http://acras17-18.org.
L'adresse de correspondance spectacles17e18e@gmail.com reste inchangée.
SEMINAIRE
Sophie Jacotot nous annonce la création d'un séminaire d'histoire culturelle de la danse à l'Ecole des Hautes Etudes en Sciences Sociales (EHESS). Organisé par l'Atelier d'histoire culturelle de la danse dont elle fait partie, il se tiendra les 2e et 4e lundis du mois de 19h à 21h, à partir du 9 novembre, au 105, bd Raspail, 75006 Paris (salle 7).
le programme de l'année est à télécharger sur le site. L'ordre des séances étant susceptible de connaître quelques modifications en fonction de la disponibilité des intervenants.
Les informations actualisées ainsi que des ressources complémentaires (bibliographies...) seront consultables sur le site de l'Atelier (en construction).
le programme de l'année est à télécharger sur le site. L'ordre des séances étant susceptible de connaître quelques modifications en fonction de la disponibilité des intervenants.
Les informations actualisées ainsi que des ressources complémentaires (bibliographies...) seront consultables sur le site de l'Atelier (en construction).
jeudi 15 octobre 2009
SEMINAIRE / APPEL A COMMUNICATION
Séminaire art2day 2010 / Les mises en récit du réel
Bon nombre de pratiques récentes du côté de la performance, de la vidéo, du cinéma ou encore de la littérature ont développé de nouvelles stratégies formelles et codes esthétiques à même de capter le réel, dépassant la distinction classique et largement caduque entre documentaire et fiction. L'opposition entre ces deux notions, dont il n'est pas certain au demeurant qu'il faille tenter d'en déterminer les contours, cède la place à des formes mixtes dont l'hybridation semble être la condition même de
leur succès.
Face à la perte d'évidence du réel, sa déréalisation et son travestissement accru dans sa représentation médiatique, l'enjeu apparaît aujourd'hui dans les procédés formels déployés afin de parvenir à capter le réel en lui restant fidèle. Moins que les catégories génériques mobilisées (documentaire, fiction, reportage, photo-journalisme). C'est la référence à la réalité qui importe et permet de discriminer les différentes formes : entre celles qui prétendent restituer le réel ou
celles qui s'en affranchissent librement ; entre celles qui déréalisent ou "spectacularisent » le réel ; entre celles qui le mettent à distance ou nous le rendent voisin.
Ce qu'il importe d'examiner, ce sont les différentes modalités formelles et esthétiques de références au réel, et les sens éthiques et politiques induits par ces choix et ces formes, au-delà de la bipartition entre réel et fiction.
Ce séminaire se propose d'examiner les nouvelles formes de captation du réel et de sa mise en récit en images (fixes ou en mouvement), en texte (littérature) ou en parole (performance, psychanalyse).
Il est ouvert aux chercheurs et doctorants en arts et sciences humaines (arts plastiques et visuels, études théâtrales, performance, danse, cinéma, littérature, philosophie esthétique, théories de l'art, sociologie, psychanalyse), aux artistes et professionnels de l'art (commissaires d'expositions, critiques d'art).
Il se tiendra à Paris, en deux temps :
- de janvier à juin 2010
- et sur l'année universitaire 2010/2011 ;
le calendrier tiendra compte des disponibilités des intervenants.
Il fera l'objet d'une publication en ligne sur art2day.fr et/ou sous forme
de livres selon les subventions obtenues.
Merci d'envoyer vos propositions de communication (1 à 2 pages maximum), accompagnées d'une courte notice biographique, avant le 1er janvier 2010, délai de rigueur à contact@art2day.fr.
--
L'équipe de Art2Day
______________________________
Art2day, Paris
Agence conseil en formation, recherche et programmation
www.art2day.fr
contact@art2day.fr
01 40 38 66 32
art2day est une agence en formation, recherche et programmation de droit privé, spécialisée en esthétique et théorie de la création contemporaine. Interdisciplinaire, abordant l'art sous ses formes les plus diverses et actuelles, art2day soutient et promeut la recherche en art contemporain au travers de partenariat avec des laboratoires universitaires et d'élaboration de programmes de recherche.
Bon nombre de pratiques récentes du côté de la performance, de la vidéo, du cinéma ou encore de la littérature ont développé de nouvelles stratégies formelles et codes esthétiques à même de capter le réel, dépassant la distinction classique et largement caduque entre documentaire et fiction. L'opposition entre ces deux notions, dont il n'est pas certain au demeurant qu'il faille tenter d'en déterminer les contours, cède la place à des formes mixtes dont l'hybridation semble être la condition même de
leur succès.
Face à la perte d'évidence du réel, sa déréalisation et son travestissement accru dans sa représentation médiatique, l'enjeu apparaît aujourd'hui dans les procédés formels déployés afin de parvenir à capter le réel en lui restant fidèle. Moins que les catégories génériques mobilisées (documentaire, fiction, reportage, photo-journalisme). C'est la référence à la réalité qui importe et permet de discriminer les différentes formes : entre celles qui prétendent restituer le réel ou
celles qui s'en affranchissent librement ; entre celles qui déréalisent ou "spectacularisent » le réel ; entre celles qui le mettent à distance ou nous le rendent voisin.
Ce qu'il importe d'examiner, ce sont les différentes modalités formelles et esthétiques de références au réel, et les sens éthiques et politiques induits par ces choix et ces formes, au-delà de la bipartition entre réel et fiction.
Ce séminaire se propose d'examiner les nouvelles formes de captation du réel et de sa mise en récit en images (fixes ou en mouvement), en texte (littérature) ou en parole (performance, psychanalyse).
Il est ouvert aux chercheurs et doctorants en arts et sciences humaines (arts plastiques et visuels, études théâtrales, performance, danse, cinéma, littérature, philosophie esthétique, théories de l'art, sociologie, psychanalyse), aux artistes et professionnels de l'art (commissaires d'expositions, critiques d'art).
Il se tiendra à Paris, en deux temps :
- de janvier à juin 2010
- et sur l'année universitaire 2010/2011 ;
le calendrier tiendra compte des disponibilités des intervenants.
Il fera l'objet d'une publication en ligne sur art2day.fr et/ou sous forme
de livres selon les subventions obtenues.
Merci d'envoyer vos propositions de communication (1 à 2 pages maximum), accompagnées d'une courte notice biographique, avant le 1er janvier 2010, délai de rigueur à contact@art2day.fr.
--
L'équipe de Art2Day
______________________________
Art2day, Paris
Agence conseil en formation, recherche et programmation
www.art2day.fr
contact@art2day.fr
01 40 38 66 32
art2day est une agence en formation, recherche et programmation de droit privé, spécialisée en esthétique et théorie de la création contemporaine. Interdisciplinaire, abordant l'art sous ses formes les plus diverses et actuelles, art2day soutient et promeut la recherche en art contemporain au travers de partenariat avec des laboratoires universitaires et d'élaboration de programmes de recherche.
mercredi 14 octobre 2009
PUBLICATION
Tanz & Archiv
Forschungsreisen
Heft 1: Reenactment
Hg. v. Andreas Backoefer, Nicole Haitzinger und Claudia Jeschke
unter Mitarbeit v. Karin Fenböck
ISSN 1868-4734
Euro 15,00; 108 Seiten
PUBLICATION
Publication en ligne des actes du colloque CESAR, qui a eu lieu le 11-13 septembre 2008 dans le cadre de la Sterling and Francine Clark Art Institute à Williamstown MA (USA).
La thème du colloque était "Visions de la scène: théâtre, art, et performance en France, 1600-1800." Les interventions se sont servi du CESAR Imagebank (http://cesar.org.uk/cesar2/imgs/index.php), qui contient plus de 3500 images qui portent sur le théâtre de l'Ancien Régime et de la Révolution.
On trouve les actes du colloque à http://cesar.org.uk/cesar2/conferences/conference_2008/confintro08.html.
La thème du colloque était "Visions de la scène: théâtre, art, et performance en France, 1600-1800." Les interventions se sont servi du CESAR Imagebank (http://cesar.org.uk/cesar2/imgs/index.php), qui contient plus de 3500 images qui portent sur le théâtre de l'Ancien Régime et de la Révolution.
On trouve les actes du colloque à http://cesar.org.uk/cesar2/conferences/conference_2008/confintro08.html.
COLLOQUE
Spectacles et pouvoirs dans l’Europe de l’Ancien Régime (xvie-xviiie siècles)
Colloque international
Université Michel de Montaigne-Bordeaux 3
17,18 et 19 novembre 2009
Salle Notre-Dame, cours Mably, Bordeaux
et Maison des Sciences de l’Homme d’Aquitaine (MSHA)
Salle Jean Borde, Bordeaux 3
Comité scientifique :
Professeurs Marie-Bernadette Dufourcet, Charles Mazouer, Anne Surgers
Equipe d’accueil LAPRIL (Centre de recherche sur l'Europe Classique, Artes)
Partenaires :
Equipe d’accueil 3959, Paris III Sorbonne nouvelle
(Centre de recherches sur la théorie et l’histoire du théâtre)
Service Culturel Bordeaux 3
Programme à télécharger ici
Colloque international
Université Michel de Montaigne-Bordeaux 3
17,18 et 19 novembre 2009
Salle Notre-Dame, cours Mably, Bordeaux
et Maison des Sciences de l’Homme d’Aquitaine (MSHA)
Salle Jean Borde, Bordeaux 3
Comité scientifique :
Professeurs Marie-Bernadette Dufourcet, Charles Mazouer, Anne Surgers
Equipe d’accueil LAPRIL (Centre de recherche sur l'Europe Classique, Artes)
Partenaires :
Equipe d’accueil 3959, Paris III Sorbonne nouvelle
(Centre de recherches sur la théorie et l’histoire du théâtre)
Service Culturel Bordeaux 3
Programme à télécharger ici
APPEL A COMMUNICATION
Appel à communications :
Colloque « Danse et musique: dialogues en mouvements »
du 10 au 12 mars 2011 à l’Université McGill.
La date limite de réception des résumés est le 15 janvier 2010.
Nous communiquerons avec les candidats avant le 31 mars 2010.
Tous les détails à télécharger sur le site.
Pour de plus amples renseignements, se référer à :
Steven Huebner, huebner@music.mcgill.ca
Sites Web: www.sqrm.qc.ca / www.oiccm.umontreal.ca
Colloque « Danse et musique: dialogues en mouvements »
du 10 au 12 mars 2011 à l’Université McGill.
La date limite de réception des résumés est le 15 janvier 2010.
Nous communiquerons avec les candidats avant le 31 mars 2010.
Tous les détails à télécharger sur le site.
Pour de plus amples renseignements, se référer à :
Steven Huebner, huebner@music.mcgill.ca
Sites Web: www.sqrm.qc.ca / www.oiccm.umontreal.ca
jeudi 8 octobre 2009
COOPERATIVE DANC E EDUCATION CENTER
Study Contemporary Dance and Choreography
The Cooperative Dance Education Centre is accepting students again
In the 2010 academic year the Cooperative Dance Education Centre at the Berlin University of the Arts (UdK) and the School of Dramatic Arts “Ernst Busch“ (HfS) will be accepting students again. Beginning on October 15th 2009, information on the BA course of study “Contemporary Dance, Context, Choreography”, the MA “Solo / Dance / Authorship (SODA)” and the MA “Choreography” will be available at the UdK Berlin and HfS websites.
The Cooperative Dance Education Centre – Pilot Project Tanzplan Berlin (HZT) developed a remarkable education in a cooperation between the UdK Berlin, the HfS and TanzRaumBerlin, the Berlin dance scene’s network. The HZT offers three practice-oriented and innovative courses of study for contemporary dance and choreography.
The HZT was established in 2006 with the goal of creating a qualified university education in the field of contemporary dance. Until the end of the pilot phase in March 2010 the centre is financed in equal parts by Tanzplan Deutschland, an initiative of the German Federal Cultural Foundation, and the Land of Berlin. When the four-year pilot project ends, the HZT will continue under the auspices of the UdK Berlin and the School of Dramatic Arts “Ernst Busch“ in cooperation with the TanzRaumBerlin network. This intent has been formalized in the university contracts with the Land of Berlin.
Further informations on applications available october 15th:
BA Contemporary Dance, Context, Choreography and MA Solo/Dance/Authorship (SODA) www.udk-berlin.de/tanz
MA Choreography www.hfs-berlin.de
The Cooperative Dance Education Centre is accepting students again
In the 2010 academic year the Cooperative Dance Education Centre at the Berlin University of the Arts (UdK) and the School of Dramatic Arts “Ernst Busch“ (HfS) will be accepting students again. Beginning on October 15th 2009, information on the BA course of study “Contemporary Dance, Context, Choreography”, the MA “Solo / Dance / Authorship (SODA)” and the MA “Choreography” will be available at the UdK Berlin and HfS websites.
The Cooperative Dance Education Centre – Pilot Project Tanzplan Berlin (HZT) developed a remarkable education in a cooperation between the UdK Berlin, the HfS and TanzRaumBerlin, the Berlin dance scene’s network. The HZT offers three practice-oriented and innovative courses of study for contemporary dance and choreography.
The HZT was established in 2006 with the goal of creating a qualified university education in the field of contemporary dance. Until the end of the pilot phase in March 2010 the centre is financed in equal parts by Tanzplan Deutschland, an initiative of the German Federal Cultural Foundation, and the Land of Berlin. When the four-year pilot project ends, the HZT will continue under the auspices of the UdK Berlin and the School of Dramatic Arts “Ernst Busch“ in cooperation with the TanzRaumBerlin network. This intent has been formalized in the university contracts with the Land of Berlin.
Further informations on applications available october 15th:
BA Contemporary Dance, Context, Choreography and MA Solo/Dance/Authorship (SODA) www.udk-berlin.de/tanz
MA Choreography www.hfs-berlin.de
CALL FOR PAPERS
Call for Papers: “Renegade Bodies: Dance in Canada during the 1970s”
Society of Canadian Dance Studies Conference
Dates: June 10-12, 2010
Locations: University of Ottawa and the Canada Dance Festival at the National Arts Centre, Ottawa, Ontario
The 1970s were an energetic and productive period for dance artists in Canada. Inspired by a variety of social developments in Canada, including multiculturalism, second-wave feminism, and separatist and federalist nationalism, dance artists across the country also participated in the ongoing international rethinking of dance forms and definitions, and experimentation with modes of performance. As the independent dance movement emerged and gained force in Canada during the decade, many dancers rejected the traditional hierarchical company structures, co-opted the latest technologies and transgressed disciplinary boundaries.
The distance created by the intervening years provides an opportunity to reflect on the significance of the 1970s for dance in Canada and to investigate how the artistic innovation and experimentation that propelled the decade might inform the Canadian dance community in the twenty-first century.
Although proposals addressing individual choreographic works or biographical portraits of artists important in the 1970s will be considered, papers that analyze larger trends and situate Canadian dance activities of the 1970s in their social, political, economic and aesthetic contexts are strongly preferred.
Possible topics include the following:
· 1970s multicultural federal policies and the representation of racial and ethnic groups on 1970s Canadian stages
· 1970s dance and new technologies (e.g. Portapak)
· The Dance Boom in Canada
· The embodiment of 1970s political activism in Canadian dance
· The role of post-secondary institutions in the development of the independent dance movement in Canada
· How the immigration facilitated the pollination of experimental international ideas and/or how foreign artists were influenced by their new cultural environments
· The importance of “backstage” stakeholders, including dance presenters and funders during the 1970s
· The effect of separatism and the election of the Parti Québécois in 1976 on the dance community in Montréal
· Canadian dance and the emergence of postmodern aesthetics
· The response of the Canadian television and/or film industries to dance innovation in Canada during the 1970s
· How the concerns of second-wave feminism as outlined in the Royal Commission on the Status of Women might help us re-conceptualize the independent dance movement in Canada during the 1970s
· Canadian adaptations of contact improvisation principles and practices
· Images of femininity, masculinity or sexuality constructed by independent dance artists through their bodies, artistic work or public personas
· The relationship between dance and performance art in Canada during the 1970s
· 1970s dance collectives in Canada
· Non-traditional performance spaces
· A comparison of the goals and activities of the 1970s independent dance movement with those of dance artists working prior to the establishment of long-term dance companies and/or the Canada Council, which was created in 1957.
· The exchange of ideas between the independent dance movement and ballet and/or modern dance companies
· The reception of dance experimentation in the mainstream media and/or in dancer-generated publications like Spill
Proposals for individual papers as well as panel proposals are welcome. Send abstracts (250 words maximum) and a short bio (100 words maximum) for each author to Allana Lindgren at aclind@uvic.ca. Proposals must be received by November 1, 2009.
Society of Canadian Dance Studies Conference
Dates: June 10-12, 2010
Locations: University of Ottawa and the Canada Dance Festival at the National Arts Centre, Ottawa, Ontario
The 1970s were an energetic and productive period for dance artists in Canada. Inspired by a variety of social developments in Canada, including multiculturalism, second-wave feminism, and separatist and federalist nationalism, dance artists across the country also participated in the ongoing international rethinking of dance forms and definitions, and experimentation with modes of performance. As the independent dance movement emerged and gained force in Canada during the decade, many dancers rejected the traditional hierarchical company structures, co-opted the latest technologies and transgressed disciplinary boundaries.
The distance created by the intervening years provides an opportunity to reflect on the significance of the 1970s for dance in Canada and to investigate how the artistic innovation and experimentation that propelled the decade might inform the Canadian dance community in the twenty-first century.
Although proposals addressing individual choreographic works or biographical portraits of artists important in the 1970s will be considered, papers that analyze larger trends and situate Canadian dance activities of the 1970s in their social, political, economic and aesthetic contexts are strongly preferred.
Possible topics include the following:
· 1970s multicultural federal policies and the representation of racial and ethnic groups on 1970s Canadian stages
· 1970s dance and new technologies (e.g. Portapak)
· The Dance Boom in Canada
· The embodiment of 1970s political activism in Canadian dance
· The role of post-secondary institutions in the development of the independent dance movement in Canada
· How the immigration facilitated the pollination of experimental international ideas and/or how foreign artists were influenced by their new cultural environments
· The importance of “backstage” stakeholders, including dance presenters and funders during the 1970s
· The effect of separatism and the election of the Parti Québécois in 1976 on the dance community in Montréal
· Canadian dance and the emergence of postmodern aesthetics
· The response of the Canadian television and/or film industries to dance innovation in Canada during the 1970s
· How the concerns of second-wave feminism as outlined in the Royal Commission on the Status of Women might help us re-conceptualize the independent dance movement in Canada during the 1970s
· Canadian adaptations of contact improvisation principles and practices
· Images of femininity, masculinity or sexuality constructed by independent dance artists through their bodies, artistic work or public personas
· The relationship between dance and performance art in Canada during the 1970s
· 1970s dance collectives in Canada
· Non-traditional performance spaces
· A comparison of the goals and activities of the 1970s independent dance movement with those of dance artists working prior to the establishment of long-term dance companies and/or the Canada Council, which was created in 1957.
· The exchange of ideas between the independent dance movement and ballet and/or modern dance companies
· The reception of dance experimentation in the mainstream media and/or in dancer-generated publications like Spill
Proposals for individual papers as well as panel proposals are welcome. Send abstracts (250 words maximum) and a short bio (100 words maximum) for each author to Allana Lindgren at aclind@uvic.ca. Proposals must be received by November 1, 2009.
CALL FOR PROPOSAL
DANCE ETHNOGRAPHY FORUM
SATURDAY 30 JANUARY 2010
DE MONTFORT UNIVERSITY, LEICESTER
Department of Performance and Digital Arts, De Montfort University, and the Society for Dance Research
10am-4.30pm
CALL FOR PAPERS
Deadline: Monday 16 November 2009
The field of dance ethnography can now be found across a range of disciplines such as dance studies, theatre, anthropology, performance studies, ethnology and folklore studies.
This biennial one day seminar, hosted by De Montfort University since 2003, will take place again on Saturday 30 January 2010.
The seminar aims to bring together both new and established fieldworkers in dance and movement to hear presentations on work in progress and to facilitate interaction and discussion on current research in dance and movement ethnography. You may submit proposals for either a paper of traditional conference length (20 minutes) or a more introductory presentation (10 minutes). The latter is aimed to encourage new students to present their research developments and to allow reports from more established workers in the field on work in progress. Proposals for panels are also welcome.
Proposals for Papers and Panels should include the following:
Name of Presenter (s)
Institutional Affiliation (if relevant)
Title
Abstract (half page) plus selected Bibliography
Time required (10 minutes or 20 minutes presentation).
Technical Requirements
Telephone contact number, email and postal addresses
Please send all proposals/inquiries to Professor Theresa Buckland, Department of Performance and Digital Arts, De Montfort University, Clephan, Leicester LE1 9BH. t.buckland@talk21.com and/or tbuckland@dmu.ac.uk. Email submissions and/or hard copy are both acceptable.
Notice will be sent to applicants of the programme by Monday 14 December 2009.
SATURDAY 30 JANUARY 2010
DE MONTFORT UNIVERSITY, LEICESTER
Department of Performance and Digital Arts, De Montfort University, and the Society for Dance Research
10am-4.30pm
CALL FOR PAPERS
Deadline: Monday 16 November 2009
The field of dance ethnography can now be found across a range of disciplines such as dance studies, theatre, anthropology, performance studies, ethnology and folklore studies.
This biennial one day seminar, hosted by De Montfort University since 2003, will take place again on Saturday 30 January 2010.
The seminar aims to bring together both new and established fieldworkers in dance and movement to hear presentations on work in progress and to facilitate interaction and discussion on current research in dance and movement ethnography. You may submit proposals for either a paper of traditional conference length (20 minutes) or a more introductory presentation (10 minutes). The latter is aimed to encourage new students to present their research developments and to allow reports from more established workers in the field on work in progress. Proposals for panels are also welcome.
Proposals for Papers and Panels should include the following:
Name of Presenter (s)
Institutional Affiliation (if relevant)
Title
Abstract (half page) plus selected Bibliography
Time required (10 minutes or 20 minutes presentation).
Technical Requirements
Telephone contact number, email and postal addresses
Please send all proposals/inquiries to Professor Theresa Buckland, Department of Performance and Digital Arts, De Montfort University, Clephan, Leicester LE1 9BH. t.buckland@talk21.com and/or tbuckland@dmu.ac.uk. Email submissions and/or hard copy are both acceptable.
Notice will be sent to applicants of the programme by Monday 14 December 2009.
COMMEMORATION
Centennial Celebration of centennial of the birth of choreographer and educator Alwin Nikolais
2010 is the centennial of the birth of choreographer and educator Alwin Nikolais. Special events and performances are scheduled around the country, including a Fall exhibition at New York Public Library for The Performing Arts. Claudia Gitelman will help the library staff to curate. "Performance" will be the unifying concept of the exhibition. Costumes, lights, sound and objects perform with dancers in Nikolais's multi-sensory choreography. Artifacts will be drawn from the Music Division, Billy Rose Theatre Division, Jerome Robbins Dance Division, and Rogers and Hammerstein Archive of Recorded Sound as well as from other institutions in the U.S. and abroad.
2010 is the centennial of the birth of choreographer and educator Alwin Nikolais. Special events and performances are scheduled around the country, including a Fall exhibition at New York Public Library for The Performing Arts. Claudia Gitelman will help the library staff to curate. "Performance" will be the unifying concept of the exhibition. Costumes, lights, sound and objects perform with dancers in Nikolais's multi-sensory choreography. Artifacts will be drawn from the Music Division, Billy Rose Theatre Division, Jerome Robbins Dance Division, and Rogers and Hammerstein Archive of Recorded Sound as well as from other institutions in the U.S. and abroad.
EMPLOIS
University of Oregon seeks Assistant Professor, History of Sciences or History of Arts
Assistant Professor, History of Sciences or History of Arts
The Robert D. Clark Honors College at the University of Oregon seeks to hire two tenure-track Assistant Professors of History with expertise in the History of the Sciences and in the History of the Arts to teach in an interdisciplinary liberal arts curriculum. Period and region are open. Fields of possible interest include history of the natural and environmental sciences, technology, and medicine; visual arts, architecture, and performing arts. A strong theoretical and interdisciplinary background is essential as well as a capacity to teach in a broad geographical and chronological framework.
The Clark Honors College is a highly selective undergraduate institution of 650 students within a research university of 20,000, featuring a comprehensive four-year curriculum which combines a liberal arts education with a major from among the university's departments. Clark Honors College courses are writing intensive and taught in seminar format. Our faculty teach lower division courses in ancient and modern history in a global framework and interdisciplinary upper division colloquia in their fields of specialization.
Interested applicants should submit a letter describing research and teaching interests, curriculum vitae, graduate transcripts, three letters of recommendation, one chapter-length writing sample, and syllabi and teaching evaluations, if available. Ph.D. required by September 15, 2010. Applicants with degrees from outside of the field of History should detail their historical training and interests. Consistent with the expectations of an AAU institutions, competitive candidates will offer evidence of research at the highest level within the candidate's discipline. Candidates should provide evidence of a strong research agenda and superior teaching ability.
The University of Oregon is an equal-opportunity, affirmative action institution committed to cultural diversity and compliance with the Americans with Disabilities Act. Candidates who promote and enhance diversity are strongly desired. To assure full consideration, application files must be completed by October 15, 2009. Send materials to History Search Committee, Clark Honors College, University of Oregon, Eugene, Oregon 97403.
Assistant Professor, History of Sciences or History of Arts
The Robert D. Clark Honors College at the University of Oregon seeks to hire two tenure-track Assistant Professors of History with expertise in the History of the Sciences and in the History of the Arts to teach in an interdisciplinary liberal arts curriculum. Period and region are open. Fields of possible interest include history of the natural and environmental sciences, technology, and medicine; visual arts, architecture, and performing arts. A strong theoretical and interdisciplinary background is essential as well as a capacity to teach in a broad geographical and chronological framework.
The Clark Honors College is a highly selective undergraduate institution of 650 students within a research university of 20,000, featuring a comprehensive four-year curriculum which combines a liberal arts education with a major from among the university's departments. Clark Honors College courses are writing intensive and taught in seminar format. Our faculty teach lower division courses in ancient and modern history in a global framework and interdisciplinary upper division colloquia in their fields of specialization.
Interested applicants should submit a letter describing research and teaching interests, curriculum vitae, graduate transcripts, three letters of recommendation, one chapter-length writing sample, and syllabi and teaching evaluations, if available. Ph.D. required by September 15, 2010. Applicants with degrees from outside of the field of History should detail their historical training and interests. Consistent with the expectations of an AAU institutions, competitive candidates will offer evidence of research at the highest level within the candidate's discipline. Candidates should provide evidence of a strong research agenda and superior teaching ability.
The University of Oregon is an equal-opportunity, affirmative action institution committed to cultural diversity and compliance with the Americans with Disabilities Act. Candidates who promote and enhance diversity are strongly desired. To assure full consideration, application files must be completed by October 15, 2009. Send materials to History Search Committee, Clark Honors College, University of Oregon, Eugene, Oregon 97403.
CALL FOR SUBMISSIONS
Hollywood Dance Film Anthology
Edited by: Melissa Blanco Borelli, Lecturer in Dance and Film Studies, U of Surrey, UK
This anthology seeks to establish a body of contemporary readings of the Hollywood dance film genre through methodologies used in critical dance, performance and film studies. Not exclusively a comprehensive historical narrative of the Hollywood dance film, the collection aims to position the field of critical dance studies alongside film analysis in order to enrich, enliven and further theorize the role that dance and screen bodies play in popular culture. Some questions to consider (but not to be limited by) are:
* How do dance and choreography function within the filmic apparatus?
* What types of bodies are associated with specific dances and how does this affect how dance(s) is/are perceived in the everyday?
* How do the dancing bodies on screen negotiate power, access and agency?
* How are multiple choreographies of identity (e.g., race, class, gender, sexuality, and nation) set in motion through the narrative, dancing bodies and/or dance style?
* What types of corporeal labours (dance training, choreographic skill, rehearsal, the constructed notion of “natural talent”) are represented or ignored?
* What role does a specific film have in the genealogy of Hollywood dance film?
* How does the Hollywood dance film inform how dance operates in cultural meaning making?
Some films to consider:
Fame, Breakin’, Breakin’ 2: Electric Boogaloo, Center Stage, Rize, Dirty Dancing, Dirty Dancing 2: Havana Nights, The Company, Hellzapoppin’, Stomp the Yard, Bride and Prejudice, Save the Last Dance, White Nights, Shall We Dance, Dance With Me, Salsa, Footloose, Sweet Charity, You Got Served, Step Up, Chicago, All that Jazz, Moulin Rouge, Take the Lead, Showgirls, Body Rock, Selena, and many others.
Although So You Think You Can Dance, Dancing With the Stars, or Strictly Come Dancing are not films, critical writings on these television shows are also welcome.
The volume will be organized with stand-alone chapters, each chapter focusing on a particular film, but this is amendable depending on the quantity and quality of the submissions. Ideally, this anthology will be used in both dance and film studies classes with additional contributions to other fields such as American Studies, English, Women and Gender Studies, or Ethnic Studies among others.
If interested in contributing, please send a 500 word abstract, a CV, and a 75 word bio to Melissa Blanco at m.blancoborelli@surrey.ac.uk. Deadline for abstract submission is 31 October 2009. If accepted (subject to review), complete chapters will be due by 15 July 2010.
Edited by: Melissa Blanco Borelli, Lecturer in Dance and Film Studies, U of Surrey, UK
This anthology seeks to establish a body of contemporary readings of the Hollywood dance film genre through methodologies used in critical dance, performance and film studies. Not exclusively a comprehensive historical narrative of the Hollywood dance film, the collection aims to position the field of critical dance studies alongside film analysis in order to enrich, enliven and further theorize the role that dance and screen bodies play in popular culture. Some questions to consider (but not to be limited by) are:
* How do dance and choreography function within the filmic apparatus?
* What types of bodies are associated with specific dances and how does this affect how dance(s) is/are perceived in the everyday?
* How do the dancing bodies on screen negotiate power, access and agency?
* How are multiple choreographies of identity (e.g., race, class, gender, sexuality, and nation) set in motion through the narrative, dancing bodies and/or dance style?
* What types of corporeal labours (dance training, choreographic skill, rehearsal, the constructed notion of “natural talent”) are represented or ignored?
* What role does a specific film have in the genealogy of Hollywood dance film?
* How does the Hollywood dance film inform how dance operates in cultural meaning making?
Some films to consider:
Fame, Breakin’, Breakin’ 2: Electric Boogaloo, Center Stage, Rize, Dirty Dancing, Dirty Dancing 2: Havana Nights, The Company, Hellzapoppin’, Stomp the Yard, Bride and Prejudice, Save the Last Dance, White Nights, Shall We Dance, Dance With Me, Salsa, Footloose, Sweet Charity, You Got Served, Step Up, Chicago, All that Jazz, Moulin Rouge, Take the Lead, Showgirls, Body Rock, Selena, and many others.
Although So You Think You Can Dance, Dancing With the Stars, or Strictly Come Dancing are not films, critical writings on these television shows are also welcome.
The volume will be organized with stand-alone chapters, each chapter focusing on a particular film, but this is amendable depending on the quantity and quality of the submissions. Ideally, this anthology will be used in both dance and film studies classes with additional contributions to other fields such as American Studies, English, Women and Gender Studies, or Ethnic Studies among others.
If interested in contributing, please send a 500 word abstract, a CV, and a 75 word bio to Melissa Blanco at m.blancoborelli@surrey.ac.uk. Deadline for abstract submission is 31 October 2009. If accepted (subject to review), complete chapters will be due by 15 July 2010.
CALL FOR PAPER
CELEBRATING JEAN-GEORGES NOVERRE 1727-1810: HIS WORLD, AND BEYOND
CALL FOR PAPERS
The 12th Oxford Dance Symposium examines various aspects of the life and works of the French-Swiss choreographer and dance writer Jean-Georges Noverre, his contemporaries and successors, his detractors and his champions. In calling for papers, the organisers are seeking a wide range of papers on all these aspects, particularly on his influence as practised in different centres throughout Europe and beyond. The symposium is organised by Michael Burden and Jennifer Thorp, and the keynote speaker will be Kathleen Hansell.
The bi-centenary of the death of Noverre presents an ideal opportunity to take a closer look at the world in which he lived and worked. Trained in Paris by the great Louis Dupré, Noverre went on to work in the opera houses of Paris, Lyons, Strasburg, Stuttgart, Vienna, Milan, and London, trained such future stars as Gaetan Vestris, Jean Dauberval, and Charles Didelot, and crossed swords with several European choreographers including his former pupils Gardel and Dauberval. Despite Noverre’s claims to be an innovator and reformer in many aspects of dance, a number of the theories that he propounded in his own writings had been anticipated by other authors, but it was he who left a mark on the history of theatrical dance which could not be ignored. By the end of his life, the French press was referring to him as ‘the Nestor of our choreographers’ and after his death in 1810 a flood of adulatory obituaries paved the way for a fame that has lasted virtually unchallenged until recent times.
Proposals or abstracts (200 words max.) should be sent to the Secretary to the College Officers, maggie.davies@new.ox.ac.uk by no later than 10 October 2009. The length of papers will be confirmed at the point of acceptance, so that the timetable may be properly balanced. Further details of the symposium will become available on the New College website http://www.new.ox.ac.uk under ‘College Events / Lectures and Symposia / Dance Symposia / 2010’. To join our mailing list, please contact Maggie Davies or Jennifer Thorp (jennifer.thorp@new.ox.ac.uk).
CALL FOR PAPERS
The 12th Oxford Dance Symposium examines various aspects of the life and works of the French-Swiss choreographer and dance writer Jean-Georges Noverre, his contemporaries and successors, his detractors and his champions. In calling for papers, the organisers are seeking a wide range of papers on all these aspects, particularly on his influence as practised in different centres throughout Europe and beyond. The symposium is organised by Michael Burden and Jennifer Thorp, and the keynote speaker will be Kathleen Hansell.
The bi-centenary of the death of Noverre presents an ideal opportunity to take a closer look at the world in which he lived and worked. Trained in Paris by the great Louis Dupré, Noverre went on to work in the opera houses of Paris, Lyons, Strasburg, Stuttgart, Vienna, Milan, and London, trained such future stars as Gaetan Vestris, Jean Dauberval, and Charles Didelot, and crossed swords with several European choreographers including his former pupils Gardel and Dauberval. Despite Noverre’s claims to be an innovator and reformer in many aspects of dance, a number of the theories that he propounded in his own writings had been anticipated by other authors, but it was he who left a mark on the history of theatrical dance which could not be ignored. By the end of his life, the French press was referring to him as ‘the Nestor of our choreographers’ and after his death in 1810 a flood of adulatory obituaries paved the way for a fame that has lasted virtually unchallenged until recent times.
Proposals or abstracts (200 words max.) should be sent to the Secretary to the College Officers, maggie.davies@new.ox.ac.uk by no later than 10 October 2009. The length of papers will be confirmed at the point of acceptance, so that the timetable may be properly balanced. Further details of the symposium will become available on the New College website http://www.new.ox.ac.uk under ‘College Events / Lectures and Symposia / Dance Symposia / 2010’. To join our mailing list, please contact Maggie Davies or Jennifer Thorp (jennifer.thorp@new.ox.ac.uk).
A CALL FOR RESEARCH ARTICLES
PRESERVING DANCE AS A LIVING LEGACY
As the dance world rushes forward into ever more sharply cutting edges of investigation, we remain mindful of the history on which today’s dance is built. Such organizations as the Dance Heritage Coalition, National College Choreography Initiative, the Balanchine Trust, and the Dance Notation Bureau, among many others, supply frameworks and guidance for keeping dances, performances, and choreographers’ legacies alive. Today’s choreographers, too, recognize that press archives, video recordings, and statements of philosophy are part of their toolbox.
We invite research submissions to a special issue of Dance Chronicle devoted to “Preserving Dance as a Living Legacy,” edited by Lynn Matluck Brooks and Joellen Meglin. Papers might address subject matter such as, but not limited to, topics suggested below:
- Are choreographers interested in preserving their own works for posterity? Should they be interested? Which methods have choreographers used record their own works?
- What are some known models for maintening an artistic legacy? How do these work, and why have they been successful? What might make these models more effective?
- What is gained, what is lost, and what changes as works pass from the original artists’ domain to performance by groups distant from that creative impulse?
- How do archives – personal, company, public, performing arts – support the work of preservation and reconstruction?
- How have international markets, media representations, and/or the Internet influenced the survival of particular dance works?
- Which kinds of dance are most frequently preserved and reconstructed? Why is this the case? What are we missing in our focus?
- How can we educate today’s dancers about the value of learning the dances of the past? Why should we so educate them?
- How do current audiences respond to reconstructions of dances from past periods? What changes or adaptations must be made to appeal to current audiences and what issues are involved in such changes?
- All manuscripts will receive double blind peer review. Submissions will be accepted any time up to March 25, 2010. Send manuscripts or inquiries to Lynn Matluck Brooks at lynn.brooks@fandm.edu or Joellen Meglin at jmeglin@temple.edu. Style and formatting guidelines are available as “Instructions for Authors” at: www.informaworld.com/smpp/title~db=all~content=t713597243~tab=submit~mode=paper_submission_instructions
As the dance world rushes forward into ever more sharply cutting edges of investigation, we remain mindful of the history on which today’s dance is built. Such organizations as the Dance Heritage Coalition, National College Choreography Initiative, the Balanchine Trust, and the Dance Notation Bureau, among many others, supply frameworks and guidance for keeping dances, performances, and choreographers’ legacies alive. Today’s choreographers, too, recognize that press archives, video recordings, and statements of philosophy are part of their toolbox.
We invite research submissions to a special issue of Dance Chronicle devoted to “Preserving Dance as a Living Legacy,” edited by Lynn Matluck Brooks and Joellen Meglin. Papers might address subject matter such as, but not limited to, topics suggested below:
- Are choreographers interested in preserving their own works for posterity? Should they be interested? Which methods have choreographers used record their own works?
- What are some known models for maintening an artistic legacy? How do these work, and why have they been successful? What might make these models more effective?
- What is gained, what is lost, and what changes as works pass from the original artists’ domain to performance by groups distant from that creative impulse?
- How do archives – personal, company, public, performing arts – support the work of preservation and reconstruction?
- How have international markets, media representations, and/or the Internet influenced the survival of particular dance works?
- Which kinds of dance are most frequently preserved and reconstructed? Why is this the case? What are we missing in our focus?
- How can we educate today’s dancers about the value of learning the dances of the past? Why should we so educate them?
- How do current audiences respond to reconstructions of dances from past periods? What changes or adaptations must be made to appeal to current audiences and what issues are involved in such changes?
- All manuscripts will receive double blind peer review. Submissions will be accepted any time up to March 25, 2010. Send manuscripts or inquiries to Lynn Matluck Brooks at lynn.brooks@fandm.edu or Joellen Meglin at jmeglin@temple.edu. Style and formatting guidelines are available as “Instructions for Authors” at: www.informaworld.com/smpp/title~db=all~content=t713597243~tab=submit~mode=paper_submission_instructions
APPEL A PROPOSITIONS
SDHS 2010 CONFERENCE: CALL FOR PROPOSALS REMINDER
Dance & Spectacle
Society of Dance History Scholars Annual Conference
University of Surrey, Guildford and The Place, London, UK
8-11 July 2010
Dance and spectacle exist in tension with each other. This conference invites discussion of their related histories, aesthetics and politics. From movement choirs in ancient Greece to the forms of spectacle in modern Olympic ceremonies; from the Baroque ballets de cour to indigenous corroboree; from protest sit-ins to Yvonne Rainer’s "no to spectacle," the moving body exhibits meaning through choreographies of the visual.
The conference marks a collaboration between the University of Surrey, Guildford and The Place, London. The Place is one of the leading training and performance centers for contemporary dance in the United Kingdom and during 2010 it celebrates its 40th anniversary as an instrumental institution in the development of British modern dance. The Saturday of the conference will be sited at The Place and papers and performances will be co-curated by its Artistic Director Eddie Nixon. In addition, the University will host a series of events by leading British artists engaged in explorations of vertical, aerial and site-specific dance on campus and in Guildford town centre.
DEADLINE FOR PROPOSALS: 2nd November 2009
Details for how to submit proposals can be found at:
http://www.sdhs.org/index.php?option=com_content&view=article&id=149
Dance & Spectacle
Society of Dance History Scholars Annual Conference
University of Surrey, Guildford and The Place, London, UK
8-11 July 2010
Dance and spectacle exist in tension with each other. This conference invites discussion of their related histories, aesthetics and politics. From movement choirs in ancient Greece to the forms of spectacle in modern Olympic ceremonies; from the Baroque ballets de cour to indigenous corroboree; from protest sit-ins to Yvonne Rainer’s "no to spectacle," the moving body exhibits meaning through choreographies of the visual.
The conference marks a collaboration between the University of Surrey, Guildford and The Place, London. The Place is one of the leading training and performance centers for contemporary dance in the United Kingdom and during 2010 it celebrates its 40th anniversary as an instrumental institution in the development of British modern dance. The Saturday of the conference will be sited at The Place and papers and performances will be co-curated by its Artistic Director Eddie Nixon. In addition, the University will host a series of events by leading British artists engaged in explorations of vertical, aerial and site-specific dance on campus and in Guildford town centre.
DEADLINE FOR PROPOSALS: 2nd November 2009
Details for how to submit proposals can be found at:
http://www.sdhs.org/index.php?option=com_content&view=article&id=149
VOIX - DANSE- TEXTE
Jackie taffanel vous invite à la conférence de Michel Bernard
les 8 et 9 octobre à l’Université Paul Valéry.
et à la rencontre entre Denis Taffanel et Michel Bernard
Le vendredi 9 octobre à 19H.
à l’atelier JDT, 278 av de l’Europe 34170 Castelnau le Lez
Tram 2 arrêt Charles de Gaulle
Direction Jacou Sablassou
Réservation impérative au 06 07 50 71 01)
Denis Taffanel présentera deux soli dans un lien voix-danse-texte en présence de Michel Bernard.
les 8 et 9 octobre à l’Université Paul Valéry.
et à la rencontre entre Denis Taffanel et Michel Bernard
Le vendredi 9 octobre à 19H.
à l’atelier JDT, 278 av de l’Europe 34170 Castelnau le Lez
Tram 2 arrêt Charles de Gaulle
Direction Jacou Sablassou
Réservation impérative au 06 07 50 71 01)
Denis Taffanel présentera deux soli dans un lien voix-danse-texte en présence de Michel Bernard.
SEMINAIRE
Ballet at Crossroads - International Seminar on Ballet Pedagogy
Theatre Academy Helsinki, Finland
23.-25.10.2009
This seminar aims at enhancing communication between the different traditions of ballet and creating a space for international exchange between ballet educators, researchers and artists. It also aims at developing the quality of ballet pedagogy and professional education of ballet teachers, dancers and choreographers. Experts from France, Russia, Canada, USA and Finland will share their views on the tradition, excellence in education and new directions to develop ballet education and give it academic credibility as well as artistic excellence. The Department of Dance and Theatre Pedagogy of the Theatre Academy Helsinki is arranging the seminar in co-operation with The Association of Ballet Pedagogues.
Programme à télécharger ici
Theatre Academy Helsinki, Finland
23.-25.10.2009
This seminar aims at enhancing communication between the different traditions of ballet and creating a space for international exchange between ballet educators, researchers and artists. It also aims at developing the quality of ballet pedagogy and professional education of ballet teachers, dancers and choreographers. Experts from France, Russia, Canada, USA and Finland will share their views on the tradition, excellence in education and new directions to develop ballet education and give it academic credibility as well as artistic excellence. The Department of Dance and Theatre Pedagogy of the Theatre Academy Helsinki is arranging the seminar in co-operation with The Association of Ballet Pedagogues.
Programme à télécharger ici
mercredi 7 octobre 2009
CONFERENCE
“PENSER LA DANSE”
par Michel Guérin, Philosophe, Professeur d'esthétique à l'université de Provence
PRIX: membres JAP : gratuit / non-membres : 6 euros / chômeurs, étudiants,…: 4,50 euros
LIEU: Palais des Beaux-Arts de Bruxelles. 23 rue Ravenstein 1000 Bruxelles
Jeunesse et Arts Plastiques 10 Rue Royale - bureau : 13 rue baron Horta - 1000 Bruxelles
T 02 507 82 25 Fax 02 507 83 25 info@jap.be - www.jap.be
par Michel Guérin, Philosophe, Professeur d'esthétique à l'université de Provence
PRIX: membres JAP : gratuit / non-membres : 6 euros / chômeurs, étudiants,…: 4,50 euros
LIEU: Palais des Beaux-Arts de Bruxelles. 23 rue Ravenstein 1000 Bruxelles
Jeunesse et Arts Plastiques 10 Rue Royale - bureau : 13 rue baron Horta - 1000 Bruxelles
T 02 507 82 25 Fax 02 507 83 25 info@jap.be - www.jap.be
APPEL A COMMUNICATION
Corps vivant / corps marionnettique : enjeux d’une interaction
Appel à communications pour le colloque international « Corps vivant/corps marionnettique : enjeux d’une interaction » qui se déroulera à l'Université d'Artois à Arras les 18-19 mars 2010.
Date limite d'envoi des propositions : le 31 octobre 2009.
http://calenda.revues.org/nouvelle14556.html
Appel à communications pour le colloque international « Corps vivant/corps marionnettique : enjeux d’une interaction » qui se déroulera à l'Université d'Artois à Arras les 18-19 mars 2010.
Date limite d'envoi des propositions : le 31 octobre 2009.
http://calenda.revues.org/nouvelle14556.html
JOURNEES D'ETUDES
Le théâtre après 1989 en Europe médiane
Bruxelles, ULB, 27-28 novembre 2009
http://calenda.revues.org/nouvelle12234.htlm
L'art, le politique et la création. Frictions et fictions socio-anthropologiques
Université Pierre-Mendes-France, Grenoble 2, 19-21 novembre 2009
http://calenda.revues.org/nouvelle12483.htlm
Images de l'artiste
Paris 1, HICSA
http://www.inha.fr/spip.php?article2637
L'art en valeurs
Institut supérieur de philosophie. Université catholique de Louvain, 28-30
avril 2010
http://calenda.revues.org/nouvelle12971.htlm
Bruxelles, ULB, 27-28 novembre 2009
http://calenda.revues.org/nouvelle12234.htlm
L'art, le politique et la création. Frictions et fictions socio-anthropologiques
Université Pierre-Mendes-France, Grenoble 2, 19-21 novembre 2009
http://calenda.revues.org/nouvelle12483.htlm
Images de l'artiste
Paris 1, HICSA
http://www.inha.fr/spip.php?article2637
L'art en valeurs
Institut supérieur de philosophie. Université catholique de Louvain, 28-30
avril 2010
http://calenda.revues.org/nouvelle12971.htlm
APPEL A COMMUNICATION
CALL FOR PAPERS
Kinesthetic Empathy: Concepts and Contexts
An International Conference hosted by the Watching Dance project
Thursday 22 and Friday 23 April 2010 at Hulme Hall,
The University of Manchester
papers | panels | posters| workshops | screenings
There is a growing interest in kinesthesia, empathy and kinesthetic empathy as pivotal concepts across different disciplines and media, reflecting current concern with ‘affect’ as an object of enquiry, interrogation of notions of presence, embodiment and the senses, re-examination of phenomenology, and widespread interest in neuroscientific investigation (notably in the ‘mirror neuron’ system).
This conference will bring together international researchers and practitioners in fields including neuroscience, dance, film, music, and body-based therapies to explore the nature and role of kinesthetic empathy. It will aim to open up dialogues between different practices and theoretical approaches.
Keynote speakers will include Alain Berthoz (neurophysiology of movement/perception); Rachel Davies (artist/filmmaker); Susan Foster (choreographer/dancer/writer); Christian Keysers (neuroimaging/social brain); Chris Nash (photographer) and Alex Reuben (filmmaker).
To register your interest and to go on the conference mailing list, email watchingdance.conference@gmail.com
For submission guidelines and to download the full call for papers please click here
For a submission form please click here
Kinesthetic Empathy: Concepts and Contexts
An International Conference hosted by the Watching Dance project
Thursday 22 and Friday 23 April 2010 at Hulme Hall,
The University of Manchester
papers | panels | posters| workshops | screenings
There is a growing interest in kinesthesia, empathy and kinesthetic empathy as pivotal concepts across different disciplines and media, reflecting current concern with ‘affect’ as an object of enquiry, interrogation of notions of presence, embodiment and the senses, re-examination of phenomenology, and widespread interest in neuroscientific investigation (notably in the ‘mirror neuron’ system).
This conference will bring together international researchers and practitioners in fields including neuroscience, dance, film, music, and body-based therapies to explore the nature and role of kinesthetic empathy. It will aim to open up dialogues between different practices and theoretical approaches.
Keynote speakers will include Alain Berthoz (neurophysiology of movement/perception); Rachel Davies (artist/filmmaker); Susan Foster (choreographer/dancer/writer); Christian Keysers (neuroimaging/social brain); Chris Nash (photographer) and Alex Reuben (filmmaker).
To register your interest and to go on the conference mailing list, email watchingdance.conference@gmail.com
For submission guidelines and to download the full call for papers please click here
For a submission form please click here
APPEL A COMMUNICATION
1er SYMPOSIUM INTERNATIONAL DE CORPUS
LE BEAU ET LE LAID: LES REPRESENTATIONS DU CORPS
Lisbonne, 7-8 Janvier 2010
CORPUS, Groupe international d'études culturelles sur le corps
&
Instituto de Estudos de Literatura Tradicional
Faculdade de Ciências Sociais e Humanas
universidade nova de lisboa
Fondé en 2009, CORPUS regroupe aujourd'hui une centaine de chercheurs travaillant dans une vingtaine de pays. Né d'une série de séminaires organisés de 2001 à 2008 dans le cadre de la formation "Histoire et civilisations" de l'Ecole des Hautes Etudes en Sciences Sociales et de la faculté de psychologie de l'Université Autonome de Madrid, CORPUS entend participer à la construction d'une anthropologie grande ouverte du corps en offrant des espaces pour des réflexions croisées et des dialogues disciplinaires autour de ce fascinant objet d'études.
Au cours de ce premier symposium, organisé avec l'appui de l’Instituto de Estudos de Literatura Tradicional da Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa, le thème "Le Beau et le Laid: les représentations du corps" sera abordé.
Appel à contribution à télécharger ici.
LE BEAU ET LE LAID: LES REPRESENTATIONS DU CORPS
Lisbonne, 7-8 Janvier 2010
CORPUS, Groupe international d'études culturelles sur le corps
&
Instituto de Estudos de Literatura Tradicional
Faculdade de Ciências Sociais e Humanas
universidade nova de lisboa
Fondé en 2009, CORPUS regroupe aujourd'hui une centaine de chercheurs travaillant dans une vingtaine de pays. Né d'une série de séminaires organisés de 2001 à 2008 dans le cadre de la formation "Histoire et civilisations" de l'Ecole des Hautes Etudes en Sciences Sociales et de la faculté de psychologie de l'Université Autonome de Madrid, CORPUS entend participer à la construction d'une anthropologie grande ouverte du corps en offrant des espaces pour des réflexions croisées et des dialogues disciplinaires autour de ce fascinant objet d'études.
Au cours de ce premier symposium, organisé avec l'appui de l’Instituto de Estudos de Literatura Tradicional da Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa, le thème "Le Beau et le Laid: les représentations du corps" sera abordé.
Appel à contribution à télécharger ici.
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