A joint conference sponsored by the Committee on Research in Dance (CORD)
and the Society of Dance History Scholars (SDHS)
June 21-24, 2007
Le Centre National de la Danse, Paris, France (CND)
For registration and other conference information, please visit http://www.cnd.fr/CND/saison/colloques/saison06-07/collo-cord07.
For the conference schedule, please visit http://www.cnd.fr/saison/colloques/saison06-07/international-symposium-program-re-thinking-practice-and-theory
|SDHS President Susan Manning and CORD President Ray Miller enjoy the 2007 conference in Paris|
The Society of Dance History Scholars and the Congress of Research in Dance invite submissions for their historic joint conference, to be hosted by the Centre National de la Danse, Paris. Celebrating the cutting-edge facilities of the new CND with its superb studios, theatres, and library, this conference will advance research on all aspects of dance through critical inquiry and imaginative reconsideration of the terms "theory" and "practice". Meeting in a building that integrates the spaces of the studio, library, and archive, CORD and SDHS invite scholars and artists from across the globe to rethink ideas and bodies in motion. All plenary sessions will be simultaneously translated into French and English, the working languages for the conference.
How might we historicize practice and theory and practice now, at the beginning of the 21st century? In this moment of intensified circulation of dance forms worldwide, and with the advent of new digital technologies for representing the body in motion, what kinds of activities are categorized as "theorizing" and what others as "practicing"? What are the various histories of these terms? How do their genealogies inflect or determine their current usage? Do earlier notions of practice or theory continue to be utilized in different dance communities? What are the culturally distinctive meanings and understandings of the terms? How have these meanings been translated and interpreted in moments of cross-cultural contact? What do dancers do when they practice? What do they do when they theorize? Do dances put forward a theory of the body or of identity? Do they promote or inspire specific corporeal practices?
How might the methodologies utilized in phenomenology, semiotics, and cultural studies assist in understanding these terms? How might the perspectives afforded by studies of gender, colonization, and globalization help to elucidate their meanings? What ideological work is accomplished when they are deployed as a dichotomy? Is theorizing a form of labor? Is practice mental or physical or both?
Proposals on all areas of dance research are encouraged. The program committee also welcomes submissions that rethink the standard conventions for presenting both scholarship and choreography. Taking inspiration from the CND, which has re-thought theory and practice in the very organization of its performing spaces, how could the transmission of knowledge be performed in new ways? How might the content of the form of delivering a paper be re-envisioned so as to provoke new understandings of theory and practice? How might the presentation of a dance offer a guiding experience that encourages a new apprehension of theorizing and practicing?
More information on the Centre National de la Danse can be found at http://www.cnd.fr. CND will handle local arrangements and can be reached at 01.41.83.98.98.
Submissions should be emailed or postmarked by October 1, 2006, and notification of acceptance will be by January 10. The committee will accept proposals written in either French or English. If submitting by email, please download form and send to email@example.com.
If submitting by mail, please send eight copies of the proposal along with the submission form to: Susan Leigh Foster, Department of World Arts and Cultures, 120 Westwood Plaza, Suite 150, Box 951608, Los Angeles, CA, 90095-1608, USA
Queries may be addressed by email to: slfoster(at)arts(dot)ucla(dot)edu. No submissions accepted by fax.
Other members of the program committee include: Mark Franko (University of California, Santa Cruz), Michael Huxley (De Montfort University), John Perpener (Florida State University at Tallahassee), Yunyu Wang (Taiwan National University of the Arts and Colorado College), Barbara Sparti (independent scholar, Rome, Italy), Gerald Siegmund (Institute for Theatre Studies, Bern), Jacqueline Shea Murphy (University of California at Riverside), and Isabelle Ginot (Paris VIII)