Join Tamar Rogoff, Gregg Mozgala, and Daisy Wright for the OHIO PREMIERE
Tues April 1, 4:30 PM
U.S. Bank Theatre
1739 N. High Street
Tamar Rogoff Director/Producer
Véronique Bernard Consulting Executive Producer
Daisy Wright Director/Editor
Sometimes the impossible just isn’t.
The Faun Experiment
He expected to be in a wheelchair at age 40 disabled by Cerebral Palsy. Instead, Gregg Mozgala embarks on a dance project with choreographer Tamar Rogoff. Through a process she invents as they go, his heels touch the ground for the first time in his life. The limits of the human body turn out to be not so fixed, and the medical and disability worlds take notice. As Rogoff and Mozgala discover resources they didn’t know they had, art overturns science.
The documentary film is shot over four years as Rogoff and Mozgala work to create the performance piece that changes Mozgala’s life. When “Diagnosis of a Faun” premieres, the media grabs the story with features in The New York Times, CBS Sunday Morning and Good Morning America. Rogoff and Mozgala are invited to lecture at Johns Hopkins and Harvard. Their quiet experiment publicly challenges the prevailing beliefs about CP.
In the final scenes, Mozgala takes his experience to Margot, a sixteen year-old girl whose CP nervous system mirrors his own. Rogoff steps away as Mozgala and Margot forge their own partnership of discovery, passing on the process body to body to body.
The Humanities Institute
Dept. of Dance
Office of Diversity and Inclusion
Writing Dancing/Dancing Writing
A Joint Conference of
The Society of Dance History Scholars (SDHS) and
The Congress on Research in Dance (CORD)
13–16 November 2014
Hosted by the University of Iowa in Iowa City, Iowa
The deadline for proposal submissions is 1 April 2014.
Proposals should be submitted via the SDHS/CORD conference website. Conference details, registration, accommodation and travel information will be posted on the joint SDHS/CORD conference website: http://sdhscordconference.wildapricot.org/.
Conference Theme: Writing Dancing/Dancing Writing
The 2014 conference provides an opportunity to examine issues of authorship, representation, notation, and narrative in dancing and writing practices across social and cultural contexts and between disciplines.
Bringing writing and dancing into dialog, once again, allows us to reassess their relationship considering aspects such as medium, form, methodologies, aesthetics, authorship, tradition, temporality, duration, meaning, and communication.
The location of the joint SDHS/CORD 2014 conference, at The University of Iowa, home of the renowned Writers’ Workshop, and in Iowa City, IA, a UNESCO-designated City of Literature, provides an impetus to explore the interplay between dancing and writing, globally, historically, and within contemporary culture.
Dancing and writing are both about articulating physical and thoughtful experiences. How are they related and/or different? How might the compositional strategies of one inform the other? While choreography, notation, scores, and increasingly, digital media, record movement events for posterity, the bodies of dance makers and dancers are physically absent from the historical record. Seen through the lens of embodied agency, however, dancing “writes” into and within space in its very enactment, transforming the moving body itself into a receiving and recording medium. In both dance writing and in dance making there is an impulse to record and interpret, thereby creating the possibility of looking again. Issues of authorship surface readily when examining dancing and writing practices in marginalized and underrepresented cultural and social contexts, and/or in relation to dominant cultural narratives. What are the implications of textualizing dance and/or the body for non-literate societies and/or for underrepresented communities? The ubiquity of dance and dance criticism in the virtual realm, interdisciplinary and collaborative approaches to the creative process, and the incorporation of the spectator into the event of the performance, are contemporary factors that further blur lines of authorship and bridge divides among artists, viewers, and critics. If dance is now living more fully in digital media, could its historical revisions and its “historicizing” reach as far as the written account? Similarly, is the vast universe of digitally generated text causing “the word” to have a life more brief? Does this situation increase anxiety about the “disappearance” of the text, of the dance?
The conference site provides an opportunity to examine issues of authorship, representation, and narrative in dancing and writing practices across social and cultural contexts. Bringing writing and dancing into dialog, once again, allows us to reassess their relationship considering aspects such as medium, form, methodologies, aesthetics, authorship, tradition, temporality, duration, meaning, and communication.
Additional questions that will be explored include:
What forms do embodied histories take, and, alternatively, what is a danced archive? In what ways are these questions complicated when considering identity and subject position?
In writing dance history, how do we preserve the body’s agency? What are the tropes and/or genres that deliberately or unwittingly define dance scholarship?
In what ways does writing or notating dancing factor into or construct/reinforce ideas of legacy? What are the economic structures that facilitate or hinder the preservation of dance works?
Is dancing feminine and writing masculine? Does Derrida’s famous gender/binary distinction still apply to the analytics of writing dancing?
What are the politics at work in the writing of the historical or academic canon in dance studies, and what impact do asymmetries of dance writing tilted toward English have on what gets recorded and how dance is portrayed? How might dance augment or complicate our understanding of translation?
How can dance studies broaden the scope of research and knowledge production by engaging scholars from other disciplines, and/or more broad-based and diverse audiences?
What forms of artistic collaboration have writers and dancers undertaken, and what have these intersections revealed?
How have collaborative approaches to dance making and spectator interactivity challenged narratives of choreographer-as-author?
The conference committee invites proposals for papers, panels, roundtables, and non-conventional forms of presentation (including performative papers, performances, and workshops) that address any of the questions listed above as well as other topics related to the theme of dancing and writing. Although priority will be given to proposals on the topic of dance and writing, scholars and artists are invited to submit proposals on the full spectrum of dance studies and practice. Organized panels and roundtables are especially encouraged.
Dr. Ann Cooper Albright
Thursday, October 3
Ohio Union Great Hall Meeting Room 2
Reception at 4pm, Presentation at 5
A dancer and scholar, Ann Cooper Albright is Professor of Dance, and Chair of the Department of Dance at Oberlin College. Combining her interests in dancing and cultural theory, she is involved in teaching a variety of dance, performance studies and gender studies courses that seek to engage students in both practices and theories of the body. She is founder and director of Girls in Motion an award winning afterschool program at Langston Middle School and co-director of Accelerated Motion: Towards a New Dance Literacy, a National Endowment for the Arts-funded digital collection of materials about dance. She is the author of Engaging Bodies: the Politics and Poetics of Corporeality (2013); Modern Gestures: Abraham Walkowitz Draws Isadora Duncan Dancing (2010); Traces of Light: Absence and Presence in the Work of Loie Fuller (2007); Choreographing Difference: the Body and Identity in Contemporary Dance (1997) and co-editor of Moving History/Dancing Cultures (2001) and Taken By Surprise: Improvisation in Dance and Mind (2003). The book, Encounters with Contact Improvisation (2010), is the product of one of her adventures in writing and dancing and dancing and writing with others. Currently, Ann is working on an interdisciplinary book entitled Gravity Matters: Finding Ground in an Unstable World.
Sponsored by Abilities, Disability Studies, and the Human Rights Working Group at the Humanities Institute
CALL FOR PARTICIPATION
Dancing the African Diaspora — Theories of Black Performance
February 7-9, 2014 Duke University, Durham, NC
What sorts of embodied practices constitute African diaspora dance?
In what ways has black dance been recognized and acknowledged?
What sorts of historical events have placed dance into enactments of black struggles for civil rights and recognition of citizenship?
How does dance, as a field of study, define African diasporic movement?
This two-day conference seeks to explore African diaspora dance as a resource and method of aesthetic identity. The Collegium for African Diaspora Dance aims to facilitate an interdisciplinary discussion that captures the variety of topics, approaches, and methods that might constitute Black Dance Studies.
“Dancing the African Diaspora” suggests multiple needs and interests. We are interested in papers/presentations that consider dance practices throughout the African diaspora, and the specific contexts that engender them. We are also interested in dance as an approach to the African diaspora itself. This convening situates black dance as constituted by theories of black performance. We invite you to explore black movement as a technology of African diasporic identity-making.
Presentations are invited along any theoretical line of inquiry concerned with African diaspora dance. We welcome papers that engage any site or topic related to black movement and those that represent a rigorous engagement with a number of disciplinary and methodological perspectives.
Possible Topics include
” Definitions of African diaspora dance
” Black dance, virtuality, and technologies of mediation
” Dancers, dances
” Pedagogical politics
” Identity and community making
” Gender and sexuality
” Colonialism, neoliberalism, commodification
Deadline for Proposals October 1, 2013
Confirmations sent October 15, 2013
all questions firstname.lastname@example.org
to submit a proposal: http://tinyurl.com/l78cexa
The conference committee intends to produce a volume of materials presented at the conference in an edited anthology.
Conference Committee|Collegium for African Diaspora Dance (CADD) Founding Members
Takiyah Amin, Thomas F. DeFrantz, Shireen Dickson, Jasmine Johnson, Raquel Monroe, C. Kemel Nance, Carl Paris, John Perpener, Will Rawls, Makeda Thomas, Andrea E. Woods Valdés, Ava LaVonne Vinesett.
Sponsors for this event include:
SLIPPAGE: Performance|Culture|Technology in residence at Duke; Humanities Writ Large @ Duke; the Collegium for African Diaspora Dance @ Duke; the Corporeality Working Group @ Duke; the Duke Dance Program; African and African American Studies at Duke.
Reperformance – April 15, 2013
The journal Agôn dedicates its 6th issue to the question of reperformance, to be released in January 2014.
The words “reperformance,” “rerun,” and “revival” gradually appeared in recent theater programming, competing with those of “original creation.” In a context of crisis, as cultural policies and theater initiatives turn more and more to the known, a phenomenon of cultural heritage building seems to directly affect the performing arts. Moving towards performances that come from the past, thereby becoming references and events, programmers as well as artists seem to make reperformance a new practice. This exercise changes according to each live art’s specificities, and it has triggered reflection across artistic fields.
We are thus interested in asking the question in a global, cross-disciplinary and contemporary way: of what is reperformance a sign? Is reperformance a way to fill the theaters in times of crisis; a new mode of access to knowledge (of a work, of an artist…); a need for the arts to celebrate – from anniversary to commemoration – its great men, its highlights, and its great
works; a means for the artist to legitimize his/her artistic approach by relying on major references; a relation to creation oriented towards the past; or a new lever of creativity for artists, stretched between memory and the present?
In front of the stereotypes regarding live arts – ‘live’ implying ephemeral, volatile, and thus evasive, the question of reperformance allows us to consider differently the threadbare questions of reproduction, repetition, copy, and variation. Live arts as ephemeral? Yes, if you remember, reperformance seems to say. Thinking about the reperformance is also thinking about the constitution of what makes it possible, in its writing, conservation, accessibility and possible replay. The exercise of reperformance explores memory in all its forms, written memory, bodily memory, oral memory, and juggles from one to another to invent its own process and its dramaturgy. Reperformance cannot be dissociated from that on which it is based: the trace, the archive, the document, the score, the recording – at a time of multiplication of these different media and of development of memory initiatives associated with them – but also the personal memory, the testimony, the experience of a body. It stages a memory that plays out through and in the representation and the shared experience that live arts offer and renew every evening.
Beyond that, the injunction of the trace, the testimony, and the document seems to reveal our contemporary taste for the real and invites us to consider reperformance not only as a phenomenon of memory but as a trademark of the performing arts – every performance being inspired and studded by performances that preceded it, consciously or not. One can then look at the practices of borrowing, copying, pasting, editing, and ask the question of what constitutes reperformance: the full reproduction of a mise-en-scene, the transmission of a role, borrowing one or more elements, texts, choreographies…? If there appears to be no expiration date for a show, when does a performance become reperformance?
We invite articles that think and explore reperformance around four main
– Reperformance as a marking of time: anniversaries, best of, tributes, commemorations… the creation of these new “lieux de mémoire” – in the words of Pierre Nora – questions both the political and economic logics and the legitimization process that underlies them.
– The reception of reperformance: to whom is the reperformance addressed? Is the memory of the show strong enough that the viewer who comes back and sees again can measure the reperformance? What is at stake in this strange event that makes one say “I was there”?
– The mechanisms of reperformance: reconstitution, recreation, reconstruction, reactivation, reenactment, restored behavior, second-hand … There can only be reperformance if there is first a take on the past: what are the processes used to resume, recover, quote, compile? What name to give the original being copied?
– Issues of memory, issues of creation: what is left of the original work? Who is the author of the reperformance? What does it mean to re-perform a work in a new historical, political and social context, with different performers, with the same but older? All these questions take place in the exploration of the differences between a version and its reperformance, where truth and fiction and existing and new cohabit.
Contributions may address all art forms – theater, dance, opera, circus, street theater, puppet, performance… – and all geographical areas. Though we want to ask the question of reperformance on contemporary stages, historical and aesthetic perspectives are not excluded.
Send your anonymous proposal (3000 characters maximum, including spaces) in English or in French before April 15, 2013 in .doc format, with a brief CV in a separate document to the following address: email@example.com
The journal welcomes images, graphics, sound files (.mp3 format – 44.1GHz encoded) and videos (.flv format) provided they are in good standing with the legislation on copyright, image rights and broadcasting rights.
We advise contributors to see the latest issues of the journal Agôn (http://agon.ens-lyon.fr/index.php?id=142) to know the spirit in which they are directed – note: former issues are in French.
We also invite them to look at the investigation on the memory of spectators of Bob Wilson’s *Einstein on the Beach*, conducted on the occasion of its reperformance at the Opéra de Montpellier last March (http://agon.ens-lyon.fr/index.php?id=2166) – an investigation that fed the premise of this issue.
 We will mention here as examples the work on notation and score in dance, the Knust Quartet, les Carnets Bagouet, the reconstitution of the *Rite of Spring*, the work of Marina Nordera and Béatrice Massin, the collection of articles under the direction of Isabelle Launay and Sylviane Pages: *Memory and History in Dance*, another collection under the direction of Gérard-Denis Farcy and Vincent Amiel, *Alert Memory: Archives in Creation*, the work on
the stage as a place of memory at the University Rennes 2, Brigitte Prost’s work on the notion of repertoire, *Performance Studies: An Introduction* by Richard Schechner, etc.
 Robert Cantarella gives a recent example of this when he re-performs Gilles Deleuze’s classes in his show *Faire le Gilles.*
 Stan’s anniversaries, *Panorama* by Decouflé, *Dance *by Lucinda Childs, the
revival of *Einstein on the Beach* in 2012…
 « Performances are made of bits of restored behavior. » Schechner, Richard, *Performance studies: an introduction*. London, New York: Routledge, 2002, p. 30.
Now accepting applications for Mellon Dance Studies Summer Seminar 2013
Applications from advanced graduate students, recent Ph.D.s, and junior faculty are invited for an intensive summer seminar on interdisciplinary research and teaching in dance studies. Funded by the Mellon Foundation, the seminar will be held June 16-22, 2013 at Brown University. Participants will engage with each other’s work as well as with the work of invited senior scholars. Accepted applicants will have their costs covered for tuition, room and board and, in addition, receive up to $500 to cover travel expenses. International applicants are welcome, as are applicants from all fields in the humanities and humanistic social sciences that border dance studies.
Please send a cover letter stating your research and teaching interests, curriculum vitae, writing sample, and two letters of recommendation to Dance Studies Seminar Committee, Northwestern University, University Hall 215, 1897 Sheridan Road, Evanston IL 60208-2240. Electronic applications (in Word or pdf) may be emailed to project assistant Jennifer Britton (firstname.lastname@example.org) with the subject line “Dance Studies Seminar.” Deadline for applications is January 15, 2013.
The 2013 summer seminar is part of a multi-year initiative titled Dance Studies in/and the Humanities. A Mellon-funded partnership between three universities—Brown, Northwestern and Stanford—Dance Studies in/and the Humanities invests in emerging scholars in a growing field. Subsequent summer seminars will be held at Stanford (2014) and Northwestern (2015). Postdoctoral fellows in Dance Studies were appointed at all three schools in September 2012; a second and final class of postdoctoral fellows will be appointed in September 2014.
See http://www.mellondancestudies.org/ for more information.
The Performance/Politics Working Group presents its first public events next week:
First, Dr. Tommy DeFrantz of Duke University will give a lecture on “Unchecked Popularity: Neoliberal Circulations of Black Social Dance” on Mon. Oct. 22nd at 12:30 at the George Wells Knight House, 104 East 15th Avenue.
Later that same week on Wed. Oct. 24th, join us at the Wexner Center for Tinariwen. The Performance/Politics Working Group will then host a conversation about Tinariwen’s work led by our own Dr. Ryan Skinner on Thurs. Oct. 25th at 4:00 at the George Wells Knight House, 104 East 15th Avenue.
Check out our Upcoming Events page to get more information on these two events.
We hope to see you there!