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Dance Studies Association Conference 2018


Proposals Due: 4 December 2017

The Dance Studies Association (merging organization of the Society of Dance History Scholars and Congress on Research in Dance) is hosting our international conference in
Valletta, Malta 5-8 July 2018. We invite proposals for papers, panels, roundtable discussions, lecture-demonstrations, movement workshops, dance works using outdoor or indoor sites, and screendances that address our theme, “Contra: Dance & Conflict.” While often used as a metaphor for peace, the reality of dancing, dance-making, and scholarship surrounding dance is often one of conflict. Yet, as a venue for interaction, friction, and potential energy, conflict can be as creative as it is destructive. This conference seeks to celebrate and examine conflicts and contentions in:

Social dance: Dance-offs; cyphers and battles; dancing for social mobility; dance competitions.

Politics: Cold War aesthetic arsenal; ballet de cour; rivalry or stylistic differences within and between dance styles; choreographic responses to crises

Activism: staged actions of resistance, choreographies of protest; politically-themed work; conflict resolution

Dance Techniques: conflicting notions of safety, empowerment, aesthetics, nationality, and lineage

Choreography: conflict in devising and collaboration; choreographer-dramaturg-dancercomposer dynamics; fight choreography; partnering

Dance (in) education: theory versus/and/in practice; conflicting pedagogical strategies and goals; dancing in higher education and professional training dilemmas

We seek scholars, dancers and other performing artists, choreographers, performancebased activists, and arts administrators and organizers to address questions including:
• How has dance served as a vehicle for reconciliation?
• How has choreography represented, exposed, or challenged practices of violence and war?
• What choreographic strategies are at work in rallying support for or against war, or in battle itself?
• What are conflict management techniques within group derived choreography? How has conflict been productive in dance devising? How might these be applied to clashes outside the studio?
• How might we (re)consider relationships between dance and martial arts contemporary techniques?
• What are the conflicts within dance studies? Are there means of reconciling or using these conflicts productively that are informed by dance practice?
• What are the interventions of choreographic thinking, performing, and dance therapy within group and individual counseling discourses?
• What are choreographies, techniques, or individual accomplishments that might not have been actualized had it not been for substantial conflict (here, concepts of nemesis, injury, or race might be considered)? How is this process of formation still found in the product? How might this unique process be theorized?
• How is conflict at work in choreographies broadly considered, such as relations among and antagonisms between bodies in collectives and political movements, protests, and physical dynamics of democracies?
• How have state-sanctioned dances been sources of conflict, and what have been the ramifications of such conflicts?

Abstracts consist of 250 words plus three keywords. Panels should include an additional 150-word rationale. Please see FAQ and contact with any questions.


Review and Program Committees:



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