The EADH organises annual conferences, each of them taking place in different host European countries.
Call for Papers
EADH conference 2019 in Porto, Portugal
'Colonial dancing in Europe, European dancing in the colonies'
Friday 8th and Saturday 11th November 2019
In association with Portingaloise Cultural and Artistic Association, and Ginasiano/Armazém22
The conference proposes an exploratory look at the migration and confluence of dance styles, forms and practices through the wide net linking European nations and their colonies worldwide.
In a dialogue between Coloniser and Colonies, what part did dancing have in the cultural exchanges between nations? What impact did they have overseas and to what extent were they absorbed?
Potential lines of enquiry might include (but are not restricted to) the following topics:
o Dancing priests: the impact of Jesuit missions on colonial natives.
o The influence of colonial dancing in forming European national styles.
o Folk and traditional dancing in the colonies, and their European counterparts.
o Political and social assertion or dissent expressed through dancing and/or impacting travelling dancers.
o Does ethnicity help shape dance forms/practices?
o Slavery and submission: dancing your roots.
o 'Saudade': longing and yearning for motherland, manifest in dancing.
o Spaces for dancing: from clearings in the woods to marble clad assembly halls.
o Music for dancing in the colonies: instrumentation, forms, polyrhythmic counterpoint.
We welcome submissions for the presentation of papers or posters (the later particularly from undergraduate and postgraduate students), and particularly encourage practical demonstrations and workshops.
Although priority will be given to papers focusing on the conference theme, we also welcome papers on any other dance history topic (not necessarily addressing the topic above), as we envisage offering one conference session on diverse topics.
Please note that all speakers must be or become an active EADH member. Students presenting posters must have an EADH student membership.
In addition to academic papers and workshops, we shall offer a varied range of cultural activities (museum visit, city tour, river cruise, wine tasting & diner, group dances, etc).
Please send proposals of about 200 words to email@example.com by Monday, 15th April 2019, stating any technical requirement
If live demonstration is a significant part of your paper, please indicate this for planning purposes.
- November 2018, Victoria & Albert Museum, and Swedenborg House, London
Dancing beyond the Opera House, 1850 to 1910
o Jane Pritchard (keynote speaker), 'Dancing beyond the Opera House, 1850 to 1910'
o Keith Cavers, 'Ballet burlesqued: 200 years of dancing in drag'
o Susan Hamlin, 'Loie Fuller - The American dream made in France'
o Lisa Fusillo, 'Imports, exports and exploitation: American theatrical dancing 1840-1898'
o Theresa Buckland, 'Models for Modernity: couple dancers on display in English theatre and society, 1900-1910'
o Christine Bayle, 'The life of the dancer Nina Tikhonova, between revolution and war'
o Matthew Spring, 'Developments in social dance in Bath during the 19th century'
o Tiziana Leucci, 'The performances of "Asian dances" at the colonial exhibitions, museums, gardens, salons, cabarets & music halls in Europe and the United States (1889-1910)'
- November 2017, Technische Universität, Dresden
Relations between Music and Dance
o Uta Dorothea Sauer & Iris Winkler,'Relations between Dance and Music within social life'
o Bill Tuck, 'Who played for the dancing in the 15th century?'
o Jane Gingell, '"Inventions Rare" - Building a Music Edition for the Stuart Masque'
o Barbara Segal: "The dance and music must so nicely meet" - Soame Jenyns, 1729
o Mary Collins & Rachel Brown, 'Gesture and Nuance in the 18th century Sarabande'
o Ricardo Barros & Nicolette Moonen, 'Lully, the sound alchemist'
o Mojca Gal, 'Searching for the je-ne-sais-quoy'
o Edith Lalonger, 'The "Ballets figurés" in the operas of Jean-Philippe Rameau'
o Christine Bayle, 'Musical and choreographic questions for the period between Renaissance and Baroque'
o Giles Bennett, 'Newly Discovered Late 17th century Choreographies from Germany'
o Jane Gingell, 'The Dancer as Musician - the Castanet in Spanish 18th century dance (workshop)'
o Françoise Dartois-Lapeyre, 'Connections between music and dance in the ballets presented in Paris during the years 1776-1782'
o Helena Kazárová, 'From Starzer to Beethoven: Tracing the Concept of the 'Eloquent Music' (la musique parlant)'
o Tiziana Leucci, 'The Relation of Music and Dance in the Western and in the South India Choreographic Traditions'
o Lisa Fusillo, 'Symphonic Scandals - The Collision of Music and Dance'
o Susanna Avanzini, 'Giselle's "Marche des vignerons": a cheerful divertissement'
o Helen Linkenbagh, 'Rhythm, duration, vitality dynamics and classical ballet technique'
o Caroline Konzen Castro, 'Moving through melodies - relating dance and music in Gret Palucca's work'
o Ingolf Collmar, Dance workshop and presentation on Purcell's masque Fairy Queen
- November 2016, Academy of Performing Arts, Prague
Comic, dramatic and historic genres in eighteenth and nineteenth century dance repertory
o Béatrice Pfister, 'Noverre's and Angiolini's pantomime ballets: the theoretical implications of the choice of ballet subjects'
o Marie Helène Delavaud-Roux, 'Jean-Georges Noverre's ballets inspired by ancient Greece'
o Petra Dotlacilová, 'Dressing the genres: Costume designs by by L.-R. Boquet for Noverre's Grands Ballets Historiques, Héroiques, Poetiques, Nationnaux, Allégoriques et Moraux (1766)'
o Michael Malkiewicz, 'Étienne Lauchery: The neglected link between Noverre and Taglioni'
o Alessandra Kajdanska, 'National and Political Motives in Ballets performed at the Court of Polish King Stanislaw August Poniatowski (1764-1795)'
o Lisa Fusillo, 'Les Femmes de Bonne Humeur-An 18th-century comedy for contemporary audiences'
o Zuzana Rafajová, 'Why is Albert from Giselle the true romantic hero?'
o Flavia Pappacena, 'Mythology adapted to political needs and to public taste in mid-eighteenth century Italy'
o Nika Tomasevic, 'Ballets on colonial themes at the end of the eighteenth century: Exoticism "wins" Italian audiences'
o Annamaria Corea, ' "Shakespearian" Repertory in Italian Ballet between 18th and 19th Century'
o Ricardo Barros, 'Apollon: disheartened hero or afflicted god?'
o Christine Bayle and Tiziana Leucci, 'Celebrating the French in India: or The Triumph of Love by the "Conquering Bacchus" '
o Christine Bayle, 'La Bourrée Dauphine in Le Triomphe de l'Amour' (workshop)
o Pierre-François Dollé and Irène Feste, 'The interpretation of comical and burlesque entries in the Belle danse repertoire' (workshop)
- November 2015, Queen's University, Belfast
Choreographing Historical Works
o Matthew Spring, 'Beyond the choreography: social dance in context in Georgian Bath'
o Henrique Rochelle, 'Where are dances kept? The memory of bodily archives and dances as a museum artefact'
o Maria Salgado Llopis, 'Re-enacting Natural Movement: Wind Tossed (1936) and the Hyper-Historian'
o Matthew Werley, 'Greta Wiesenthal's "latent" choreographies and modernising contested spaces'
o Darren Royston and Penelope Boff, 'Realizing a 17th-century Spanish play: La Danza de los Siete Pecados'
o Uta Dorothea Sauer, 'The Revival of the ópera-ballet Les Quatre Saisons (Dresden, 1719) at the Festival "Dresden800" in 2006: performance practice and techniques of reconstruction'
o Lisa Fusillo, 'Tracing Massine's Sacre: Revival, Re-construction, or Re-interpretation?'
o Millicent Hodson (keynote speaker), 'Forensic Dancer'
o Mary Collins, 'Bach and beyond: dancing to the music of J.S. Bach'
o Edith Lalonger, 'Choreographing the ballets of J. Ph. Rameau'
o Ricardo Barros, 'Re-visiting and re-choreographing in Pécour's versions of the Sarabande d'Issé:'
o Round-table 'Re-imagining Sallé' - panellists: Sarah McCleave, Jane Gingell, Edith Lalonger, Catherine Turocy and Deda Cristina Colonna
- November 2014, Royal Academy of Dance, London
Teaching Dance History : Histories of Dance Teaching
o Elana Tarasova, 'Historical Dance in Russia, modern teacher's choice'
o Mary Collins, 'Who Said Elephants Can't Dance?'
o Madeleine Inglehearn, 'Dancing by Able Masters'
o Edith Lalonger, 'Theatrical Dance, Haute and Basse, according to Louis Bonin's treaty Die Neuuste Art Zur Galanten und Theatralischen Tanz-Kunst, 1711'
o Ricardo Barros and Nicolette Moonen, 'Querrelling Brothers: The establishment of the Académie Royale de Danse and changes in dance teaching'
o Carol Martin, 'Mothering English Ballet: Woman dance teachers and the maternal imaginary (London 1920-1939)'
o Sheila Dickie, 'Teaching Dance in England from 1914-1929'
o Sergey Konaev, 'Marius Petipa as Pupil and Dance Teacher'
o Ricardo Barros and Nicolette Moonen, 'Amidst Mouvements and Retakes: reconciling dance and music (practical workshop)'
- November 2012, Conservatoire de Boulogne/Billancourt, Centre George Gorse, Paris
En Cadence s'il vous plaît
o Françoise Dartois-Lapeyre, 'Les Rapports Musique et Danse au XVIIIe siècle: point de vue des maîtres et perception du public'
o Ricardo Barros, 'Belle Danse, Lullian Bowing and Les Arts Réunis in the Grand Siècle'
o José Sasportes, 'Les Danses de Trois Orphées'
o Domenika Hens, 'Rameau Danced: Baroque sound spaces for choreographic opera stagings'
o Stephanie Schroedter, 'Social Dance in Opera and Opera in Social Dance'
o Suzanna Avanzini, 'Orpheus und Eurydike according to Bausch / Gluck'
o Robert F. Waters, 'Through the Looking-Glass: The relationship between music and dance in Philip Glass's Einstein on the Beach and Les Enfants Terribles'
o Tiziana Leucci, 'South Asian Dance with Western Operas and South East Asian Music on the European Stage and Cinema (1899-1938)'
o Lisa A. Fusillo, 'Dancing on the Ether Waves'
o Christian Matijas Mecca, 'The Chansons de Bilitis and the Emergence of New Music for Modern Dance'
o Antony Desvaux, 'La Musique au Révélateur de la Danse, ou comme Béjart découvre Artaud dans la musique de Boulez'
o Stephanie Jordan, 'Unruly Partners: Choreomusical Proposals and Practices'
o Peter Sparling, 'Dancing Graham's Music: Sounds from an inner landscape'
o Todd J. Coulter, 'Beyond the Bar Line: The relationship of phrasing in the music and choreography of Paul Taylor'
o Sophia Preston, 'Mark Morris and Lou Harrison: "trans-ethnicism" and "elastic form"'
o Marie-Louise Crawley, 'Musicalising the Gesture: The challenge of "executing the movements to elucidate the music" in choreographing the world-première of Karlheinz Stockhausen's Mittwoch aus Licht'
o Renate Brauninger, 'The Function of the Score: How does the Anna Teresa de Keersmaeker use processes of scoring to preserve her early work?'
o Elo Masing, 'Movement in Sound / Sound in Movement: Notes on a collaborative process'
o Eimir McGrath, 'Moving Hearts: Performance as agent of change - exploring the concurrent experiences of dance and music within performance through the lens of Affective Neuroscience'
o Helen Julia Minors, 'Soundpainting: Navigating the creative space within and between dance and music'
- 2011, London; Not Just Ginger & Fred: Camaraderie, collusion and collisions between dance and film
- 2010, Seville; Fusion & Confusion
- 2009, Schwetzingen; Allemande, the Grandmother of the Waltz
- 2008, Leiden; Dance in Antiquity, Classics in Dance
- 2007, Prague; The Myth of Don Juan: the seducer in dance practice and history
- 2007, London; When Handel met Sallé [study day]
- 2006, Rome; L'Italia e la Danza: history, performance, style and technique in theatre, folk and social dancing
- 2005, York; Reading a Dance or Two: recording and passing on dance through time
- 2005, Logrono; Spain in the eyes of the world
- 2004, Stockholmn; A Show of Hands