Dr. Larry E. Lavender

Department of Dance

University of North Carolina, Greensboro NC 27410

lavender@uncg.edu Ä (336) 334-3046

EDUCATION

Ph.D. , Dance and Dance Education, New York University, January 1994.

Dissertation: Critical Evaluation in the Choreography Class

Dr. Patricia Rowe, Committee Chair

M.F.A. , Fine Arts/Dance, University of California, Irvine, June 1986.

B.A. , Dance, University of California, Riverside, June 1983 (with Honors).

B.A. , Humanities Interdisciplinary, University of California, Riverside,

June 1982 (with Honors).

TEACHING SPECIALIZATIONS

Dance Research, Writing About Art, Aesthetics and Criticism, Choreography

EMPLOYMENT

Professor, Department of Dance, University of North Carolina, Greensboro,

Fall 2006ãPresent.

Professor and Chair, Department of Dance, University of North Carolina, Greensboro,

2002ã2006.

Professor and Associate Chair, Department of Theatre and Dance, and Head of Dance Program, University of New Mexico, Fall 1993ãSummer 2002.

Director, Bachelor of University Studies Program, University College (Interdisciplinary), University of New Mexico, Spring 2001ãSummer 2002

Assistant Professor, Department of English, Long Island University, 1992-93.

Freshman English Composition.

Instructor, Expository Writing Program, New York University, 1991-93.

Writing Workshop I and II, "International" (ESL) Writing Workshop

I and II, Honors Writing Workshop.

Writing Consultant, Writing Center, New York University, 1992-93.

One-on-one writing consultations with NYU faculty, staff, and student writers.

Instructor, Program in Dance Education, New York University, 1991-93.

Modern Dance Technique, American Dance Heritage, Origins of Contemporary Dance.

Director, Dance Education Programπs High School Dance Workshop, New York University, 1989-90.

Coordinated and taught year-long series of weekend dance classes for New York City high school students.

Graduate Assistant to Marcia Siegel, Professor, Department of Performance Studies, New York University, 1988-89. Research assistant for doctoral courses in the Department.

Instructor, Conservatory of Music, University of Missouri, Kansas City, 1986-88.

Modern dance for majors I, II and III, Modern dance for non-majors, Dance Composition I and II, Improvisation, Dance Production (full-time).

Teaching Assistant, Department of Dance in the School of Fine Arts, University of California, Irvine, January 1984-June 1986.

Taught Ballet I, Modern Dance I and II; assisted in Weight Training for Dance, History of World dance, History of Theatre dance, Music for dancers, Choreography I and II, Graduate choreography, Teaching of Dance, Graduate Kinesiology.

Fine Arts Coordinator, Special Education Opportunity Program, University of California, Irvine, June 1986.

Coordinated and led workshops in dance, music, and drama for provisionally-admitted freshman students.

Instructor, Riverside Ballet Arts, Riverside, California, Summer 1984.

Modern dance theory and technique.

VISITING PROFESSOR / GUEST LECTURER APPOINTMENTS

Duke University, Durham, North Carolina. Guest lecture on ≥Anti-Art and Performance.≤ March 29, 2006.

…cole Nationale de Cirque, Montreal, Canada. Lectures and workshops with faculty and

students: ≥The Social and Artistic Conditions of Creativity,≤ and, ≥Creative Behavior/Creative Making.≤ March 13-16, 2006.

Western Washington University, Bellingham, WA. Member of Summer Dance Faculty,

(Choreography) 2004, 2005.

UNITEC Institute of Technology, Auckland, New Zealand. Guest lecturer in

Choreography and Criticism, November 20-24, 2000.

University of Otago, Dunedin, New Zealand. Visiting professor in Dance Aesthetics, August-October, 2000.

New Zealand School of Dance, Wellington, New Zealand, September 20-24, 1999. Taught workshops in Choreography to students at the Tertiary Dance Festival.

UNITEC Institute of Technology, Auckland, New Zealand. Guest lecturer in Choreography and Criticism, September 14-16, 1999.

University of Otago, Dunedin, New Zealand. Five-day course in Dance Criticism and Critical Tools for Choreography, September 6-10, 1999.

Center Nacionale de Danza, Mexico City. Ten-day workshop in Dance Criticism to professional writers and critics at the National Center for Dance, December 1996.

Center Nacionale de Danza, Mexico City. Week-long workshop in Dance Criticism to students at the National Center for Dance, March 1996.

Texas Woman's University, Denton, Texas. Three-day workshop in "Critical Writing, Esthetic Inquiry, and Developing Students' Aesthetic Awareness" to doctoral students in Dance, June 1995.

The Performing Arts School, Auckland, New Zealand. Week-long course in philosophy of

criticism to students; two-day intensive workshop in writing dance criticism to professional critics, August 1994.

Festival Contemporanea de Danza, San Luis Potisi, Mexico. Week-long course on the

philosophy and practice of dance criticism, July 1994.

Bretton Hall College of the University of Leeds. Two-week course on teaching

collaborative choreography and dance aesthetics, June 1993.

Otis Art Institute of the Parsons School of Design, Los Angeles, CA, semesterly guest

lectures on "Form and Space in Dance,≤ 1984-86

PROFESSIONAL AFFILIATIONS and SERVICE

National Dance Education Organization -- Member

Congress on Research in Dance -- Member, Board of Directors, 1994-1996

Chair, Elections Committee, 1995-96

PUBLICATIONS

Books and Book Chapters

≥From Improvisation to Choreography: The Critical Bridge≤ (with J. Predock-Linnell), In

Teaching Dance Studies. Judith Chazin-Bennahum, ed., 2005, pp. 35-52.

≥Standing Aside and Making Space: Mentoring Student Choreographers≤ (with J. Predock-

Linnell), In Teaching Dance Studies. Judith Chazin-Bennahum, ed., 2005, pp. 149-168.

≥The Critical Appreciation of Dances.≤ In The Living Dance: An Anthology of Essays in

Movement and Culture. Judith Chazin-Bennahum, ed., pp. 223-232.

≥Dance Culture, History, and Criticism,≤ chapter on dance criticism in National Dance

Textbook Project, Wendy Oliver, ed. (in press).

Dancers Talking Dance: Critical Evaluation in the Choreography Class. College-level textbook

used in courses focusing on principles of choreography and critical evaluation. Teaches students to describe, analyze, interpret, and judge the dances they see, create, and perform. Human Kinetics Press, Inc., 149 pages, Spring 1996.

Journal articles

≥Creative Process Mentoring: Teaching the åMakingπ in Dance-Making.≤ Journal of Dance

Education,≤ 6.1, 2006, pp. 6-13.

≥Post-Historical Dance Criticism,≤ Dance Research Journal, 32.2, Winter 2000/01, pp. 88-107.

≥From Improvisation to Choreography: The Critical Bridge,≤ (with J. Predock-Linnell),

Research in Dance Education 2.2, 2001, pp. 195-210.

"Intentionalism, Anti-Intentionalism, and Aesthetic Inquiry: Implications for the Teaching

of Choreography," Dance Research Journal 29.1 Spring 1997, pp. 23-42.

"Standing Aside and Making Space: Mentoring Student Choreographers," (with J.

Predock-Linnell), Impulse: The International Journal of Dance Science, Medicine, and Education, 4.3 (1996), pp. 235-252.

"Understanding Interpretation," Dance Research Journal 27.2, Fall 1995, pp. 25-33.

"Critical Discourse in the Choreography Class," Estudos de Danca, Universidade Tecnica de

Lisboa, May 1994, pp. 37-45.

"Learning to 'See' Dance: The Role of Critical Writing in Developing Students'

Aesthetic Awareness," with Wendy Oliver, Impulse: The International Journal of DanceScience, Medicine, and Education, 1.1, July 1993, pp. 10-20.

"Critical Evaluation in the Choreography Class," Dance Research Journal 24.2, Fall 1992, pp.

33-39.

"Observation and Criticism in the Choreography Class," Focus on Dance XII, National Dance

Association, 1991-92, pp. 101-106.

Conference Proceedings

≥Rehearsal Criticism,≤ Proceedings of the Spirit of Creativity conference of the National

Dance Education Organization, 2005, pp. 265-275.

≥Creative Process Mentoring,≤ Proceedings of the Merging Worlds: Dance Education,

Politics, and Society conference of the National Dance Education Organization,

2004, pp. 244-250.

≥Teaching Choreography After the End of Art,≤ Proceedings of World Dance 2000, Tokyo,

Japan, August 2, 2000, pp. 35-45.

≥From Improvisation to Choreography: The Critical Bridge,≤ (with J. Predock-Linnell),

Proceedings of World Dance 2000, Tokyo, Japan, August 2, 2000, pp. 49-61.

≥Dance Criticism After the End of Art,≤ Proceedings of the Society of Dance History

Scholars conference, Albuquerque, NM, June 11, 1999, pp. 1-6.

"Standards of Judgment and Taste: Where do we go from here?" Proceedings of joint

session of New Trends in Dance Teaching and The Meeting of Cultures in Dance History conferences, Lisbon, Portugal, October 17, 1998, pp. 179-185.

"Making and Un-Making: Intentions, Criticism, and the Choreographic Process,≤

Proceedings of the 30th annual conference of the Congress on Research in Dance, University of Arizona, November 2, 1997, pp. 335-358.

INVITED LECTURES and CONFERENCE PRESENTATIONS

≥Art-Making After the End of Art≤ and ≥Good dance, Bad dance, Whatπs the Difference?≤

Sponsored by La Compagnie MontrÈal Danse, lπAgora de la danse, MontrÈal, Quebec, December 19--22, 2005.

≥Five Workshops on Choreographic Process,≤ Sponsored by La Compagnie MontrÈal

Danse, lπAgora de la danse, MontrÈal, Quebec, January 10-14, 2005.

≥To Save or to Entertain the world: That is the Question,≤ National Dance Education

Organization conference, Albuquerque, NM, October 16, 2003.

≥Teaching Choreography After the End of Art,≤ National Dance Education Organization

conference, Salt Lake City, Utah, April 7, 2000.

≥The Politics of Educational Leadership,≤ School of Physical Education of the University of

Otago, Dunedin, New Zealand, October 13, 2000.

≥Post-Modernizing Dance Criticism,≤ Tertiary Dance Festival, New Zealand School of

Dance in Wellington, New Zealand, September 24, 1999 (keynote address).

≥Expression and Dance,≤ University of Auckland, Auckland, New Zealand, September 17,

1999.

"Aesthetic Literacy for Dancers," National Dance Association Conference, Reno, NV,

April 6, 1998.

"Dancers Talking Dance,≤ Southwest District AAHPERD convention, Albuquerque, NM,

February 8, 1997.

"Understanding -- and doing ≠ Interpretation,≤ National Dance Association Focus on Dance

Education Conference, Minneapolis, MN, October 12, 1996.

"Mentoring Student Choreographers," with J. Predock-Linnell, National Dance Association

Focus on Dance Education Conference, Minneapolis, MN, October 12, 1996.

"Writing about Dance," National Dance Association Conference, Portland, OR,

March 29, 1995.

"Critical Discourse in the Choreography Class," Congress on Research in Dance

Conference, Iowa City, IA, November 15, 1991. Received CORD Graduate Research Award.

PROFESSIONAL ACTIVITIES and CONFERENCE COORDINATION

GReAT (Graduate Research in the Arts Today) conference, coordinator. Sponsored by

UNCG Artslink, University of North Carolina, Greensboro, April 21, 2006.

Northwest Regional American College Dance Festival, Western Washington University, Bellingham, WA, March 23--25, 2005. Festival adjudicator and workshop presenter (Special workshop for teachers on ≥Teaching Choreography≤)

La Compagnie MontrÈal Danse, Choreographic Research Workshop, MontrÈal, Quebec,

January 10ã14, 2005. Choreographic facilitator.

Northwest Regional American College Dance Festival, Western Washington University, Bellingham, WA, March 26-29, 2003. Festival adjudicator and workshop presenter (≥the dance idea,≤ ≥making and deciding,≤ and ≥emotion and dance.≤)

Southwest Regional American College Dance Festival, University of New Mexico, March 7-10, 2001. Presented two workshops on dance criticism entitled ≥Talking Choreography.≤ Chaired a panel entitled ≥The Art of Adjudication.≤ Member of panel entitled ≥World Dance in U.S. Colleges.≤

Second Flamenco History Conference, coordinator. Sponsored by University of New Mexico Dance Program, the Instituto Flamenco, and New Mexico Endowment for the Humanities. Secured conference funding and produced event at the University of New Mexico, June 11-13, 1998.

Congress on Research in Dance conference, panelist, plenary session. "Multiple Perspectives on the Dancing Body," University of North Carolina, Greensboro, November 8, 1996.

First Flamenco History Conference, coordinator. Sponsored by University of New Mexico Dance Program, the Instituto Flamenco, the Congress on Research in Dance and the New Mexico Endowment for the Humanities. Secured conference funding and produced event at the University of New Mexico, June 13-15, 1996.

Less Hot Air on Dance -- Dancers Talking and Writing on Dance Criticism, conference panelist, New York, NY, September 29, 1991.

Oral History Project of the Lincoln Center Library Dance Collection, interview and transcription entitled "Oral History of Sondra Loring, Dancer / Choreographer," archived 1990.

Kansas City Public Television broadcast of "A Gathering of Forces," original choreography and music, October 1987.

KXTR Fine Arts Radio, Dance Critic, Kansas City, MO, 1987-88.

PROFESSIONAL TRAINING

Modern Dance: Gary Bates, Richard Burrows, Kai Ganado (Limon), Richard Haisma (Nikolais), Jean Isaacs, June Lewis (Graham), Loretta Livingston (Lewitzky), James Penrod (Effort/Shape), Cynthia Reynolds (Hawkins), Wendy Rogers, Fred Strickler.

Ballet: Donald Bradburn, Tania Dokudovska, Israel Gabriel, Jilana, Jim Jones, Larry Rosenberg, Kathy Scarano.

Laban-Bartenieff Movement Analysis: Judy Marriott, James Penrod, Marcia Siegel.

Theory, Philosophy, Aesthetics: David Ecker, Olga Maynard, Patricia Rowe, Richard Schechner, Carl Schmidt, Marcia Siegel, Ernestine Stodelle.

Dance Pedagogy: Lenna DeMarco, Patricia Rowe, Janice Plastino, Barbara Plunk.

Dance History: Ruth Abrahams, Olga Maynard, Nancy Lee Ruyter, Christina Schlundt, Marcia Siegel, Linda Tomko.

Master classes/workshops: Augusto Boal, Merce Cunningham, Laura Dean, Senta Driver, Bill T. Jones, Bella Lewitzky, Alwin Nikolais, Cynthia Novack, David Parsons, Pilobolus, Elizabeth Streb, Christian Swenson.

GRANTS AND COMMISSIONS

1999-2002: University of New Mexico College of Fine Arts Regentsπ Lectureship in support of research for ≥Teaching Choreography After the End of Art,≤ and ≥Post-Historical

Dance Criticism.≤

June 1998: New Mexico Endowment for the Humanities grant for Second Flamenco

History Conference. $2,000 Minigrant to support travel and fees for international flamenco artists, critics, and scholars.

June 1996: New Mexico Endowment for the Humanities grant for First Flamenco

History Conference. $2,000 Minigrant to support travel and fees for international flamenco artists, critics, and scholars.

November 1988: Commission for original music: Rudy Perez, choreographer, Dear

Friends, Santa Monica, CA.

May 1987: Commission for original choreography: Department of Theatre, University of Missouri, Kansas City, A Midsummer Night's Dream

April 1987: Commission for original music: Catherine Greenhagen, choreographer, Department of Theatre, University of Missouri, Kansas City, Lumenoir.

May 1986: Grant for original choreography: UC Irvine Fine Arts Creative Project

grant, Paul's Piece.

March 1986: Grant for original choreography and music: UC Irvine Fine Arts Creative

Project grant, Night of the Comic Man.

November 1985: Commission for original music: Lenna DeMarco, choreographer.

Splice. "The House," Los Angeles, CA.

March 1984: Commission for original music: Janice Plastino, choreographer, UC Irvine. Brake Missouri Break.

March 1983: Grant for original choreography and music: UC Riverside Undergraduate

Research Grant, And Woke Up Vanishing.

CHOREOGRAPHIC WORKS

Our Bad Dance (3 dancers), Collaborative piece with Donna Jewell and Julie Mulvihill, Center

for the Arts, SUNY Buffalo, October 9, 2005.

Rehearsal Zoo: Performing the Process (7 dancers), ä.Ving! Bellingham, WA. July 28-29,

2005.

Ready for Plucking (3 dancers), ä.Ving! Bellingham, WA. July 28-29, 2004

Small Rumblings (3 dancers) Music by Nick Drake and Larry Lavender.

Rodey Theatre, University of New Mexico, October 24-25, 2001.

The Building Blocks of Dance (7 dancers) Music by Darrell Randall.

Popejoy Hall, University of New Mexico, April 28-30, 1994.

Encoding/Decoding/Eroding (2 dancers) Music by Eno.

Washington Square Repertory Dance Company, University Theatre, New York University, April 22, 1994.

This Particular Dance (2 dancers) Music by Larry Lavender.

Studio Workshop performance, New York University, October 5, 1991.

Everybody's Business (2 dancers) Music by Larry Lavender.

Washington Square Repertory Dance Company, University Theatre, New York University, April 20-21, 1990.

Rodey Theatre, University of New Mexico, November 18-20 and December 1-3, 1994.

Trapped Heat (1 dancers) Music by Stein.

City in Motion Dance Theatre, Kansas City, MO, June 25-26, 1988. University of Missouri, Kansas City October 21-22, 1988.

Loves Me Loves Me Not (1 dancers) Music by Larry Lavender.

University of Missouri, Kansas City, January 29, 1988.

City in Motion Dance Theatre, Kansas City, MO, March 13-14, 1988.

A Gathering of Forces (5 dancers) Music by Larry Lavender.

University of Missouri, Kansas City, October 2-3, 1987.

City in Motion Dance Theatre, Kansas City, MO, November 21-22, 1987.

Brush the Neck and Shiver (1 dancer) Music by Larry Lavender.

University of Missouri, Kansas City, April 3-4, 1987.

City in Motion Dance Theatre, Kansas City, MO, April 25, 1987. Experimental Theatre, University of New Mexico, October 15-17, 1993.

See and Be Seen (12 dancers) Music by Larry Lavender.

University of Missouri, Kansas City, April 3-4, 1987.

Words to That Effect (1 dancer) Music and text by Larry Lavender.

University of Missouri, Kansas City, February 6, 1987.

City in Motion Dance Theatre, Kansas City, MO, April 25, 1987.

Little Secrets (5 dancers) Music by Larry Lavender.

University of Missouri, Kansas City, October 3-4, 1986.

Paul's Piece (2 dancers) Music by Larry Lavender.

Fine Arts Theater, UC Irvine, June 5, 1986.

Performed on tour with UCI Touring Ensemble, 1986.

Night of the Comic Man (7 dancers) Music by Larry Lavender.

Fine Arts Theater, UC Irvine Faculty Dance Concert, March 7-8, 1986.

Mo Mo Mo Mo (2 dancers)

"Arts in Motion," Laguna Beach, CA, September 29, 1985.

Look (4 dancers) Music by Larry Lavender.

"Arts in Motion," Laguna Beach, CA, September 29, 1985.

Fine Arts Theater, UC Irvine, December 11, 1985.

City in Motion Dance Theatre, Kansas City, MO, June 27, 1987.

Ideas Upon Awakening (5 dancers) Music by Larry Lavender.

UC Irvine, MFA concert, May 15-18, 1985.

The Sleep of Reason (12 dancers) Music by Larry Lavender.

Fine Arts Theater, UC Irvine, November 14-17, 1984.

Received ≥Distinguished Student Scholar≤ award

The Antenna that Twirls will Vanish Forever (2 dancers) Music by Larry

Lavender.

"Arts in Motion," Laguna Beach, CA., September 15, 1984.

Seconds Flat (8 dancers) Music by Larry Lavender.

UC Irvine, MFA concert, May 9-12, 1984.

The Sentence (4 dancers) Text by Larry Lavender.

UC Irvine, December 9-10, 1983.

UC Santa Cruz, April 14, 1984.

Simultaneous Solos (14 dancers) Music by Eno.

UC Irvine, December 9-10, 1983.

Private Opinion (2 dances) Music by Larry Lavender.

UC Santa Barbara, May 21, 1983.

UC Riverside, June 4-5, 1983.

And Woke Up Vanishing (1 dancer) Music by Larry Lavender.

UC Riverside, March 10-12, 1983.

Of Choice and Chance (5 dancers) Music by Sancious, Gabriel, Nelson.

UC Riverside, February 2, 1983; March 10-12, 1983.

Vigorous Anonymity (8 dancers) Music by Larry Lavender.

UC Riverside, June 5, 1982.

Trianima (3 dancers) Music by Larry Lavender.

UC Riverside, May 23, 1982.