MA and PhD, Performance Studies, New York University
BA, Philosophy, Stanford University
Assistant Professor, The Arts, DanceProfile:
In my research, I analyze the social, cultural, and historical conditions that affect how people move. I’m fascinated by critical theories of the body, and I tend to think about dance as an arena for experimental relations between self and other. These interests are informed by my experience as a dancer – taking class, rehearsing, and performing (most recently for the choreographers DD Dorvillier and Beth Gill). Persistent shuttling between dance practice and academic work – two worlds that I’ve been trying to bridge for as long as I can remember – has shown me that dance and critical theory inform each other in significant ways, revealing much about embodiment, subjectivity, and notions of identity. I hope to make these relations apparent in my classes. Courses Taught:
Between the Studio and the Study
Dance and Theories of Community
- Debates in Performance Studies
Foundations in Dance Studies
Politics of Improvisation
Senior Seminar: Re-Imagining the Archive
Books: Office Location:
I Want to be Ready: Improvised Dance as a Practice of Freedom, Ann Arbor: University of Michigan Press, 2010.
“Improvising in a Different Time: Ishmael Houston Jones’s THEM,” Oxford Handbook of Critical Improvisation Studies, eds. George Lewis and Benjamin Piekut, Oxford University Press. (Forthcoming)
“Deborah Hay’s O,O,” Planes of Composition, eds.André Lepecki and Jenn Joy, Seagull Press, 2010.
Co-editor (with Trajal Harrell), Movement Research Performance Journal #33 (August 2008).
“Sound Gestures: Posing Questions for Music and Dance,” Women & Performance: a journal of feminist theory, Women & Performance: a journal of feminist theory, 17,2 (Summer 2007).
“Undefined Space in Auf den Tisch: A Conversation between Beth Gill and Danielle Goldman,” Movement Research Performance Journal #36, January 2010.
“Deborah Hay: Stepping Aside, With Eyes Askance,” TDR: The Drama Review, 51,2 (Summer 2007): 157-170.
“Introduction: Sound Gestures: Posing Questions for Music and Dance,” Women & Performance: a journal of feminist theory, 17,2 (Summer 2007): 123-138.
“A Conversation with Zeena Parkins,” Women & Performance: a journal of feminist theory, Routledge, Taylor & Francis, 17,2 (Summer 2007): 247-256.
“Bodies on the Line: Contact Improvisation and Techniques of Non-Violent Protest,” Dance Research Journal, 37, 1 (Summer 2007): 60-74.
“Ghostcatching: an Intersection of Technology, Labor, and Race,” Dance Research Journal, Winter 2003 & Summer 2004: 68-87.
65 W. 11th Street, room B054Office Hours:
Mondays 4-5Phone Number/Extension:
212 229-5100 ext 2286Email:GoldmaDT@newschool.eduResearch Interests:
- Critical Dance Studies
- Performance Studies
- Race, gender, and sexuality
- Philosophies of the body
Congress on Research in Dance, Board of Directors
- Movement Research Artist Advisory Council, Member
Women and Performance: a journal of feminist theory, Editorial Board Member
Society of Dance History Scholars
Performance Studies International
American Studies Association
Performer, Electric Midwife, choreographed by Beth Gill. The Chocolate Factory, Long Island City, Queens, NY, June 17-July 2, 2011. Works-in-Progress showings at Roulette, February 26, 2011 and Catch, March 12, 2011.
Performer, User, choreographed by Rachel Bernsen in collaboration with the performers, Judson Memorial Church, New York, NY, February 8, 2010.
Performer, Study for N, N, & D and Study for Two Women and One Man, choreographed by Beth Gill. Danspace Project: New York, NY, April 24, 2009.
Performer, what it looks like, what it feels like, choreographed by Beth Gill. The Kitchen: New York, NY, November 20-22, 2008.
Performer, Nottthing is Importanttt choreographed by DD Dorvillier. Impulstanz: Vienna International Dance Festival. Kasino am Schwarzenbergplatz: Vienna, Austria, August 7-10, 2008; Playground, STUK: Leuven, Belgium, November 2-3, 2008; The Kitchen, New York City, February 1-10, 2007.