• Faculty

  • Danielle Goldman

    Associate Professor of Contemporary Dance; Chair of The Arts


    Office Location
    M - 68 Fifth Avenue

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    Danielle Goldman


    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.

    Degrees Held

    MA and PhD, Performance Studies, New York University
    BA, Philosophy, Stanford University

    Professional Affiliation

    • Congress on Research in Dance, Board of Directors
    • Movement Research Artist Advisory Council, Member  
    • Society of Dance History Scholars
    • Performance Studies International
    • American Studies Association

    Recent Publications

    Books: I Want to be Ready: Improvised Dance as a Practice of Freedom, Ann Arbor: University of Michigan Press, 2010.

    Book Chapters:
    “Improvised Dance in the Reconstruction of THEM,” Oxford Handbook of Critical Improvisation Studies, eds. George Lewis and Benjamin Piekut, Oxford University Press. (Online Publication date: February 2015.  Print publication forthcoming)

    “Deborah Hay’s O,O,” Planes of Composition, eds.André Lepecki and Jenn Joy, Seagull Press, 2010.

    Edited Journals:
    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).

    "Turning Toward Trisha Brown: Valiance and Fragility in Beth Gill's New Work for the Desert," TDR: The Drama Review, 59:3 (Fall 2015).

    “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.

    Performances and Appearances

    Performer, Tournamento by Sarah Michelson, Walker Arts Center, Minneapolis, MN, September 24-27, 2015.

    Performer, Electric Midwife, choreographed by Beth Gill. Premiere: The Chocolate Factory, Long Island City, Queens, NY, June 17-July 2, 2011.  Additional performances: River to River Festival, Pier 15, New York, NY, June 30-July2, 2012; Nazareth College Arts Center Dance Festival, Rochester, NY, July 14-15, 2012; Dance Umbrella Festival, London, England, October 9-10, 2012; Fusebox Festival, Austin, TX, April 26-28, 2012.

    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. 

    Performer, Eleanor and Eleanor, choreographed by Beth Gill.  Dance Theater Workshop, November 29-December 1, 2007

    Performer, The Tiger Situation, choreographed by Anna Sperber, Dance Theater Workshop, New York, NY, February 28-March 3, 2007.

    Research Interests

    • Critical Dance Studies
    • Improvisation
    • Performance Studies
    • Race, gender, and sexuality
    • Philosophies of the body

    Current Courses

    Arts Sr. Seminar: Essay
    LINA 4900, Spring 2024

    Independent Study
    LDAN 3950, Spring 2024

    Introduction to Dance History
    LDAN 2040, Spring 2024

    Future Courses

    First Year Seminar
    LNGC 1400, Fall 2024

    Independent Study
    LDAN 3950, Fall 2024

    Politics of Improv
    LINA 3011, Fall 2024

    Past Courses

    Class, Class, Class
    LDAN 3103, Fall 2023

    Independent Study
    LDAN 3950, Fall 2023

    Politics of Improv
    LINA 3011, Fall 2023

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