Dr Amanda Card

BA (Hons), PhD (Sydney)
Senior Lecturer, Theatre and Performance Studies

A20 - John Woolley Building
The University of Sydney

Telephone +61 2 9351 8253

Website AmandaCard.net

Biographical details

A dancer with Kinetic Energy (Sydney), on the commercial dance circuit in Sydney, Japan and South East Asia, and with Human Veins Dance Theatre (Canberra), I traded a performance career for academic study in the mid 1990s, majoring in History and Women's Studies. My PhD (History Department at the University of Sydney) concentrated on issues of national representation, aesthetic and political influence, and sexual politics in Australian dance. After graduation I worked with the Onextra dance company, a producing unit for independent dance in Sydney, as Executive Producer with responsibility for the artistic and financial direction of the company over 6 years. I was the inaugural Chair of the Board of Directors of Critical Path (Sydney’s choreographic research and development centre) and a peer adviser with the Dance Fund of the Australia Council for the Arts. Since 2008 I have been a full time member of academic staff at the Department of Theatre & Performance Studies, lecturing in performance theory and embodiment, and publishing on dance related topics.

Research interests

  • Dance history
  • Cross-cultural appropriation
  • Embodiment

Teaching and supervision

Teaching

  • PRFM2601 Being There: theories of performance
  • PRFM3604 Embodied Histories
  • PRFM3961 Rehearsal Studies
  • PRFM3962 Inside Rehearsal
  • Embodiment (Honours)
  • Research Methodologies (Honours & MA Research)
  • Critical Theory for Performance (Honours & MA Research)

PHD Supervision

  • Jodie McNeilly "Poetics of Reception: a phenomenological aesthetics of bodies and technology in performance" (PhD awarded 2013)
  • Justine Shih Pearson "In the Inbetween: embodying the intercultural in performance" (PhD awarded 2012)

MA (Research) Supervision

  • Jasmine Robertson "Drawing us in: The Australian Experience of Butoh" (MA awarded 2016)
  • Joanne Harris, "Historical Impressions: Ballet in a Nutshell - the Athletes and Dancers Company - the Dance Company (NSW) 1965-1976" (MA awarded 2007)

Current research students

Project title Research student
Samba Showgirls: Cross cultural practice in Australian popular dance entertainment Lillian SHADDICK

Current projects

  • Prominence in Obscurity: women, dance and modernisms in Australia. Book Project: a history of modernist avant-grade dance practices from 1920 to 1950
  • Choreographing Continents: national identity and the appropriation Indigenous dance. Book project: a history of the appropriation of Indigenous dance forms by non-Indigenous artists across Australasia, Britain, Canada and the United States
  • Taking up space: dance, women and embodied freedoms. Journal Article
  • ‘You wanna live in this lousy world?’ West Side Story in Australia. Journal article
  • (Post)modern dance in Australia 1950‐1980: new research project
  • A history of breathing: new research project

Associations

PhD and master's project opportunities

Selected grants

2012

  • Image Dance Think Tank; Card A; School of Letters, Art and Media/Conference Seed Funding.

2006

  • Performing Indian: an historical exploration of the life and work of Australian Louise Lightfoot and Indian dancer choreographer Ananda Shivaram & American performer/dance ethnographers Reginal and Gladys Laubin; Card A; University of Sydney/Early Career Researcher.

Selected publications

Download citations: PDF RTF Endnote

Books

  • Card, A. (2006). Body for Hire? the state of dance in Australia. Strawberry Hills NSW: Currency House Inc.

Book Chapters

  • Card, A. (2015). Imported and Homegrown: Dancing modernists in Oceania. In Stephen Ross, Allana C. Lindgren (Eds.), The Modernist World, (pp. 255-264). Abingdon: Routledge.
  • Card, A. (2014). Tess de Quincey: A world with(out) words. In Erin Brannigan, Virginia Baxter (Eds.), Bodies of Thought: Twelve Australian Choreographers, (pp. 150-159). Adelaide, South Australia: Wakefield Press.
  • Card, A. (2012). Do Try This At Home: Dance Manuals, Myopia and Misrecognition. In Gillian Arrighi and Victor Emeljanow (Eds.), A World of Popular Entertainments: An Edited Volume of Critical Essays, (pp. 118-133). Newcastle Upon Tyne, United Kingdom: Cambridge Scholars Publishing.
  • Card, A. (2012). Together in Isolation: New Moves across Time and Space. In Julie Dyson and Stephanie Burridge (Eds.), Shaping the Landscape: Celebrating Dance in Australia, (pp. 155-173). UK: Routledge imprint of Taylor & Francis.
  • Card, A. (2011). Feeling for dancing hidden in the archives of the dead. In McGillivray, Glen (Eds.), Scrapbooks, Snapshots and Memorabilia: Hidden Archives of Performance, (pp. 129-148). Bern, Switzerland: Peter Lang Publishing.
  • Card, A. (2011). Tethering the Flow: dialogues between dance, physical culture and antiquity in Interwar Australia. In Alexandra Carter and Rachel Fensham (Eds.), Dancing Naturally: Nature, Neo-Classicism and Modernity in Early Twentieth-Century Dance, (pp. 139-154). United Kingdom: Palgrave Macmillan.
  • Card, A. (2008). Art dance, burlesque and body culture: negotiating interwar modernities. In Robert Dixon and Veronica Kelly (Eds.), Impact of the modern: vernacular modernities in Australia 1870s to 1960s, (pp. 18-37). Sydney: Sydney University Press.
  • Card, A. (2001). Choreographing a continent: modern dance and constructions of national identity in Australia. Dance in Australia: Influences and Present Trends–Choreography and Dance, Vol. 4, Part 2/3, (USA), 2001. USA.
  • Card, A. (1997). From Aboriginal Dance to Aboriginals Dancing: The Appropriation of the Primitive in Australian Dance. In Crusader Hillis (Eds.), Heritage and Heresy. Braddon, ACT: Australian Dance Council.

Journals

  • Card, A. (2012). Research and Anatomy of an Afternoon. Brolga: an Australian journal about dance, 36, 19-24.
  • Card, A. (2010). Homage and critique in contemporary dance: or a reverie on the lasting legacy of Yvonne Rainer's NO manifesto. Brolga: an Australian journal about dance, 32(1), 15-21.
  • Card, A. (1999). Prominence in Obscurity: Sonia Revid in Melbourne 1932-1945. Brolga: an Australian journal about dance, 10, 7-19.
  • Card, A. (1999). Violence, vengeance and violation: 'The Display' a 'powerful dramatic work, intended to be very Australian'. Australasian Music Research, 4, 77-94.
  • Card, A. (1998). "The Great Articulation of the Inarticulate": Reading in the Jazz body in Australian and American Popular Culture. Journal of Australian Studies, 22(58), 18-28. [More Information]

Reference Works

  • Card, A., Johnson, C. (2003). Arnhem land inspiration. In John Whiteoak and Aline Scott-Maxwell (Eds.), Currency companion to music & dance in Australia. (pp. 23-23). Sydney.
  • Card, A., Brannigan, E. (2003). Choreography. In John Whiteoak and Aline Scott-Maxwell (Eds.), Currency companion to music & dance in Australia. (pp. 130-131). Sydney.
  • Card, A. (2003). Dance on the popular stage. In John Whiteoak and Aline Scott-Maxwell (Eds.), Currency companion to music & dance in Australia. (pp. 218-221). Sydney.
  • Card, A. (2003). Disco dance. In John Whiteoak and Aline Scott-Maxwell (Eds.), Currency companion to music & dance in Australia. (pp. 237-238). Sydney.
  • Card, A. (2003). Jazz dance. In John Whiteoak and Aline Scott-Maxwell (Eds.), Currency companion to music & dance in Australia. (pp. 384-385). Sydney.
  • Card, A. (2003). National identity in dance. In John Whiteoak and Aline Scott-Maxwell (Eds.), Currency companion to music & dance in Australia. (pp. 452-453). Sydney.
  • Card, A. (2003). Research and writing: dance. In John Whiteoak and Aline Scott-Maxwell (Eds.), Currency companion to music & dance in Australia. (pp. 581-582). Sydney.

Other

  • Card, A. (2015), "Taking up space: Nothing to Lose at the Sydney Festival." The Conversation, 23 January 2015. [More Information]
  • Card, A. (2014), "Sydney Festival Review: Chi Udaka", The Conversation, 17 January 2014. [More Information]
  • Card, A. (2011), "A 100 year pas de deux," British Liaisons. Australian Ballet Souvenir Program, May 2011.
  • Card, A. (2011), "The Designer and the Dance Maker", Elegy. Australian Ballet Souvenir Program, June 2011.
  • Card, A. (2010), "Australia's Dance History Treasure Chest", review of "Australia Dances: Creating Australian Dance 1945-1965", Realtime, 100, Dec/Jan 2010. [More Information]
  • Card, A. (2009), "Do you believe in Fairies". Sleeping Beauty. Australian Ballet Souvenir Program, June 2009.
  • Card, A. (2009), "Serge Lifar". Paris Match. Australian Ballet Souvenir Program, March 2009.
  • Card, A. (2009), "Temporal Surrender". What do I think About when I think about Dancing. Campbelltown Performing Arts Centre, Sydney.
  • Card, A. (2002), "One Extra Dance". Forum: Journal of the Australian Dance Council. Ausdance National, Winter 2002.
  • Card, A. (1997), "Heretics and Heritage: In defence of dance independents". Real Time, 22, Dec/Jan 1997. [More Information]

2015

  • Card, A. (2015), "Taking up space: Nothing to Lose at the Sydney Festival." The Conversation, 23 January 2015. [More Information]
  • Card, A. (2015). Imported and Homegrown: Dancing modernists in Oceania. In Stephen Ross, Allana C. Lindgren (Eds.), The Modernist World, (pp. 255-264). Abingdon: Routledge.

2014

  • Card, A. (2014), "Sydney Festival Review: Chi Udaka", The Conversation, 17 January 2014. [More Information]
  • Card, A. (2014). Tess de Quincey: A world with(out) words. In Erin Brannigan, Virginia Baxter (Eds.), Bodies of Thought: Twelve Australian Choreographers, (pp. 150-159). Adelaide, South Australia: Wakefield Press.

2012

  • Card, A. (2012). Do Try This At Home: Dance Manuals, Myopia and Misrecognition. In Gillian Arrighi and Victor Emeljanow (Eds.), A World of Popular Entertainments: An Edited Volume of Critical Essays, (pp. 118-133). Newcastle Upon Tyne, United Kingdom: Cambridge Scholars Publishing.
  • Card, A. (2012). Research and Anatomy of an Afternoon. Brolga: an Australian journal about dance, 36, 19-24.
  • Card, A. (2012). Together in Isolation: New Moves across Time and Space. In Julie Dyson and Stephanie Burridge (Eds.), Shaping the Landscape: Celebrating Dance in Australia, (pp. 155-173). UK: Routledge imprint of Taylor & Francis.

2011

  • Card, A. (2011), "A 100 year pas de deux," British Liaisons. Australian Ballet Souvenir Program, May 2011.
  • Card, A. (2011), "The Designer and the Dance Maker", Elegy. Australian Ballet Souvenir Program, June 2011.
  • Card, A. (2011). Feeling for dancing hidden in the archives of the dead. In McGillivray, Glen (Eds.), Scrapbooks, Snapshots and Memorabilia: Hidden Archives of Performance, (pp. 129-148). Bern, Switzerland: Peter Lang Publishing.
  • Card, A. (2011). Tethering the Flow: dialogues between dance, physical culture and antiquity in Interwar Australia. In Alexandra Carter and Rachel Fensham (Eds.), Dancing Naturally: Nature, Neo-Classicism and Modernity in Early Twentieth-Century Dance, (pp. 139-154). United Kingdom: Palgrave Macmillan.

2010

  • Card, A. (2010), "Australia's Dance History Treasure Chest", review of "Australia Dances: Creating Australian Dance 1945-1965", Realtime, 100, Dec/Jan 2010. [More Information]
  • Card, A. (2010). Homage and critique in contemporary dance: or a reverie on the lasting legacy of Yvonne Rainer's NO manifesto. Brolga: an Australian journal about dance, 32(1), 15-21.

2009

  • Card, A. (2009), "Do you believe in Fairies". Sleeping Beauty. Australian Ballet Souvenir Program, June 2009.
  • Card, A. (2009), "Serge Lifar". Paris Match. Australian Ballet Souvenir Program, March 2009.
  • Card, A. (2009), "Temporal Surrender". What do I think About when I think about Dancing. Campbelltown Performing Arts Centre, Sydney.

2008

  • Card, A. (2008). Art dance, burlesque and body culture: negotiating interwar modernities. In Robert Dixon and Veronica Kelly (Eds.), Impact of the modern: vernacular modernities in Australia 1870s to 1960s, (pp. 18-37). Sydney: Sydney University Press.

2006

  • Card, A. (2006). Body for Hire? the state of dance in Australia. Strawberry Hills NSW: Currency House Inc.

2003

  • Card, A., Johnson, C. (2003). Arnhem land inspiration. In John Whiteoak and Aline Scott-Maxwell (Eds.), Currency companion to music & dance in Australia. (pp. 23-23). Sydney.
  • Card, A., Brannigan, E. (2003). Choreography. In John Whiteoak and Aline Scott-Maxwell (Eds.), Currency companion to music & dance in Australia. (pp. 130-131). Sydney.
  • Card, A. (2003). Dance on the popular stage. In John Whiteoak and Aline Scott-Maxwell (Eds.), Currency companion to music & dance in Australia. (pp. 218-221). Sydney.
  • Card, A. (2003). Disco dance. In John Whiteoak and Aline Scott-Maxwell (Eds.), Currency companion to music & dance in Australia. (pp. 237-238). Sydney.
  • Card, A. (2003). Jazz dance. In John Whiteoak and Aline Scott-Maxwell (Eds.), Currency companion to music & dance in Australia. (pp. 384-385). Sydney.
  • Card, A. (2003). National identity in dance. In John Whiteoak and Aline Scott-Maxwell (Eds.), Currency companion to music & dance in Australia. (pp. 452-453). Sydney.
  • Card, A. (2003). Research and writing: dance. In John Whiteoak and Aline Scott-Maxwell (Eds.), Currency companion to music & dance in Australia. (pp. 581-582). Sydney.

2002

  • Card, A. (2002), "One Extra Dance". Forum: Journal of the Australian Dance Council. Ausdance National, Winter 2002.

2001

  • Card, A. (2001). Choreographing a continent: modern dance and constructions of national identity in Australia. Dance in Australia: Influences and Present Trends–Choreography and Dance, Vol. 4, Part 2/3, (USA), 2001. USA.

1999

  • Card, A. (1999). Prominence in Obscurity: Sonia Revid in Melbourne 1932-1945. Brolga: an Australian journal about dance, 10, 7-19.
  • Card, A. (1999). Violence, vengeance and violation: 'The Display' a 'powerful dramatic work, intended to be very Australian'. Australasian Music Research, 4, 77-94.

1998

  • Card, A. (1998). "The Great Articulation of the Inarticulate": Reading in the Jazz body in Australian and American Popular Culture. Journal of Australian Studies, 22(58), 18-28. [More Information]

1997

  • Card, A. (1997), "Heretics and Heritage: In defence of dance independents". Real Time, 22, Dec/Jan 1997. [More Information]
  • Card, A. (1997). From Aboriginal Dance to Aboriginals Dancing: The Appropriation of the Primitive in Australian Dance. In Crusader Hillis (Eds.), Heritage and Heresy. Braddon, ACT: Australian Dance Council.

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