Leslie Satin comes to her scholarly work through her professional experience as a choreographer and dancer as well as her graduate work in NYU's Department of Performance Studies. Her dances, interdisciplinary collaborations with other visual and performing artists, and workshops have been presented at many venues in New York City and elsewhere. Satin has taught and been a resident artist at Bard College, Fordham University/Ailey School, SUNY/Empire State College, and schools and studios in the US, Europe, and South America. She was a longtime member of the editorial board of Women & Performance: A Journal of Feminist Theory; she coedited a special issue, "Performing Autobiography." Her writing has appeared in Re-Inventing Dance in the 1960s: Everything Was Possible, Performing Arts Journal, Dance Research Journal, Theatre Journal, Dancing Times (U.K.), Gesto (Brazil), Moving Words: Dance Criticism in Transition, and other publications. Satin received the Gallatin Adviser of Distinction Award in 2010 and, in 2016, was honored with a Dean’s Award for Excellence in Teaching.
Teaching and Research Interests
dance and performance; performing and visual arts; choreography; gender and performance; assemblage art; scores and structures for performance; contemporary avant-garde; arts criticism, autobiography, and creative nonfiction
B.A., SUNY Buffalo, 1973 M.A., New York University, 1989 Ph.D., New York University, 1997
Professor Leslie Satin received a 2015-2016 Dean’s Award for Excellence in Teaching. The award was established in 2009 to recognize educators for their outstanding teaching; their ability to inspire students; a pedagogical approach that is creative and rigorous; expert advising and mentoring skills; and contributions to their field. Professor Satin received a 2014-2015 Gallatin Jewish Studies Grant to support her work that has emerged from the writing of Georges Perec.
Satin's essay, "Dancing in Place: Exhaustion, Embodiment, and Perec" was published in Dance Research Journal 47.3 (December 2015). She presented her paper, "'Mother Tongue': Dance and Language, an Autobiographical Excavation," at the Muse of Modernity?: Remembering, Mediating and Modernising Popular Dance Symposium, Senate House, University of London, in April 2016. In May 2016, she presented her paper "Georges Perec and On Kawara: Endotic Extravagance in Literature, Art, and Dance," at the Perec's Geographies/Perecquian Geographies: Interdisciplinary Symposium, University of Sheffield, England.
She presented a dance and a paper, "Charred Landscapes: Feeling Dance," at the 5th International and Interdisciplinary Conference on Emotional Geographies at the University of Edinburgh in Edinburgh, Scotland, in June 2015. She presented her performative presentation, "What Do You See?: Being Here, Seeing Here, A Dancing Eyeful," at the Performing Place 3 Conference at the University of Chichester, UK, in June 2015.
Professor Satin presented a paper, “Dancing in Place: Exhaustion, Embodiment, and Perec” and choreographed/performed in a live dance/video installation, “Hidden Dip,” a collaboration with Victoria Hunter of the University of Chichester, at “Species of Spaces: A Trans-Disciplinary Conference on the Work of Georges Perec,” at Teesside University in Darlington, England, in March 2014. In April 2014, she presented “Space/Age: The Body as Home(less),” at the “Performance, Place, Possibility: Performance in Contemporary Urban Contexts” Conference at the University of Leeds, England. She received a 2013 Gallatin Jewish Studies Grant. She conceived, choreographed, and performed in a dance concert, Daily Duets/Mixed Doubles, a duet relay, presented by the Railyard Performance Center in Santa Fe, New Mexico, in August 2013.