M.F.A.: New York University School of the Arts
Ed.D.: Temple University
Joellen Meglin enjoys a multi-faceted career as a dance historian, a choreographer, and an educator. As coordinator of doctoral studies (1997–2006), Meglin was responsible for the curricular conversion of the EdD degree to the PhD, and her advisees have frequently been awarded university fellowships, dissertation completion grants, and diamond scholarships.
As a dance historian, Meglin’s areas of expertise range from 20th-century Chicago choreographer Ruth Page, to the 18th- and 19th-century French ballet, to dance modernism and jazz. She has authored numerous articles published in Dance Research: The Journal of the Society for Dance Research (UK), Dance Research Journal (USA), and Dance Chronicle. In addition, she has had two chapters published in the prestigious Studies in Dance History series. Her research has been well funded by university fellowships and grants, as well as Newberry Library and NEH summer seminar fellowships.
In 2008 Meglin was appointed coeditor of the top-tier, peer-reviewed journal Dance Chronicle: Studies in Dance and the Related Arts, now in its 35th year of publication, with an international readership and advisory board, published by Taylor & Francis/ Routledge. In this capacity she coedited a number of special issues: Ballet in a Global World (2008), Choreographers at the Cutting Edge: Contemporary Practices in Concert Dance (2009), Martha Graham: Perspectives from the Twenty-First Century (2010), Preserving Dance in Diaspora (2011), and Ballet Is Woman: But Where Are All the Women Choreographers? (2012).Meglin's choreography has been described as “basically classical in structure, but interspersed with almost irreverent contemporary motion . . . as if the dancers were melodic themes come alive” (Miami News), and “ingenious,” “a powerful piece of theater” (Eugene Register-Guard). Recently, she has collaborated with Boyer composers and musicians, including Richard Brodhead (Crystallina, Tango, and Audio-Kinetic Project), Matthew Greenbaum (A Floating Island and A Tango for Stefan), Charles Abramovic (Prokofiev Project), Edward Latham, and Cynthia Folio as well as Temple University Opera Theater on their production of Die Fledermaus.
Meglin reconstructed a wide repertory of dances from notation, including works by Doris Humphrey (Water Study, Partita in G Major, The Shakers), Anna Sokolow (excerpts from Rooms), Anton Dolin/Jules Perrot (Pas de Quatre), and Fanny Elssler’s Cachucha, as well as Baroque works such as Folies d’Espagne, La Bourgogne, and Aimable Vainqueur. A frequent presenter at national and international conferences (London, Ghent, Tokyo, Toronto, New York, and Boston), she served on the board of the Society of Dance History Scholars (1997–2003) and as reviews editor of Dance Research Journal (1995–8).
Selected research articles
“Victory Garden: Ruth Page’s Danced Poems in the Time of World War II.” Dance Research: The Journal of the Society for Dance Research (Edinburgh University Press, UK), vol. 30, no. 1 (2012).
“Blurring the Boundaries of Genre, Gender, and Geopolitics: Ruth Page and Harald Kreutzberg’s Transatlantic Collaboration in the 1930s.” Dance Research Journal, vol. 41, no. 2 (Winter 2009): 52–75.
“Choreographing Identities beyond Boundaries: La Guiablesse and Ruth Page’s Excursions into World Dance (1926–1934).” Dance Chronicle: Studies in Dance and the Related Arts, vol. 30, no. 3 (2007): 439–469.
“Behind the Veil of Translucence: An Intertextual Reading of the Ballet Fantastique in France, 1831–1841. Part Three: Sensual Detail and the Palpable Presence of the Past in Three Fantastic Tales by Théophile Gautier.” Dance Chronicle, vol. 28, no. 1 (2005): 67–142.
“Part Two: The Body Dismembered, Diseased, and Damned: The Conte Brun.” Dance Chronicle, vol. 27, no. 3 (2004): 313–371.
“Part One: Ancestors of the Sylphide in the Conte Fantastique.” Dance Chronicle, vol. 27, no. 1 (2004): 67–129.
“Sauvages, Sex Roles, and Semiotics: Representations of Native Americans in the French Ballet, 1736–1837. Part Two: The Nineteenth Century.” Dance Chronicle, vol. 23, no. 3 (2000): 275–320.
“Part One: The Eighteenth Century.” Dance Chronicle, vol. 23, no. 2 (2000): 87–132.
Selected book chapter
“Galanterie and Gloire: Women’s Will and the Eighteenth-Century World View in Les Indes Galantes.” In Women’s Work: Making Dance in Europe before 1800 Lynn Matluck Brooks, ed., Studies in Dance History series (Madison: University of Wisconsin Press, 2008): 228–256.
Selected biographical entry
“Page, Ruth Marian.” In Notable American Women, A Biographical Dictionary: Completing the Twentieth Century, ed. Susan Ware, Radcliffe Institute for Advanced Study (Cambridge: The Belknap Press of Harvard University Press, 2004): 494–6.
Selected original choreographies
Libretto for the 30-minute ballet Crystallina, a Modern Dance Ballet, commissioned by the Provost of Temple University; music score composed by Richard Brodhead, played by the Temple University Symphony Orchestra, conducted by Luis Biava; choreography by Joellen Meglin and Kun-Yang Lin; premiere at Tomlinson Theater on April 29–30, 2011 as an entry in the Philadelphia International Festival for the Arts.
Choreography for Matthew Greenbaum’s A Floating Island, based on Gulliver’s Travels, and Richard Brodhead’s Tango; performed at the Ethical Society Building, Rittenhouse Square, Philadelphia, April 5, 2007 and Tomlinson Theater, Temple University, March 30–31, 2007.
Choreography for Die Fledermaus (Johann Strauss II), performed by the Temple University Opera Theater, directed by Laura Johnson, conducted by John Douglas, produced by Jamie Johnson, Tomlinson Theater, April 15–17, 2005.
A Tango for Stefan (Stefan Wolpe); David Holzman, piano, at Hillwood Commons Recital Hall, C. W. Post Campus of Long Island University, “Three Lands, One Language: A Celebration of Stefan Wolpe’s Music and World,” April 6, 2003; Charles Abramovic, piano, at Rock Hall Auditorium, Esther Boyer College of Music, “Stefan Wolpe Centennial Festival 2002–03/Philadelphia: Music and Dance,” April 7, 2003.