Tag Archive | CFP

FIELD, a new on-line, peer-reviewed journal devoted to socially engaged art practice, is pleased to solicit critical essays for its inaugural issue.

Call for Papers: Deadline Oct 15, 2014

FIELD, a new on-line, peer-reviewed journal devoted to socially engaged art practice, is pleased to solicit critical essays for its inaugural issue.

Socially engaged practices have expanded dramatically over the past decade and represent one of the most important new tendencies in contemporary art. At the same time the mainstream art press has largely ignored this work, focusing primarily on a handful of highly visible artists who supplement their gallery-based practice with the creation of various collaborative or participatory projects. FIELD was created in order to foster the development of new critical paradigms capable of addressing a broad range of contemporary collaborative and socially engaged art practices. Just as these new practices often cross boundaries between art, activism, urbanism, and critical pedagogy (among many other fields), the criticism and analysis of this work requires a new, trans-disciplinary approach that moves beyond the conventions of existing art theory and criticism. We invite contributions from artists, art historians, critics, curators, theorists, and activists, as well as scholars working across the humanities and social sciences (sociology, ethnography, philosophy, urban studies, geography, political science, etc.).

We’re especially interested in the following:

• Case studies and analyses of existing or recent projects, based on direct observation and the detailed description of actual working processes.
• Writing that develops new analytic criteria for the analysis of this work and new forms of notation suitable to performative and process based practice.
• Writing that offers new interpretations of canonical or widely cited socially engaged art projects from the past.
• Writing that employs new research methodologies and new forms of critique, and that draws on methodological and theoretical sources outside those typically found in contemporary art criticism.
• Writing that presents the voices and insights of non-artist practitioners and participants.
• Writing that draws original theoretical insight out of practice, or that uses practice to challenge the assumptions of existing art theory.
• Writing that critically examines projects situated on the border between art practice and adjacent fields and disciplines (activism, urbanism, design, education, ethnography, etc.)

We’re also interested in interviews, dialogues and debates, and book or exhibition reviews, and welcome submissions or proposals that employ any of these formats, from collective as well as singular authors. We’re open to varying word counts, but our primary focus will be on longer essays (4000-7000 words) and shorter essays, dialogues and reviews (1000-3000 words). We encourage authors to submit images or other visual materials that help to document or otherwise contextualize their writing, but we rely on authors to secure permissions if necessary. Please submit your unpublished essays and essay proposals or queries to fieldjournal1@gmail.com. The journal plans to publish its first issue in the spring of 2015. Our first submission deadline is October 15, 2014.

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Writing Dancing/Dancing Writing CFP

Writing Dancing/Dancing Writing
A Joint Conference of
The Society of Dance History Scholars (SDHS) and
The Congress on Research in Dance (CORD)
13–16 November 2014
Hosted by the University of Iowa in Iowa City, Iowa

The University of Iowa is home to the renowned Writers’ Workshop (http://www.uiowa.edu/~iww/), and Iowa City is a designated UNESCO City of Literature (http://cityofliteratureusa.org/).

The deadline for proposal submissions is 1 April 2014.

Proposals should be submitted via the SDHS/CORD conference website. Conference details, registration, accommodation and travel information will be posted on the joint SDHS/CORD conference website: http://sdhscordconference.wildapricot.org/.
Conference Theme: Writing Dancing/Dancing Writing

The 2014 conference provides an opportunity to examine issues of authorship, representation, notation, and narrative in dancing and writing practices across social and cultural contexts and between disciplines.

Bringing writing and dancing into dialog, once again, allows us to reassess their relationship considering aspects such as medium, form, methodologies, aesthetics, authorship, tradition, temporality, duration, meaning, and communication.


The location of the joint SDHS/CORD 2014 conference, at The University of Iowa, home of the renowned Writers’ Workshop, and in Iowa City, IA, a UNESCO-designated City of Literature, provides an impetus to explore the interplay between dancing and writing, globally, historically, and within contemporary culture.

Dancing and writing are both about articulating physical and thoughtful experiences. How are they related and/or different? How might the compositional strategies of one inform the other? While choreography, notation, scores, and increasingly, digital media, record movement events for posterity, the bodies of dance makers and dancers are physically absent from the historical record. Seen through the lens of embodied agency, however, dancing “writes” into and within space in its very enactment, transforming the moving body itself into a receiving and recording medium. In both dance writing and in dance making there is an impulse to record and interpret, thereby creating the possibility of looking again. Issues of authorship surface readily when examining dancing and writing practices in marginalized and underrepresented cultural and social contexts, and/or in relation to dominant cultural narratives. What are the implications of textualizing dance and/or the body for non-literate societies and/or for underrepresented communities? The ubiquity of dance and dance criticism in the virtual realm, interdisciplinary and collaborative approaches to the creative process, and the incorporation of the spectator into the event of the performance, are contemporary factors that further blur lines of authorship and bridge divides among artists, viewers, and critics. If dance is now living more fully in digital media, could its historical revisions and its “historicizing” reach as far as the written account? Similarly, is the vast universe of digitally generated text causing “the word” to have a life more brief? Does this situation increase anxiety about the “disappearance” of the text, of the dance?

The conference site provides an opportunity to examine issues of authorship, representation, and narrative in dancing and writing practices across social and cultural contexts. Bringing writing and dancing into dialog, once again, allows us to reassess their relationship considering aspects such as medium, form, methodologies, aesthetics, authorship, tradition, temporality, duration, meaning, and communication.

Additional questions that will be explored include:

What forms do embodied histories take, and, alternatively, what is a danced archive? In what ways are these questions complicated when considering identity and subject position?
In writing dance history, how do we preserve the body’s agency? What are the tropes and/or genres that deliberately or unwittingly define dance scholarship?
In what ways does writing or notating dancing factor into or construct/reinforce ideas of legacy? What are the economic structures that facilitate or hinder the preservation of dance works?
Is dancing feminine and writing masculine? Does Derrida’s famous gender/binary distinction still apply to the analytics of writing dancing?
What are the politics at work in the writing of the historical or academic canon in dance studies, and what impact do asymmetries of dance writing tilted toward English have on what gets recorded and how dance is portrayed? How might dance augment or complicate our understanding of translation?
How can dance studies broaden the scope of research and knowledge production by engaging scholars from other disciplines, and/or more broad-based and diverse audiences?
What forms of artistic collaboration have writers and dancers undertaken, and what have these intersections revealed?
How have collaborative approaches to dance making and spectator interactivity challenged narratives of choreographer-as-author?

The conference committee invites proposals for papers, panels, roundtables, and non-conventional forms of presentation (including performative papers, performances, and workshops) that address any of the questions listed above as well as other topics related to the theme of dancing and writing. Although priority will be given to proposals on the topic of dance and writing, scholars and artists are invited to submit proposals on the full spectrum of dance studies and practice. Organized panels and roundtables are especially encouraged.

Position: The Power and Politics of Witnessing; Deadline extended–Proposals due January 17th, 2014

6th Annual Graduate Theatre Syndicate Symposium
The Ohio State University, Columbus, OH
February 28th – March 1st, 2014

The Graduate Theatre Syndicate at The Ohio State University proudly presents Position: The Power and Politics of Witnessing in conjunction with the Jerome Lawrence and Robert E. Lee Theatre Research Institute and The Ohio State University Department of Theatre’s production of The House of the Spirits by Caridad Svich. We are currently inviting proposals for the 2014 Graduate Theatre Symposium on February 28th and March 1st in Columbus, Ohio. Caridad Svich will deliver the keynote address. Proposals for traditional conference papers, workshops, performances and more interactive or experimental formats are welcome and encouraged.

Our position in the world impacts not only our experience of the world, but our expression within it. We seek to interrogate the ways in which position, in its many meanings, has impact upon this experience, particularly through memory and witnessing. How does one’s positionality (the position from which one experiences the world – ie. gender, ethnicity, culture, orientation, faith system, socioeconomic background, etc.) affect the narrative of memory? As artists, how might we negotiate our position both in the creation of work as well as in the process of collaboration? How might the notion of position evoke pedagogical considerations?

We invite proposals which focus on the concept of position, memory, and witnessing in ways that might include, but are not limited to:

Position as…

Perspective – a point of view, an argument, a fortification, contextualization, positionality, gender/sex/sexuality, memory.

Society – power/rank/status/authority, privilege, relation to Other, what is appropriate or customary, arrangement.

Embodiment – physical form, body in space, stance, posture, posing, property of the body, athlete, dance, condition, place, locality, geography, environment, memorial.

Occupation – participant, observer/witness, employment, engagement.

Words for consideration: (im)position, (de)position, (pro)position, (juxta)position, (ap)position, (inter)position, (re)position, (super)position, (pre)position, (trans)position.

Proposals are due by January 17th, 2014. Please submit an abstract of no more than 250-words, along with your name, contact information, affiliation, type of proposal (paper, workshop, performance, other) and any A/V requests. Submit proposals and any questions to Elizabeth Wellman at theatresyndicate@gmail.com.

CFP Living Labor: Marxism and Performance Studies (April 11-13, 2014)

Call for Papers

Living Labor: Marxism and Performance Studies
April 11 – 13, 2014
Performance Studies, NYU
Keynote Address by Professor Fred Moten and Sianne Ngai

Capital is dead labor, which, vampire-like, lives only by sucking living labor,
and lives the more, the more labor it sucks.
—Karl Marx, Capital, Vol. 1

To live and to labor are the twinned imperatives to which we are always already given. Together, they animate a rhythm of material production and reproduction across time. Marxism and performance studies both offer ways of thinking through the imbrication of life and labor. On one hand, Marxist theory historically attends to the capture and distribution of life: to the maintenance and reproduction of labor power, as well as to the processes of commodification and consumption that produce value for capital. On the other hand, performance studies is a field in which questions of life and labor are central, surfacing in discourses of force, liveness, endurance, iterability, and the everyday: it is concerned with not only what things mean, but what they do. By bringing Marxist and performance theory together, this conference asks how thinking about life and labor between these two bodies of literature can help us attend to the world at hand.

How does performance analysis bring together the living body and the working body? How do Marxist and Marxist-inspired philosophies articulate and reimagine labor, value, and revolutionary struggle, particularly in relation to the social, aesthetic and political dimensions of performance and performativity? Marxism, in its many iterations, offers a methodology of thinking about materiality, temporality, and movement that revivifies an enduring question in performance studies: What can a body do? This question not only makes explicit the convergence between Marxist and performance theory, but also makes central critical traditions of black, feminist, and queer Marxism in which relationships between life, labor, and capitalism have never been incidental. The material experience and historical condition of race, gender, and sexuality is, in this sense, the premise that animates our Marxist considerations of what it means to live, labor, and perform.

To live labor is to negotiate the extended processes of reproducing ourselves and others. To live labor is to engage the material conditions that traverse personhood and thinghood. To live labor is to attend to the forces, resonances, and energies that intertwine in the affects and objects of everyday life. For this reason, Living Labor: Marxism and Performance Studies invites submissions that explore the intersections of performance studies and Marxist philosophies. Papers may intervene at points of seeming incompatibility, address convergences, or look forward to emerging discourses relating to this nexus.

Topics may engage, though are not limited to:

•Queer failure and futurity: nonproductivity and reproductivity, utopianism and time

•Feminism and reproductive labor: “undifferentiated” matter and sexual difference

•Consent and contracts: the marriage contract, the labor contract, and the non-consensual and non-contractual relations of trans-Atlantic slavery

•Capitalism, racialization, and racism

•Work and non-work: time-wasting, narcissism, and boredom as collective practices

•Materialism and immaterialism: from surface readings to speculative realism

•Contagion and speculation: the transmissibility of debt, theories of abjection, excess as a surplus value

•Value and magic: commodity fetishism as it troubles personhood and thinghood, vibrant matter, animacies, and enchantment

•Bodily capacity to embodied materiality: disability, labor, and dance

•Matter and movement: vibrational ontology, repetition and difference, temporalities of revolution

•Subjecthood and the question of sovereignty: biopolitics, necropolitics, and bare life

•Repetition and reproduction: speech acts, performativity and periperformativity, iterability and resignification

•Living in common, working apart: the commons, communism, collectivity

•Autonomy and mass-production: the art object and the factory line

•Doing abstraction: financialization and performative force

•The arts and the university as a market: institutional critiques and critical perspectives on the performative turn within the arts and humanities

Please submit a 300-word abstract and one page CV to livinglaborconference@gmail.com by December 1st 2013.

PSi#20: Avant-Garde, Tradition, Community

July 4-8, 2014, at the Shanghai Theatre Academy in Shanghai

This first PSi conference in China, and the second one in Asia, explores avant-garde, tradition and community as parallel, intercultural and co-located terms that have crossed borders wherein relationships between arts and cultures are renegotiated and transformed. Avant-garde, tradition and community are positioned as umbrella terms with a broad relevance in global performance studies, while also having unique and enduring connections to Asian performance and modernity. We invite consideration of these themes in comparative and intercultural studies, studies across western and non-western sites and in relation to globalization, modernity, and contemporaneity.

PSi#20 welcomes papers, panels, workshops, and performances exploring many issues related to the three key words in various cultural and intercultural contexts..

Topics may include:

•How are notions of the avant-garde, tradition and community linked within a larger global understanding of performance and performance studies?

•How do these themes relate to perceptions and practices of performance in different places and cultures?

•How are notions of the avant-garde and tradition understood, theorised, practiced and debated where you are?

•How do Asian and other non-western praxis relate to discourses and experiences of performance in the broadly defined sphere of Western avant-garde praxis?

•How is the avant-garde associated with traditional performance? Opposed, derivative, parallel, with blurred edges?

•How are the terms avant-garde, tradition and community defined in the 21 century? In local, regional and global contexts?

•How do notions and/or expressions of cultural difference influence our perceptions and experience of these terms? What are the border crossings and blockades to an intercultural understanding of these terms, in the wake of globalization?

•How meaningful are the terms in the context of cultural, geographical, and historical boundaries? Do we need new terms and formations?

•Does performance studies in your institution involve artists off campus? Does it involve non-academic, non-artistic communities?

•How do performing/performance artists view non-artistic communities – consumers, beneficiaries, participants, or/and collaborators?

•What are the relations between aesthetic performance studies and social performance studies?

More information

For a more extensive description and the full Call for Proposals, please check: http://psi20.sta.edu.cn/info1English.html

Deadline for proposals: 20 NOVEMBER 2013, midnight (Beijing Time).

Please send your inquiries to: psi20@sta.edu.cn

We look forward to seeing you in Shanghai.

CALL FOR PARTICIPATION Dancing the African Diaspora — Theories of Black Performance

CALL FOR PARTICIPATION
Dancing the African Diaspora — Theories of Black Performance
February 7-9, 2014 Duke University, Durham, NC

What sorts of embodied practices constitute African diaspora dance?
In what ways has black dance been recognized and acknowledged?
What sorts of historical events have placed dance into enactments of black struggles for civil rights and recognition of citizenship?
How does dance, as a field of study, define African diasporic movement?

This two-day conference seeks to explore African diaspora dance as a resource and method of aesthetic identity. The Collegium for African Diaspora Dance aims to facilitate an interdisciplinary discussion that captures the variety of topics, approaches, and methods that might constitute Black Dance Studies.

“Dancing the African Diaspora” suggests multiple needs and interests. We are interested in papers/presentations that consider dance practices throughout the African diaspora, and the specific contexts that engender them. We are also interested in dance as an approach to the African diaspora itself. This convening situates black dance as constituted by theories of black performance. We invite you to explore black movement as a technology of African diasporic identity-making.

Presentations are invited along any theoretical line of inquiry concerned with African diaspora dance. We welcome papers that engage any site or topic related to black movement and those that represent a rigorous engagement with a number of disciplinary and methodological perspectives.

Possible Topics include
” Definitions of African diaspora dance
” Black dance, virtuality, and technologies of mediation
” Aesthetics
” Dancers, dances
” Pedagogical politics
” Identity and community making
” Gender and sexuality
” Colonialism, neoliberalism, commodification

Deadline for Proposals October 1, 2013
Confirmations sent October 15, 2013
all questions caddconference2014@gmail.com
to submit a proposal: http://tinyurl.com/l78cexa

The conference committee intends to produce a volume of materials presented at the conference in an edited anthology.

Conference Committee|Collegium for African Diaspora Dance (CADD) Founding Members
Takiyah Amin, Thomas F. DeFrantz, Shireen Dickson, Jasmine Johnson, Raquel Monroe, C. Kemel Nance, Carl Paris, John Perpener, Will Rawls, Makeda Thomas, Andrea E. Woods Valdés, Ava LaVonne Vinesett.

Sponsors for this event include:
SLIPPAGE: Performance|Culture|Technology in residence at Duke; Humanities Writ Large @ Duke; the Collegium for African Diaspora Dance @ Duke; the Corporeality Working Group @ Duke; the Duke Dance Program; African and African American Studies at Duke.

Call for Papers: “Movement: The Body and Object in Motion”

Cornell University, Ithaca, NY, October 4, 2013
Deadline: Apr 30, 2013

The graduate students in the History of Art program at Cornell
University invite abstracts for papers to be presented at the Graduate
Student Symposium to be held on October 4th, 2013.

This year’s symposium, “Movement: The Body and Object in Motion”, will
feature a keynote lecture presented by Dr. Coco Fusco and will explore
the theme of movement in visual culture via three panels consisting of
3 speakers each.

Movement in visual culture is a fundamental theme across all media and
periods. Movement defines both the pre-modern and modern periods in
all their complexities, as peoples are colonized and decolonized,
borders are invented and moved, tourists visit sites, products are
shipped from other continents for consumption, and wars are waged
around the globe. It is manifest in the journey of the soul through
life and in its final voyage into death. Movement also creates a
narrative for objects and ideas as they travel with people. Possible
panel ideas include but are not limited to: migration, diaspora, grand
tour, tourism, slavery, across realms, exchange/trade, urban planning
and the movement of the body/political body, spiritual movement,
movement of objects and cultural property.

The graduate students in the department of History of Art at Cornell
University welcome the submission of abstracts for papers from
graduate students. We invite papers from a broad range of periods,
from prehistoric to contemporary, and from a broad range of
disciplines.

Guidelines for Submission: Submission is open to graduate students in
art history, archaeology, conservation, museum studies, classics,
anthropology, sociology, and beyond. Please send a 250-word abstract
of your paper, a list of two or three possible panel themes your paper
may fit, a current CV, and contact information by April 30, 2013 to
cornellgradsymposium@gmail.com.

Traveling to Ithaca:
Ithaca Tompkins Regional Airport, Lansing, NY (15 mins from Cornell
University)
Please also look at the link below on additional information and
alternatives on how to reach Ithaca. We are happy to facilitate
shared lodging/travel costs among speakers.
http://www.cornell.edu/visiting/#visit

CFP Performing History / NCA November 21-24, 2013

CFP Performing History / NCA November 21-24, 2013
full name / name of organization:
NCA / National Communication Association
contact email:
litwack@live.unc.edu

We are seeking papers that explore the relationship between performance, performativity, and history (broadly conceived) for submission to the Performance Studies Division of the National Communication Association.

Paper topics might include, but are by no means limited to:
– Affect and Historiography
– Performative Economies of Time, Temporality, and Futurity
– Race, Gender, Sexuality, Class, and Historical Embodiments
– Performative Writing as Historical Method
– Trauma, Witnessing, and Cultural Memory
– Performance and (New) Historicism
– Philosophical Engagements with Memory (Freud, Nietzsche, Bergson, etc.)
– Remembering Across Bodies and Borders (Spatial, Temporal, Geopolitical, etc.)

If interested, please email questions or abstracts (75 words) to Evan Litwack (litwack@live.unc.edu) or Bryanne Young (youngbh@live.unc.edu) by March 15, 2013.

CALL FOR PAPERS: Agôn – Online Performing Arts Journal, issue 6

Reperformance – April 15, 2013

The journal Agôn dedicates its 6th issue to the question of reperformance, to be released in January 2014.

The words “reperformance,” “rerun,” and “revival” gradually appeared in recent theater programming, competing with those of “original creation.” In a context of crisis, as cultural policies and theater initiatives turn more and more to the known, a phenomenon of cultural heritage building seems to directly affect the performing arts. Moving towards performances that come from the past, thereby becoming references and events, programmers as well as artists seem to make reperformance a new practice. This exercise changes according to each live art’s specificities, and it has triggered reflection across artistic fields[1].

We are thus interested in asking the question in a global, cross-disciplinary and contemporary way: of what is reperformance a sign? Is reperformance a way to fill the theaters in times of crisis; a new mode of access to knowledge (of a work, of an artist…)[2]; a need for the arts to celebrate – from anniversary to commemoration – its great men, its highlights, and its great
works[3]; a means for the artist to legitimize his/her artistic approach by relying on major references; a relation to creation oriented towards the past; or a new lever of creativity for artists, stretched between memory and the present?

In front of the stereotypes regarding live arts – ‘live’ implying ephemeral, volatile, and thus evasive, the question of reperformance allows us to consider differently the threadbare questions of reproduction, repetition, copy, and variation. Live arts as ephemeral? Yes, if you remember, reperformance seems to say. Thinking about the reperformance is also thinking about the constitution of what makes it possible, in its writing, conservation, accessibility and possible replay. The exercise of reperformance explores memory in all its forms, written memory, bodily memory, oral memory, and juggles from one to another to invent its own process and its dramaturgy. Reperformance cannot be dissociated from that on which it is based: the trace, the archive, the document, the score, the recording – at a time of multiplication of these different media and of development of memory initiatives associated with them – but also the personal memory, the testimony, the experience of a body. It stages a memory that plays out through and in the representation and the shared experience that live arts offer and renew every evening.

Beyond that, the injunction of the trace, the testimony, and the document seems to reveal our contemporary taste for the real and invites us to consider reperformance not only as a phenomenon of memory but as a trademark of the performing arts – every performance being inspired and studded by performances that preceded it, consciously or not[4]. One can then look at the practices of borrowing, copying, pasting, editing, and ask the question of what constitutes reperformance: the full reproduction of a mise-en-scene, the transmission of a role, borrowing one or more elements, texts, choreographies…? If there appears to be no expiration date for a show, when does a performance become reperformance?

We invite articles that think and explore reperformance around four main
lines:

– Reperformance as a marking of time: anniversaries, best of, tributes, commemorations… the creation of these new “lieux de mémoire” – in the words of Pierre Nora – questions both the political and economic logics and the legitimization process that underlies them.

– The reception of reperformance: to whom is the reperformance addressed? Is the memory of the show strong enough that the viewer who comes back and sees again can measure the reperformance? What is at stake in this strange event that makes one say “I was there”?

– The mechanisms of reperformance: reconstitution, recreation, reconstruction, reactivation, reenactment, restored behavior, second-hand … There can only be reperformance if there is first a take on the past: what are the processes used to resume, recover, quote, compile? What name to give the original being copied?

– Issues of memory, issues of creation: what is left of the original work? Who is the author of the reperformance? What does it mean to re-perform a work in a new historical, political and social context, with different performers, with the same but older? All these questions take place in the exploration of the differences between a version and its reperformance, where truth and fiction and existing and new cohabit.

Contributions may address all art forms – theater, dance, opera, circus, street theater, puppet, performance… – and all geographical areas. Though we want to ask the question of reperformance on contemporary stages, historical and aesthetic perspectives are not excluded.

Send your anonymous proposal (3000 characters maximum, including spaces) in English or in French before April 15, 2013 in .doc format, with a brief CV in a separate document to the following address: agon.reprise@gmail.com

The journal welcomes images, graphics, sound files (.mp3 format – 44.1GHz encoded) and videos (.flv format) provided they are in good standing with the legislation on copyright, image rights and broadcasting rights.

We advise contributors to see the latest issues of the journal Agôn (http://agon.ens-lyon.fr/index.php?id=142) to know the spirit in which they are directed – note: former issues are in French.

We also invite them to look at the investigation on the memory of spectators of Bob Wilson’s *Einstein on the Beach*, conducted on the occasion of its reperformance at the Opéra de Montpellier last March (http://agon.ens-lyon.fr/index.php?id=2166) – an investigation that fed the premise of this issue.

——————————

[1] We will mention here as examples the work on notation and score in dance, the Knust Quartet, les Carnets Bagouet, the reconstitution of the *Rite of Spring*, the work of Marina Nordera and Béatrice Massin, the collection of articles under the direction of Isabelle Launay and Sylviane Pages: *Memory and History in Dance*, another collection under the direction of Gérard-Denis Farcy and Vincent Amiel, *Alert Memory: Archives in Creation*, the work on
the stage as a place of memory at the University Rennes 2, Brigitte Prost’s work on the notion of repertoire, *Performance Studies: An Introduction* by Richard Schechner, etc.

[2] Robert Cantarella gives a recent example of this when he re-performs Gilles Deleuze’s classes in his show *Faire le Gilles.*

[3] Stan’s anniversaries, *Panorama* by Decouflé, *Dance *by Lucinda Childs, the
revival of *Einstein on the Beach* in 2012…

[4] « Performances are made of bits of restored behavior. » Schechner, Richard, *Performance studies: an introduction*. London, New York: Routledge, 2002, p. 30.

Call for Papers/Performances: IN BODIES WE TRUST

IN BODIES WE TRUST:
Performance, Affect, and Political Economy
an interdisciplinary graduate student conference
Dept of Performance Studies at Northwestern University
Call for Papers & Performances

“Each act of activism … is a compilation of stories or ‘scenes’ that could not be told without acknowledging the macro forces of a neoliberal political economy that is ingrained in their plots.”
–D. Soyini Madison, Acts of Activism: Human Rights of Radical Performance (2010)

“This is a history carried and felt on the body.”
–Ramon Rivera-Servera, Performing Queer Latinidad: Dance, Sexuality and Politics (2012)

What is the relationship between affect and political economies? What role might performance play in negotiating conditions of bodies, affects, political economies, and spaces? In Bodies We Trust: Performance, Affect, & Political Economy—the 2013 Department of Performance Studies Graduate Student Conference—invites graduate students, artists, and activists to generate new understandings among affect, political economy, and performance.

‘Affect’ and ‘political economy’ have each become integral in elucidating performance. Affect—embodied feelings that circulate—has been used to make sense of minoritarian feelings of otherness such as José Esteban Muñoz’s ‘feeling brown’ or Eve Kosofsky Sedgwick’s ‘queer performativity,’ and embodied responses to postmodern capitalism such as Antonio Negri and Michael Hardt’s ‘affective labor.’ Political economy—the influence of “political … and economic systems” on “institutions, culture, and human behavior”*—animates how performance operates in frameworks of policy, economies, and political institutions. We invite papers and performances that illuminate, complicate, and challenge relationships across embodied feelings, political and economic systems, and performance.
Each panel and each performance will be paired with a Northwestern University or Chicago-area faculty member who will act as a discussant. Confirmed faculty discussants include Joshua Chambers-Letson, Nick Davis, Tracy Davis, Hannah Feldman, Marcela Fuentes, Barnor Hesse, Richard Iton, Chloe Johnston, D. Soyini Madison, Susan Manning, Kaley Mason, Coya Paz, Janice Radway, Ramón H. Rivera-Servera, C. Riley Snorton, Elizabeth Son, and Harvey Young. The three-day conference also includes a keynote address by Judith Hamera, a collaborative plenary with Northwestern and Chicago-area faculty, movement workshops, and catered receptions to build community with attendees across disciplines and artistic interests.

We seek proposals for traditional academic papers, live performances and experimental formats. Papers, performances and experimental panels might want to consider:

*Neoliberal affect: aesthetics and neoliberalism, affective labor and affective political economies*
*Feeling Value*
*Minoritarian Affects*
*Black Atlantic Economies*
*Political Economies of Race, Gender, Sexuality and Ability*
*Decolonial aesthetics*
*Transhistorical relationships (including affective responses to eras of economic collapse)*
*Censorship of performance artists who engage affect as a modality of political economic commentary (e.g. the NEA Four, Pussy Riot, and the Hemispheric Institute’s No-Encuentro 2012)*
*Reproducibility, Circulation, and Commodification*
*Digital Affects*
*Space, Utopia, and Economies*
*Movement as Political Economy (bodily practices and global ideological movements)*
*Bodies Affecting Political Economies (protesting bodies, bodies in pain, aberrant bodies)*
*Theories of the Flesh*
*Embodied Epistemologies*
*Critical Ethnography*
*Sensorium in Politics*
*Affective Historiographies*

The deadline for proposals is April 5, 2013.

Please submit all proposals, and any questions to, nupsconf@gmail.com.

For paper proposals, please submit as one word, pages, or pdf document:
1) Name and Contact Information (with email address),
2) an abstract (~300 words), and
3) a brief biography (~250 words);

For performance and experimental proposals, please submit as one word, pages, or pdf document:
1) Name and Contact Information (with email address),
2) description of performance (~300 words),
3) a brief biography (~250 words);
4) technical requirements and duration,
and, if applicable,
5) up to six jpeg images, link to an online portfolio, or other relevant media.

We will notify participants by May 20, 2013.

This conference is generously supported by the Department of Performance Studies at Northwestern University and by the Alice Kaplan Institute for the Humanities. The conference will provide a travel reimbursement (up to $250) for each participant who does not live in the Chicago area. There is no registration fee.

*D. Soyini Madison, Critical ethnography: method, ethics, and performance, SAGE: Thousand Oaks, CA, 2012, 66.