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 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.
Too late to submit, but not too late to attend!
Call for Proposals
Mad Theory: A Performance Philosophy Symposium
Venue TBA, Madison, WI April 11-12, 2014
Madison Performance Philosophy Collective invites individuals and groups to propose lecture performances, experimental talks, live art, interactive installations, roundtable discussions, collaborative praxis-based workshops, site-specific work, durational work, and hybrid theory- practice sessions. We welcome a diversity of approaches, styles, and methods.
Proposals Due March 7th
Include your name, brief bio, title of your submission, format, length, technical requirements, and a 300 to 500-word description of your proposed session. Email email@example.com
This theory-practice symposium will be a space for the robust community of Madison performance-philosophers and philosopher-performers to showcase their current work, theorize together about the intersections between their own scholarly and artistic practices, stage philosophical discussion as performance, and generate new knowledge.
Our core inquiry investigates and considers in-betweenness, liminality, and incomplete becomings along the spectrum of mind-body and theory-practice. We are compelled by practices and objects of analysis (creative scholarship, performative theory, performance-as-research, hybrid texts, etc.) that potentially blur the boundary between theory/mind and practice/body. How is theory/scholarship embodied? When and how is thinking a performative act? Is there room for artistic play within scholarly research? How can performance theorize? How is the interior-oriented space of cognition related to the exterior-oriented space of the performance event? How can we problematize the interior/exterior, thinking/doing, contemplative/active binary with an active theorization of the cognitive event, of thinking-as- doing and doing-as-thinking? How does performance-as-research reconfigure the terms and generic expectations of scholarly research and performance practice? What theoretical and practical problems, issues, and possibilities does border-crossing between disciplines pose in
terms of audience and reception?
In addition to this core question about theory-practice, we are also strongly invested in democratizing knowledge and promoting a de-hierarchized form of performance philosophy beyond the “ivory tower.” Our aim is to investigate key questions at the heart of performance philosophy while also building and strengthening community between artists and scholars within and outside of academic institutions.
The symposium will be structured with a balance of performance and discussion, providing space to both demonstrate and discuss work. Lecture performances, experimental talks, live art, interactive installations, roundtable discussions, and collaborative workshops will place an emphasis on participation, with some sessions including audience interaction, games, and response structures. Some of these sessions will be more heavily weighted toward either scholarship or live art, while others may attempt to strike a balance or produce a hybridization between performance and philosophy.
Madison Performance Philosophy Collective is Erin Briddick, Jim Burling, Jeff Casey, Kat Lieder, Tomislav Longinovic, Megan Marsh-McGlone, Jon McKenzie, Dijana Mitrovic, Frederic Neyrat, Michael Peterson, Sandy Peterson, Andrew Salyer, and Katrina Schaag.
This event is co-sponsored by Performance Philosophy, an international research network, and the A.W. Mellon Art and Scholarship Workshop at UW-Madison’s Center for the Humanities.
via Mad Theory CFP!.
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 firstname.lastname@example.org by December 1st 2013.
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?
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: email@example.com
We look forward to seeing you in Shanghai.
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
” 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 firstname.lastname@example.org
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.