Performance Studies International

The organizers of the next two PSi annual conferences met with me in Copenhagen between Feb 14-18 to go over details of these events. The planning for both is well advanced (yes even for Zagreb in 2009) and the teams are working flat out to ensure that your experience of these conferences is a positive one. We will be providing further information over the next few months as the registration pages for PSi 14 come online and the CFP for PSi 15 is released so look out for all that.

I can tell you that the new campus at Copenhagen University, the hosts for PSi 14 in August this year, is an architect's utopia. The rooms and facilities are all brand new with natural light and first rate technical kit. The canal side location will be fantastic in summer and there is an outdoor harbour pool a short walk from the campus which looked tempting even in February. There is also strong support for PSi at the University and considerable anticipation of the conference among the arts community and in the Faculty so the opportunities for making contacts with this community of artists and scholars are already looking very promising.

At the other end of the news spectrum is the situation in Wales where the Arts Council of Wales has announced that it intends to cut funding to CPR. I have sent a letter of support to Richard Gough and Jude Christie there on behalf of the members to which we could add right here a thank you in Rachel Fensham's words 'for conferences held, papers written, workshops hosted, journals supported, a resource centre to die for, artists curated, etc. etc . etc.' I'm sure they will gratefully receive further messages of support from the PSi community.

More soon

Best

Edward Scheer

President, PSi

PSi#14 ANNOUNCEMENTS

2. News from PSi # 14 in Copenhagen:

The Interregnum conference team have been busy evaluating the more than 400 proposals that we have received. The abstracts convey many exciting new approaches to performance studies and the Interregnum theme. We wish to thank everyone for their care and commitment.

Next week the organising team will send out e-mails accepting or rejecting the proposals. At the same time a new page on the conference web site will inform you about the registration fees for this year's conference at different income levels and for early and late registration. See www.interregnum.dk. NB. These fees are inclusive of PSi membership for 2008.

There will also be a list of hotels at which reservations have been made for the conference. Please note that you have to contact the hotel you wish to stay at and make the booking yourself. The conference organisers do not take care of accommodation during the conference.

There will be a new page on the conference website for registration and payment from the beginning of April. We will announce this closer to the time.

In the next couple of weeks we will begin posting all accepted abstracts on the conference website in order for everyone to see what PSi members will be talking about. We can also link to your personal website or to a pdf file with biographical information if you wish. Please forward links or pdf files to info@interregnum.dk.

We encourage everyone to sign up for the Interregnum newsletter. The newsletter will inform you of new items on the website as the conference approaches. Sign up through the website www.interregnum.dk

Be sure to visit hyPerform, the online net gallery at Interregnum, where new artists are featured every month from now until the conference. You can go to hyPerform from the conference website or go directly: www.hyperform.dk

Best

Gunhild Borggreen for the organisers

top

CALLS FOR PAPERS (CONFERENCES AND PUBLICATIONS)

3. CfP: Association for Asian Performance - July 30-31 2008, Denver, Colorado, US (due March 1)

The Association for Asian Performance (AAP) invites submissions for its 8th annual conference in Denver, July 30-31, 2008. The AAP conference will be held this year at the Grand Hyatt Hotel, preceding the annual ATHE (Association for Theatre in Higher Education) conference.

Propsals are invited for papers, panels, workshops and roundtable discussions. The deadline for proposals is March 1, 2008.

Proposals for individual papers should include a brief abstract. Individual presentations should be limited to 20 minutes so that there will be time left for questions and discussion. Visual materials (slides, video etc.) are strongly encouraged.

Panels should be composed of three paper presenters and one discussant or four paper presenters. Proposals for panels should provide a brief statement that explains the session as a whole and the proposed subject of each paper.

Roundtables offer an opportunity for participants to discuss a specific theme, issue or significant recent publication. A maximum of six active participants is recommended. While a roundtable proposal will not be as detailed as a panel proposal, it should explain fully the session's purpose, themes or issues and scope.

Proposals for workshops by performance practitioner(s) with expertise in specific Asian performance traditions are welcomed, particularly workshops that overlap with a panel theme or paper presentation. Workshop proposals should include an abstract explaining methods and goals. Workshops should be designed to run no longer than 80 minutes.

We encourage suggestions for innovative alternatives to the panels, individual papers and roundtables described above.

Proposals should include the following:
- Title of panel, roundtable or paper.
- Names of all the presenters, including chair and/or organizer and discussant (for panels and roundtables.)
- Affiliation, specialization (field/region), mailing address, phone numbers and e-mail addresses of al participants.
- Explanation of the session (for panels, workshops and roundtables); abstract of each panel presentation or each paper.

Proposals should be emailed to the conference organizer, Margaret Coldiron, mcoldiron@mac.com

top

4. CfP: 'Women and Theatre Working Group Debut Panel' - ATHE, July 31-Aug 3 2008, Denver, Colorado, US (due March 1)

Association for Theatre in Higher Education (ATHE)
July 31 - August 3, 2008 Denver

Women and Theatre Program Debut Panel
Call for Papers
Deadline Extended to 1st March 2008

The Women & Theatre Program (WTP) invites submissions for its Debut Panel at the 2007 ATHE conference in Denver. This panel is open to students, practitioners and junior faculty who have not presented at a national conference.

The topic of your presentation can be any subject concerning women and performance, although it may be helpful to know that this year ?EUR" in consideration of the site of the conference ?EUR" WTP will be focusing particularly on the possibilities and the limits of engagement.

Suggested approaches include, but are not limited to:

- the role of feminist theatre in political engagement
- political dialogue and the performance of language
- using activist theatre to engage difficult dialogues
- questions of citizenship, immigration, diaspora, migration, and identity in performance
- the body in space and place?EUR"disability and performance

Three to four papers will be selected for WTP's Debut Panel, and a senior scholar from WTP will serve as respondent.

To submit, please send a 250 word abstract in an email with the subject
heading: WTP Debut Panel to Natka Bianchini at ndb@umd.edu by SATURDAY, MARCH 1st, 2008.

Feel free to contact Natka with any questions regarding the submission process or WTP in general.

PLEASE NOTE: The Women and Theatre Program is a focus group with a strong commitment to the intersections of theory and practice. We recently celebrated a quarter century of activism and advocacy for women in theatre. Graduate students, junior faculty and emerging scholar/practitioners are strongly encouraged to participate in WTP, from WTP-sponsored panels and events at ATHE 2008, to the upcoming WTP conference in Denver July 29 &30. For more information on WTP, or to join the listserv, please go to our website at http://www.athe.org/wtp.

top

5. CfP: 'Theatre, Race, Ethnicity' Special Issue 2009 (due March 1)

Theatre, Race and Ethnicity
Guest Editors: Dr. Mary Brewer and Dr. Lynette Goddard

We invite abstracts or complete manuscripts on contemporary British and European Asian and black theatre for a special issue of a peer-reviewed journal. Abstracts (500 words) or completed manuscripts (6000 words max including notes) are sought by March 1, 2008. Please include a brief CV. Abstracts and manuscripts should be sent as MS Word attachments via email to:

Mary Brewer: M.F.Brewer@lboro.ac.uk
Lynette Goddard: L.P.Goddard@rhul.ac.uk

All selected contributors will be asked to submit completed manuscripts by February 28, 2009. The journal will be published to coincide with Black History Month. The issue seeks to explore the intersection of cultural and performance theory to include debate, discussion and analysis of racial and ethnicity, with a particular emphasis on contemporary black and Asian theatre production in Britain and Europe. Proposed topics include: Staging Race in Regional Theatres, Adaptations of Canonical Plays, Community Theatre/TIE, Colour Blind/Integrated Casting, Interviews with leading practitioners/directors, heritage, cultural diversity. Papers on other themes and topics will also be considered.

The editors also seek nominations of titles for reviews and reviewers for recent key texts in the area of black and Asian British and European theatres.

Mary Brewer
Department of English and Drama
Loughborough University
Loughborough
Leicestershire LE11 3TU
UK

Lynette Goddard
Department of Theatre and Drama
Royal Holloway, University of London
Egham
Surrey TW20 0EX
UK

top

6. CfP: 'Theatre Architecture' - Architecture Working Group of the International Federation of Theatre Research, 14-19 July 2008, Chung-Ang University, Seoul, Republic of Korea, South Korea (due March 3)

CALL FOR PAPERS on THEATRE ARCHITECTURE

The Architecture Working Group of the International Federation of Theatre Research, Convenor: Franklin J. Hildy, University of Maryland, will be meeting during the annual, International Federation for Theatre Research 2008 Conference, Chung-Ang University, Seoul, Republic of Korea (South Korea), 14-19 July 2008.

This is a call for papers (20 minute limit) which address any of the issues posed by our purpose statement below. Papers can take an historic, modern or theoretical perspective. Deadline: 3 March, 2008.

To apply please submit a 250 word (max) abstract and 150 word bio to hildy@umd.edu by 3 March 2008. Notifications of acceptance will be sent out by 12 March. Earlier notification is possible for those seeking institutional support.

Those accepted should register for the International Federation for Theatre Research conference at http://www.iftr2008.org/registration.html before 15 May.

(Please note that those whose papers are accepted must be members of IFTR or must join IFTR by 1 July.)

The purpose of the Architecture working group (established 2006) is to investigate the ways I which space can be manipulated to bring performers and their audiences together. We intend to study this from a wide range of historic, practical and theoretical perspectives. While theatre architecture in our main concern, we will also be considering found spaces and alternatives to architecture. Our investigations will consider, but not be limited to, such issues as: 1. The ways in which architecture can create audience. 2. The ways in which architecture can establish audience expectations. 3. The ways in which architecture can enhance or limit an audience's experience of a performance. 4. The ways in which architecture can define or fail to define the relationship an audience can have with a performance. 5. The ways in which the organization and decoration of space can create positive or negative energy.

In addition to meeting at IFTR 2008 in South Korea, we hope to meet at another venue in Europe (TBA) in 2008 and at IFTR 2009 in Lisbon, at which time we will refine our purpose statement and embark on a major publication project aimed at the IFTR World Congress in Munich in 2010.

We look forward to receiving your proposals.

Sincerely,

Prof. Franklin J. Hildy
Director of Graduate Studies
Department of Theatre
2809 Clarice Smith PAC
University of Maryland
College Park, MD 20742-1601

top

7. Cf Proposals: 'Imagining the 21st Century Classroom: Thinking Beyond the Theory/Practice Divide' - Canadian Association for Theatre Research, May 31-June 3 2008, Vancouver, BC, Canada (due March 7)

Imagining the 21st Century Classroom: Thinking Beyond the Theory/Practice Divide

What: Seminar
Where: To be held at the Canadian Association for Theatre Research conference, Vancouver, BC
When: May 31-June 3, 2008
Deadline: March 7, 2008

Seminar Leaders:
Marlis Schweitzer,
York University

Laura Levi
York University

The goal of this seminar is to imagine ways to continue moving beyond the traditional divide between performance theory and practice within the academy - a divide that, despite the best efforts of faculty, is often reflected in departmental structures and curriculum. Following Jill Dolan's call for alternative theatre pedagogies in Geographies of Learning, we hope to explore how performance practice can be used "to stage arguments, to embody knowledge and politics, [and] to open a community to itself and the world in ways that are dangerous, visceral, compelling and moving" (64). Our seminar will investigate how the problematic binary between critical inquiry and artistic exploration is being dismantled through performance in theatre studies courses today. We know from conversations with colleagues at other institutions as well as our own that this work is already happening in many of our classrooms, but we have yet to fully recognize the range of strategies and techniques that are being developed. In addition to showcasing and reflecting critically on specific pedagogical strategies, we will also consider how these methods are shaping emerging definitions of "practice as research."

How, our seminar asks, can theatre function as laboratory for workshopping theoretical ideas and experimenting with new social relations? What can we do to encourage students to recognize the creative and political potential of this kind of work? How can we begin to affect change by pooling our resources as teachers? We invite proposals for presentations that discuss one performance-based exercise that you use in the classroom to engage students in exploring theoretical questions and/or social issues.

Examples of performance-based exercises might include:

- Using tableau to explore Brecht's theory of gestus
- Using image theatre to investigate problems in the community
- Renaissance drama to consider historical staging practices
- experimenting with gender play in the spaces of everyday life

Participants will be asked to describe and/or demonstrate one activity during the session and to briefly address the pedagogical value and challenges of this exercise. Each participant will be given 10 minutes for the presentation and will be expected to circulate a one-page handout prior to the conference. These handouts will be compiled into a workbook for seminar participants.

Applicants should send proposals of 250 words as a Microsoft Word attachment with affiliation and full contact information to schweit@yorku.ca and levin@yorku.ca by March 7, 2008.

top

8. CfP: International Conference on the Inclusive Museum - June 8-11 2008, Leiden, the Netherlands (due March 13)

The Inclusive Museum Conference 2008
8-11 June, 2008
Leiden, the Netherlands
www.Museum-Conference.com

Proposals & Participation Options
International Conference on the Inclusive Museum participation begins with your paper proposal. Proposals can be submitted for in-person presentations or as virtual papers. Information on proposals, presentation types, and participation options is available on the website: http://z08.cgpublisher.com/proposal_entry_intro . If your proposal is accepted, you may submit a written paper to the International Journal of the Inclusive Museum.

DUE: March 13 2008

Main Speakers
We are very pleased to announce that the main speakers for the Inclusive Museum Conference

Tomur Atagok, Professor in Yildiz Technical University

Alissandra Cummins, Director of the Barbados Museum and Historical Society

Denise Hamu Marcos de La Penha, The World Wildlife Federation (WWF) Brazil Chief Executive Officer

For more information visit to http://z08.cgpublisher.com/main_speakers.html

top

9. CfP: 'Italian Cultures: Writing Italian Cultural Studies in the World' - Special Issue of PORTAL Journal of Multidisciplinary Studies, Australia (due March 15)

Portal, Journal of Multidisciplinary International Studies, special issue: 'Italian cultures: writing Italian cultural studies in the world'.

Portal, Journal of Multidisciplinary International Studies is seeking articles for a special issue on Italian cultural studies. It aims at updating existing scholarship and scoping the proliferation of interests in this growing field. It recognizes that cultural studies practitioners write multiple Italies within Italy itself and from provincialized Italies, with a perspective that is both global and informed by specific local knowledge.

In particular we seek articles that map how processes of social change and identification are negotiated, imagined, explored and contested in relation to the following (but not exclusively) themes:
- Belonging
- Body
- Cinema
- Consumption
- Design
- Digital cultures
- Everyday
- Fashion
- Food
- Language
- Media (new and old)
- New writing
- Place
- Sport
- Visual cultures

Portal has built into its editorial protocols a commitment to facilitating dialogue between international studies practitioners working anywhere in the world, and not simply or exclusively in the "North," "the West" or the "First World." The journal's commitment to fashioning a genuinely "international" studies rubric is also reflected in our willingness to publish critical and creative work in English as well as in a number of other languages: Bahasa Indonesia, Chinese, Croatian, French, German, Italian, Japanese, Serbian, and Spanish.

Portal provides open access to all of it content on the principle that making research freely available to the public supports a greater global exchange of knowledge. If are interested in submitting a paper please read the Author's guidelines and information about the submission process Portal's homepage, http://epress.lib.uts.edu.au/ojs/index.php/portal.
Deadline: 15 March 2008. Contact: ilaria.vanni@uts.edu.au

Portal, Journal of Multidisciplinary International Studies, numero speciale: 'Italian cultures: writing Italian cultural studies in the world'.

Portal, Journal of Multidisciplinary International Studies sta raccogliendo articoli per un numero speciale sugli studi culturali che trattino tematiche legate all'Italia con lo scopo di aggiornare la ricerca esistente e produrre una mappatura della proliferazione di interesse in quest'area in espansione. Portal riconosce che una molteplicità di Italie viene generata dai ricercatori che lavorano nell'ambito di cultural studies all'incontro di prospettive globali e saperi locali, sia come panorama interno all'Italia sia come provincializzazioni dell'Italia.

In particolare questo numero è interessato (ma non limitato) a testi sulle seguenti tematiche: -·Cibo
- Cinema
- Consumi
- Corpi
- Culture visive
- Design
- Culture digitali
- Lingua
- Luoghi
- Media (vecchi e nuovi)
- Moda
- Processi di appartenenza
- Quotidianità
- Scrittura creativa
- Sport

Portal include nei suoi protocolli editoriali l'impegno a facilitare il dialogo tra studiosi e studiose di studi internazionali che lavorano in qualsiasi parte del mondo, e non solo nel "nord", nell' "ovest" o nel "primo mondo". L'impegno della rivista a creare un clima genuinamente "internazionale" si ritrova anche nella decisione di pubblicare testi critici e creativi non solo in inglese ma anche in bahasa Indonesia, cinese, croato, francese, giapponese, italiano, serbo, spagnolo e tedesco. Portal garantisce libero accesso a tutti i testi pubblicati sostenendo così la libera circolazione, creazione e lo scambio di saperi. Le avvertenze per gli autori sono pubblicate nel sito della rivista http://epress.lib.uts.edu.au/ojs/index.php/portal.
La scadenza per la presentazione dei testi è il 15 marzo 2008. Contattare ilaria.vanni@uts.edu.au per ulteriori informazioni

Ilaria Vanni
Senior Lecturer and Head Italian Studies
Institute for International Studies
Deputy Director
Transforming Cultures Research Centre
University of Technology Sydney
PO Box 123 Broadway
NSW 2007
Australia
ilaria.vanni@uts.edu.au
www.iis.uts.edu.au
www.transforming.cultures.uts.edu.au

top

10. CfP: 'Performing Conquest, Colonization and Resistance in the European Middle Ages' - Medieval and Renaissance Drama Society sponsored session at MLA, December 2008, US (due March 20)

The panel seeks papers that engage postcolonial theoretical models in exploring medieval performance subjects. Scholars from a number of disciplines have identified such cultural operations as Orientalism, exile, hybridity, and resistance--processes normally emblematic of postcolonial/post-medieval fields of study--in pre-modern subjects such as Anglo-Norman annexation, the Iberian reconquest, and crusade literature. Theatre studies, on the other hand, has been less inclined to situate medieval performance within imperial discourses and colonial histories; the fact that Shakespeare's The Tempest is still invoked as an embryonic colonialist drama is a sign that much work has yet to be done. This panel offers such an opportunity, principally to provide new ways of understanding performative power relations in medieval societies but also to continue the important work of confounding the myth of a monolithic, static, and homogeneous Middle Ages.

Submit 250-word abstracts and contact information to Christopher Swift at cswift@gc.cuny.edu by March 20, 2008.

top

11. CfP: 'The Space Between: Languages, Translations and Cultures' - Special Issue of PORTAL Journal of Multidisciplinary International Studies, Australia (due March 31)

We seek expressions of interest for a special journal issue focusing on the Spaces Between Languages. We seek articles that explore how the space between languages is experienced through translation and interpretation, language learning and teaching, contact situations, code-switching, bilingualism, and in literary and cultural production. We are also interested in addressing these issues from the Spaces Between Disciplines, which might include the spaces between linguistics, language and translation studies, language pedagogy, cultural studies and postcolonial studies. Possible approaches might refer to Homi Bhabha's notion of the 'third space', or Mary Louise Pratt's notion of 'transculturation'.

If you are interested in contributing to this special issue on 'The Space Between: Languages, Translations and Cultures', please send an abstract (500 words) and a brief (one page) curriculum vitae to Emi Otsuji by 31 March 2008. Contributors who have been notified of acceptance of abstracts will be asked to submit complete papers by 31 July 2008. Papers should be up to 6,000 words in length (including notes, references, tables or additional material) and should follow the PORTAL style guide http://epress.lib.uts.edu.au/ojs/index.php/portal and be submitted directly into PORTAL via http://epress.lib.uts.edu.au/ojs/index.php/portal/about/submissions#onlineSubmissions

All submissions will be subjected to double-blind peer review. Special Issue Editors: Vera Mackie, University of Melbourne Ikuko Nakane, University of Melbourne Emi Otsuji, University of Technology: Sydney About PORTAL Journal of Multidisciplinary International Studies Portal has built into its editorial protocols a commitment to facilitating dialogue between international studies practitioners working anywhere in the world, and not simply or exclusively in the 'North,' 'the West' or the 'First World.' The journal's commitment to fashioning a genuinely 'international' studies rubric is also reflected in our willingness to publish critical and creative work in English as well as in a number of other languages: Bahasa Indonesia, Chinese, Croatian, French, German, Italian, Japanese, Serbian, and Spanish.

Portal provides open access to all of it content on the principle that making research freely available to the public supports a greater global exchange of knowledge. If you are interested in submitting a paper please read the Author's guidelines and information about the submission process at Portal's homepage, http://epress.lib.uts.edu.au/ojs/index.php/portal.

top

12. CfP: 'Interrogating Trauma: Art and Media Responses to Collective Suffering' - Dec 2-4 2008, Murdoch U and Curtin U, Perth, Australia (due March 31)

Call for papers
INTERROGATING TRAUMA: Arts & Media Responses to Collective Suffering International Conference

Perth, Western Australia
2-4 December 2008

in association with the National Academy of Screen & Sound, Murdoch University and the Faculty of Media, Society and Culture, Curtin University

web site: http://nass.murdoch.edu.au/nass_conf_fest_trauma.htm

Keynote Speakers:

Felicity Collins
Humanities & Social Sciences,
La Trobe University

Suvendrini Perera
Media, Society and Culture,
Curtin University

Susannah Radstone
Social Sciences, Media and Cultural Studies,
University of East London

Janet Walker
Film and Media Studies,
University of California, Santa Barbara

The humanities have had a long-standing interest in the social and cultural dimensions of human suffering caused by catastrophic events. Contributions made in this area by traditional disciplines such as philosophy, aesthetics, literature, and history have been complemented by the health and human sciences throughout the 20th century. Since the 1980s the degree of attention given by scholars in the humanities to experiences of and responses to such life-shattering events as incest, war, genocide, torture, and terror has increased at a pace described by some as "explosive". As a result, several interrelated, inter-disciplinary fields, such as trauma, memory, and genocide studies, have emerged to constitute an encompassing, rapidly-evolving, and hyper-productive network of studies. In the midst of such developments, cultural, media and film studies, as well as the creative arts, have also paid increasing attention to the literary, visual and performative engagement with human suffering and resilience.

As we quickly approach the second decade of the 21st century the historical events that constitute the ultimate referent of so much theoretical and creative endeavour have unfortunately not waned. It is for the same reason more crucial than ever to open spaces for the considered reflection about the potentials and limitations of myriad, sometimes competing, methodological approaches and modes of creative engagement with human pain and trauma. Interrogating Trauma seeks to provide such a space. Keynote speakers, panels and presenters, as well as the accompanying exhibition and performance of art and media works, will consider methodologies, orthodoxies, and openings in order to articulate strategies for imagining the 'beyond' of trauma through arts and media responses.

PANEL and Individual PAPER proposals are invited with an abstract of no more than 250 words, plus a one-paragraph biography of the author/s. Inter- and trans-disciplinarity is encouraged. Traditional scholarly, ficto-critical and literary writing will be considered. Selected conference papers will be peer-reviewed for publication in a special journal issue or scholarly press anthology. EXHIBITION proposals of creative works that engage with the themes of the conference with an Asia-Pacific trauma focus should contain a brief artist statement and description of the work, including its format and duration or size, of no more than 250 words, plus a one-paragraph biography of the artist/s. Photography, film, video, new media, 2D, sculpture, installation, sound, and live performance works will be considered. Student works are welcome.

Themes include but are not limited to:

Apartheid, Apology, Architecture, Asia-Pacific, Art, Atrocity, Audiences, Bodies, Borders, Catastrophe, Child Soldiers, Cinema, Colonialism, Commemoration, Compensation, Conflict, Counselling, Crime, Death, Desire, Depression, Diasporas, Dictatorships, Disease, Documentary, Education, Everyday, Executions, Exile, Experimental, Exploitation, Famine, Fantasy, Forgiveness, Gender, Genocide, Globalisation, Grief, Havoc, Healing, History, Human Rights, Identities, Illness, Image, Incest, Incitement, Independence, Indigenes, Internet, Invasion, Journalism, Justice, Literature, Location, Media, Memorials, Memory, Migrants, Minorities, Museums, Music, New Media, NGOs, Nostalgia, Oppression, Oral Histories, Pain, People Smuggling, Performance, Perpetrators, Photography, Place, Politics, Post-Colonialism, Post-Memory, PTSD, Poverty, Power, Propaganda, Queer, Racism, Radio, Rape, Reception, Recognition, Reconciliation, Refugees, Reparations, Reportage, Representation, Repression, Resilience, Resistance, Revolt, Revolution, Slavery, Social Suffering, Space, Sublime, Suicide, Survivors, Television, Terror, Testimony, Therapy, Third World, Torture, Tourism, Translation, Trauma, Truth, Victims, Violence, Visual Culture, War, Witnessing, Xenophobia.

Please send proposals no later than 31 MARCH, 2008 to:

Mick Broderick or

Antonio Traverso

Downloadable one-page conference flier at

top

13. Updated CfP: 'Performing Islam/Muslim Realities' - Ecumenica (Formerly Baylor Journal of Theatre and Performance) Volume 5.2 Fall 2008 (due April 1)

The name is new, but the scholarly focus is the same. With that in mind, Ecumenica seeks submissions for a special issue titled Performing Islam/Muslim Realities. Conceived as a collaborative project between the journal and the Arabic Theatre Working Group of the International Federation for Theatre Research, the issue is guest edited by Hazem Azmy (University of Warwick, UK) and Marvin Carlson (Graduate Center of CUNY, US).

Ecumenica generally welcomes submissions on a variety of topics and approaches to criticism, including theatrical performance and theatre history, dramatic literary criticism, social, political and cultural studies of theatre and performance, ethnographic explorations of performance traditions, and editorial commentaries on topics related to the performing arts. The journal is particularly interested in scholarship that explores the relationship between spiritual faith and the arts. With this orientation in mind, this special issue on Islam is open to any submission related to the many and multi-layered interactions between "Muslim" life and faith, and theatre/performance studies.

Possible topics may include, but are not limited to:

- Plays/theatrical productions/performative practices in which Islam is a significant topic or in which Muslim subjectivities are consciously foregrounded.

- Plays/theatrical Productions/performative practices in which Islam serves as an invisible but crucial component.
- Performative aspects of Muslim ceremony and devotional life
- The impact of socio-cultural and political manifestations of Islam on responses to public performances.
- The interaction between religion and Arabo-Islamic critical and theoretical writings on theatre and performance.
- Interviews and profiles on "Muslim" theatre/performance artists (whether or not they would define themselves as such, but with attention to the implications of such religious/non-religious self-definitions for their various public practices).
- Interactions between Islam and other faiths and/or cultures (particularly via theatre translation); these may include interactions taking place onstage or as performative readings of culture.

In addition to the above, the BJTP also seeks book and performance reviews broadly related to the issue topic.

Updated deadline for submission is April 1, 2008. Material should be submitted in electronic format only to Carolyn Roark (Carolyn_Roark@baylor.edu). Inquiries regarding submission may be directed to the editors, and additional information, including submission guidelines and a style sheet, may be found on the journal's website, which remains (http://www.baylor.edu/bjtp/). Ecumenica is peer-reviewed and adheres to a blind submission policy. It is indexed by the MLA International Bibliography and EBSCO.

top

14. Cf Submissions: 'Latino Focus Group Articles in Progress Workshop' - Latino Focus Group ATHE, July 31-Aug 3 2008, Denver Colorado US (due April 1)

This workshop is designed to aid authors in readying essays on Latino/a and Latin American theatre and performance (including comparative studies that include Latino-American performance) for publication in peer reviewed journals. Potential participants must submit a 500 word abstract for a current essay that they wish to revise for publication along with a copy of their CV in order to be considered for the workshop.

Workshop leaders:
Jean Graham-Jones- Former Editor of Theatre Journal
Alberto Sandoval-Sanchez, Guest Editor, Ollantay
Stuart Day, Editor, Latin American Theatre Review

The workshop leaders will select 3-4 essays for inclusion in the workshop and selected participants will be responsible for submitting a complete essay to the workshop leaders by June 15th. Following some general advice about article publication in the field of Latina/o American Theater and Performance from the workshop leaders each essay will be considered in detail, and the author given suggestions for revision and advice on submission. This workshop is intended for advanced graduate students and junior faculty who want to develop their ability to produce scholarly articles from their research. Practitioners are ESPECIALLY encouraged to submit work for publication. Queries should be directed to Patricia Ybarra (Patricia_Ybarra@Brown.edu)

Please send abstracts and CVs electronically as attachments to Patricia Ybarra (Patricia_Ybarra@Brown.edu) by April 1, 2008.

top

15. CfP: Catholic Theatre Conference - November 13-16 2008, Loyola Marymount U, Los Angeles, US (due April 15)

2008 Catholic Theatre Conference
Loyola Marymount University
Los Angeles, CA
Abstract Submission Deadline: 15 April 2008

Since the re-emergence of theatre in the west out of the Roman Catholic Church in the medieval period, a millennia has passed. The Church has, upon occasion, served as both home to and adversary of the theatre. Likewise, the theatre has served to further the Church's mission in the world and also been a source of criticism toward the Church. As both source of celebration and criticism, we believe there is something in the sometimes troubling relationship between theatre, theatricality and Catholicism (as an institution, as a faith, as a way of seeing/being in the world, etc.) that merits further sustained exploration.

As such, Loyola Marymount University invites papers, presentations, and proposals for a Catholic Theatre Conference that will take place at LMU 13-16 November 2008. Papers may engage any issue related to theatre and Catholicism, including, but not limited to the history of theatre and the Catholic Church, theatre and mission, clergy as artist, representations of the Church on stage, performing Catholicism, the Catholic as theatre artist, theatre as pedagogical/theological tool, theatre at the Catholic School/University, drama as theology/theogony, theatre and social justice, ritual/performance, theatre, mission, and evangelization, theatre and Catholic inculturation, theatre's role in 'forming' Catholic imagination in various historical periods and cultural contexts, theatre/Liturgy and issues confronting the Catholic theatre company. Papers should be twenty minutes in length. Co-presentations are welcome, as are pre-organized panels. The conference is open to any and all, of any religious background, academic background or nationality. We aim to encourage international, interdisciplinary, and interfaith exploration of this topic.

Scholars and artists are invited to email a 400 word abstract (with paper title, author's name, institutional affiliation, and postal address at top left - please also include any technical requirements for your presentation such as powerpoint or slide projectors, VCR, etc.) to Dr. Kevin Wetmore at kwetmore@lmu.edu by 15 April 2008. Those whose abstracts are accepted for presentation are expected to attend the conference. Abstracts will be printed in the conference program.

Submitters and non-submitters of abstracts who are interested in chairing a session at the conference are invited to send a two-paragraph resume highlighting their areas of expertise to kwetmore@lmu.edu by 15 April 2008.

The Conference

The Catholic Theatre Conference will be held 13-16 November 2008 at Loyola Marymount University. The four-day conference will feature paper panels, workshops, roundtable discussions, a keynote speaker, staged readings and performances. The conference will close with a celebratory mass on Sunday. The conference is open to the public - anyone is free to attend. More information about the conference will be forthcoming when the schedule is set.

For more information please contact Kevin Wetmore at kwetmore@lmu.edu or 310.338.7831.

top

16. CfP: Performing Science: Drama, History, Literature - July 4 2008, U of Birmingham, UK (due April 15)

Friday, 4 July 2008
Department of Drama and Theatre Arts-University of Birmingham Supported in part by University of Birmingham Dean's Strategic Initiative Funding

Increasing intersections between natural philosophy, the history of science, and spectacle demonstrate that theatre history is intellectual history. Individual worldviews are shaped by natural philosophy and science, and it is impossible to underestimate the degree to which a person's worldview shapes their creative output.

Popular curiosity often operates in the same arenas as scientific study where ideas are performed theatrically through spectacle, rhetoric, and repetition. For instance Richard Altick demonstrates in The Shows of London that eighteenth and nineteenth-century scientific exhibitions were a form of popular entertainment not easily separated from the theatre. In The Player's Passion Joseph Roach explains how mechanical philosophy influenced key thinkers, such as Garrick and Diderot. Sixteenth-century kunstkammern or cabinets of curiosity were often discussed in theatrical terms that helped create the natural philosophy of the period.

This one day colloquium aims to bring together current work on key issues in European culture with particular interests in the cross- and interdisciplinary exchanges between the history of performance and science.

Our keynote speaker is Professor Jane Goodall whose book Performing Science: Darwin and the Age of Evolution (2002) is a landmark study of the impact that evolutionary theory had upon popular performance traditions in the nineteenth century.

250-500 word abstracts for papers are due 15 April. Please send them electronically to Kara Reilly k.reilly@bham.ac.uk Feel free to send enquiries too.

Potential Panel Topics Include:
Automata as Performers
Actor Training and Science
Gender/ Sexuality and the Body
Discipline and Science: the Performativity of Ethical Bodies

top

17. CfP: 'Attend the tale'... New contexts for Sweeney Todd

Saturday 31 May 2008
Lincoln School of Performing Arts
Centre for Innovation in Performing Arts, University of Lincoln

In the wake of Tim Burton's recent film adaptation of Stephen Sondheim's musical, Sweeney Todd, this symposium seeks to investigate how the legend has been variously re-configured and re-contextualised through a variety of media since its inception as an urban myth. Since George Dibdin-Pitt's 1847 stage melodrama based on the novel, The String of Pearls, the story of 'the Demon Barber of Fleet Street' has been adapted and appropriated in various live performances, cinematic and televisual contexts. This symposium aims to explore how and why the legend has captured the popular imagination for over a hundred and fifty years and invites papers that will consider topics such as: the process of adaptation, the relationship between urban legend and performance as manifest in selected versions of the tale, and the place of the story in the melodramatic imagination.

Abstracts of no more than 200 words in length may be submitted to Dr Kelly V. Jones (kejones@lincoln.ac.uk) by Friday 25th April

top

18. CfP: Islam and Performing Arts, October 24-26, Kuala Terengganu, Malaysia (due April 30)

Islam and Performing Arts
24 to 26 October 2008
Kuala Terengganu, Kuala Terengganu, Malaysia

Contact name: Dr. Manaf
E-mail: IslamicPerformingArts_AT_gmail.com (to e-mail the conference organizers, please replace _AT_ with @) There will be conference papers on Islam and performing arts as well as drama workshops with Muslim dramatists/directors

Deadline for abstracts/proposals: 30 April 2008

top

19. CfP: 'New Communities of Knowledge and Practice' - Digital Resources in the Humanities and Arts, September 14-17 2008, Cambridge, UK (due April 30)

**CALL FOR PAPERS AND PERFORMANCES**

DRHA 2008: New Communities of Knowledge and Practice'

The DRHA (Digital Resources in the Humanities and Arts) conference is held annually at various academic venues throughout the UK. The conference theme this year is to promote discussion around new collaborative environments, collective knowledge and redefining disciplinary boundaries. The conference, hosted by Cambridge with its fantastic choice of conference venues will take place from Sunday 14th September to Wednesday 17th September

The aim of the conference is to:
* Establish a site for mutually creative exchanges of knowledge.
* Promote discussion around new collaborative environments and collective knowledge.
* Encourage and celebrate the connections and tensions within the liminal spaces that exist between the Arts and Humanities.
* Redefine disciplinary boundaries.
* Create a forum for debate around notions of the 'solitary' and the collaborative across the Arts and Humanities.
* Explore the impact of the Arts and Humanities on ICT: design and narrative structures and visa versa.

There will be a variety of sessions concerned with the above but also with a particular emphasis on interdisciplinary collaboration and theorising around practice. There will also be various installations and performances focussing on the same theme. Keynote talks will be given by our plenary speakers who we are pleased to announce are Sher Doruff, Research Fellow (Art, Research and Theory Lectoraat) and Mentor at the Amsterdam School for the Arts, Alan Liu, Professor of English, University of California Santa Barbara and Sally Jane Norman, Director of the Culture Lab, Newcastle University. In addition to this, there will be various round table discussions together with a panel relating to 'Second Life' and a special forum 'Engaging research and performance through pervasive and locative arts projects' led by Steve Benford, Professor of Collaborative Computing, University of Nottingham. Also planned is the opportunity for a more immediate and informal presentation of work in our 'Quickfire' style events. Whether papers, performance or other, all proposals should reflect the critical engagement at the heart of DRHA.

Visit the website at http://www.rsd.cam.ac.uk/drha08/ for more information and a link to the proposals website.

The Deadline for submissions will be 30 April 2008 and abstracts should be approximately 1000 words.

Cambridge's venues range from the traditional to the contemporary all situated within walking distance of central departments, museums and galleries. The conference will be based around Cambridge University's Sedgwick Site, particularly the West Road concert hall, where delegates will have use of a wide range of facilities including a recital room and a 'black box' performance space, to cater for this year's parallel programming and performances.

Sue Broadhurst
DRHA Programme Chair

Dr Sue Broadhurst,
Reader in Drama and Technology,
Head of Drama,
School of Arts,
Brunel University,
West London,
UB8 3PH, UK

Email: susan.broadhurst@brunel.ac.uk.

top

20. CfP: Research into Practice Conference - October 31 2008, Royal Society for the Arts, London, UK (due May 1)

The fifth biennial international Research into Practice conference will be held on Friday 31 October 2008 at the Royal Society for the Arts, London. It will explore the problem of interpretation in research in the visual and performing arts.

Confirmed keynote speakers will be W.J.T. Mitchell (USA) and Griselda Pollock (UK). The CALL FOR ABSTRACTS is now open, and the closing date for receipt is 1 May 2008.

Conference home page:

RESEARCH INTO PRACTICE CONFERENCE 2008

ABSTRACTS ARE INVITED ON THE CONFERENCE THEME.

It is characteristic of research outputs, reports and theses in traditional disciplines that they are expressed in unambiguous language. One reason for this is to establish the grounds and argument from which the conclusions derive. Another reason is to be quite clear and explicit about what is being claimed as original by the author for the research. This characteristic has the effect of reinforcing the dominant knowledge models such as "the scientific method", "empirical methods", etc. However these models come from disciplines whose aims and objectives may differ from those in the arts and humanities. There has been much discussion about the suitability of such models for the visual and performing arts, which seem to rely on a more pluralistic approach to interpretation which values the fact that different generations and different cultures find their own value in the artefact. Does this difference of explicitness between traditional disciplines and the arts mean that their research outputs cannot be compared? What is the status of the outcomes of research in the visual and performing arts in terms of what is known or discovered? Is research in these areas actually trying to achieve something quite different, and if so what? Is the value of research something constructed by the receiver, and if so what would that mean for knowledge-models in the arts? Are its outcomes more contingent than those in other disciplines because of this difference in the role of interpretation by the reader/viewer? Does the scientific method really result in unambiguous interpretation, or conversely is interpretation really so subjective in the arts?

The conference will focus on the theory of interpretation in research in traditional disciplines and on the emerging theory of interpretation in research in the visual and performing arts.

Conference topics that might be considered include, but are not restricted to:

- are unambiguous research outputs in the arts possible or desirable?
- are the problems of interpretation in the arts different from other disciplines?
- do the interpretational problems in arts stem from its media or from its aims?
- can anything be learned from studies in interpretation in other humanities subjects?
- in the historical past were issues of interpretation viewed differently?
- do the arts have special advantages that compensate for any perceived disadvantages with respect to interpretation of outcomes?
- how does the author/reader problem affect research?

FOR MORE INFORMATION VISIT THE CONFERENCE WEBSITE AT http://www.herts.ac.uk/artdes1/research/res2prac/confhome.html

Research into Practice is the leading forum for scholarship on so-called practice-based research in the visual and performing arts, hosted biennially by the University of Hertfordshire, UK. Contact

top

21. CfP: 'Placing Mobile Communications' - Australian & New Zealand Communication Association Conference and Special Issue of Australia Journal of Communication 36.1 2009, Australia & NZ (due June 9)

'Placing Mobile Communications' call for papers/conference & special issue

a stream for the Australian & New Zealand Communication Association (ANZCA) conference 2008 http://anzca08.massey.ac.nz/ & special issue of the Australian Journal of Communication (36.1, 2009)

Convenors/editors: Clare Lloyd, Scott Rickard, and Gerard Goggin.

Call it a mobile, cell phone, or keitai; when an incoming call is heard, both power and place concerns arise. Mobile telephony adoption and usage is about power and place. The power of the mobile is increasing as it integrates with other everyday technologies, objects, and across media platforms. Currently there is significant emerging work on mobiles in various disciplines in Australia and New Zealand, as part of a vibrant international reckoning of mobiles and online technologies.

In this light, the aim of the Placing Mobile Communication stream, and associated special issue of the Australian Journal of Communication, is to bring together researchers undertaking work on mobiles, with the particular aim of offering an opportunity to present and reflect upon Australian and New Zealand work in progress. We also wish to encourage discussion on where mobiles fit into media and communications traditions, and also on how local work fits into, and reconfigures, various contexts (regional, international, subcultural, national).

Abstracts that examine the subject area from different theoretical and methodological approaches are welcomed. Suggested topics include (but are certainly not limited to):

Gender politics and the mobile phone Locating the local and the global with mobiles Theories of the digital divide and the mobile phone Mobility and cultural geography The integration of mobile phone use into professional and personal life Mobile phone use from both mass and interpersonal communication perspectives Mobiles as media The place of mobiles in media, new media,and communications studies Reflections on the mobile, and mobile research, in Australia and New Zealand Mobiles policy, regulation, and political economy

Contributions under these topic areas are welcome, as are suggestions of other topics - please email all three convenors: Clare Lloyd (Clare.Lloyd@newcastle.edu.au), Scott Rickard (scott.rickard@arts.monash.edu.au), and Gerard Goggin (g.goggin@unsw.edu.au).

ANZCA Conference submissions

Postgraduate students and junior scholars in particular are welcome to get in touch. Please remember that papers and abstracts must be submitted through the central submissions process.

Papers for refereed stream of ANZCA conference: submit to Elspeth Tilley (e.tilley@massey.ac.nz) by 15 February 2008.

Abstracts (up to 300 words) for non-refereed stream: submit to Nicole Patterson (n.v.patterson@massey.ac.nz) by 9 June 2008.

The ANZCA 08 conference will be held in Wellington, New Zealand from 9-11th July 2008: http://anzca08.massey.ac.nz/. More information about ANZCA is at http://www.anzca.net/index.htm

Special 'Placing Mobile Communication' issue of AJC (36.1, 2009)

We ask that those wishing to attend the ANZCA conference, please indicate to the convenors if you would also like your abstract or paper considered for the special issue of the AJC.

For those who cannot attend ANZCA, but wish to have an abstract considered for the special issue of Australian Journal of Communication, please submit this to the convenors (Lloyd, Rickard, & Goggin) by 9 June 2008.

For those submissions selected for the AJC special issue, full papers will be due by 1 September 2008.

Australian Journal of Communication is a refereed international journal that publishes original papers nterdisciplinary or specialist papers are welcomed. Contributors should be familiar with the nature and scope of the Australian Journal of Communication. Familiarity with past issues of the journal is essential. AJC General Editor is Dr Roslyn Petelin: r.petelin@uq.edu.au

top

22. CfP: 'Camus on Stage/Camus à la Scène' - May 7-8 2008, Royal Military College of Canada, Kingston, Ontario (due Sept 1)

The theatre of Albert Camus has not revolutionized dramatic art and stage aesthetics. Many critics - specialists in theatre or in Camus - consider it to be conventional, cerebral and moralistic. Yet it possesses a clear vitality, as is witnessed by the remarkable stage success which it enjoys. Indeed, for several decades, it has been frequently brought to the stage which testifies to the loyal interest of theatre practitioners and spectators. In this respect, one cannot but note its popularity and international influence. In French-, English-, German- and Slavonic-speaking countries within Europe, as in America, it regularly forms part of the programmes for theatres, from the most famous, vast or prestigious to the most modest, including student companies.

In Francophone Canada for example, where although the population is small, Caligula, Le Malentendu and Les Justes have all been brought to the stage more than once in the course of the last fifteen years. Each of these plays has been staged in theatres amongst the most prestigious and in others of lesser standing. Three of Camus's novels have also been staged there.

A further fact which binds together Camus's work and dramatic art is that his narrative corpus has given rise to numerous theatrical adaptations. L'Étranger, La Peste and especially La Chute, a narrative which is particularly oral and theatrical, but also some of the short stories, have been staged several times, sometimes with continental or overseas tours. The scenic potential not only of Camus's drama but also of his narrative corpus is thus worthy of mention.

It is through the medium of theatre that we would like to approach and, hopefully, rediscover Camus, within the framework of a bilingual conference entitled "Camus On Stage / Camus à la scène" which will take place at the Royal Military College of Canada at Kingston (Ontario) on 7 - 8 May 2009. This new approach is likely to bring together Camus scholars, practitioners and theoreticians of the theatre, as well as those who are looking into transgeneric adaptations.

A fundamental question which is to be raised is how do readings proposed by theatre practitioners - directors, actors, set designers... - provide a different perspective or a new contribution to the body of knowledge already known about Camus's work? How do the various codes of meaning from the performance (costumes, settings, masks/make-up, music and sound effects etc.) contribute to the hermeneutics?

The following areas, amongst others, could prove interesting to explore:

- Analysis of a particular representation, whether this be a play or a narrative;
- Diachronic study of the evolution of successive productions of the same text;
- Problems of translation, adaptation, cuts and additions, prior to production;
- Treatment of stage directions and paralinguistic speech, in the tension between text and representation, between dialogue and scenic language;
- Cinematographic inspiration or use of various media on the stage;
- Links between a text and the social context of its representation: actualization? ideological assertion?
- Critical and public receptions of productions;
- Scenic realization of Camus's work in terms of geographical, linguistic and cultural distribution;
- Interpretations of inequality in Camus's four plays as construed by theatre practitioners;
- Assessing feasibility for the stage and popularity;
- Stage value of Camus as adapter and translator of foreign plays;
- Relations between dramatic representation and literary judgment, between stage and university professionals;

It should be mentioned that film or audio adaptations of Camus's works are also relevant.

Proposals for papers, in French or English, of approximately 300 words, together with a short biography, should be sent by e-mail to Sophie Bastien - sophie.bastien@rmc.ca, before 1 September 2008. Proposals should indicate any audio-visual requirements.

An international round table will also be convened, made up of theatre practitioners who have brought Camus to the stage. A further way of participating in the conference would be to take part as a contributor to this initiative. To this end, you should send a letter of intention, summarizing relevant theatrical experience (to sophie.bastien@rmc.ca) before 1 September 2008.

Steering Committee:
- Sophie Bastien, Royal Military College of Canada
- Mark Orme, University of Central Lancashire, United Kingdom
- Geraldine F. Montgomery, independent researcher

Keynote Speakers:
- Agnès Spiquel, President of the Society for Camus Studies, University of Valenciennes, France
- Raymond Gay-Crosier, Vice-President of the Society for Camus Studies and Director of volumes III and IV of the New 'Pléiade Camus'; Emeritus Professor, University of Florida

Steps are underway with a view to publishing the conference proceedings. Sophie Bastien, PhD Professeure adjointe Département d'études françaises Collège militaire royal du Canada

top

FORTHCOMING CONFERENCES AND SEMINARS

23. Dissolving Dramaturgies: Performance and Crisis in Contemporary French Theatre, March 5 2008, U of Kent at the Institut français, London, UK

The European Theatre Research Network at the University of Kent and the Institut Francais London invite you all to a 'crisis' talk in London,

Roundtable Discussion 'Dissolving Dramaturgies': Performance and Crisis in Contemporary French Theatre Is mise en scène now crise en scène? Wednesday 5 March, 7.30pm at the Institut français Institut français, 17 Queensberry Place, London SW7 2DT

Paul Allain (University of Kent) will chair a roundtable discussion on contemporary French theatre in English at the Institut français on Wednesday 5 March. He will be in conversation with French theatre specialists Patrice Pavis (University of Kent), David Bradby (Royal Holloway), and Mary Noonan (University College Cork).

We will also be celebrating the recent publication of Patrice Pavis's La Mise en Scène Contemporaine (Armand Colin, 2007)and David Bradby's Le Théâtre en France de 1968 à 2000, (Honoré Champion, 2007).

The specialists will explore whether French theatre is struggling to cope with that young upstart performance and its new modalities, asking: How have dramaturgies evolved to cope? What roles do actors and directors and the text have today? Can French theatre, as such, survive?

Patrice Pavis was Professor of Theatre Studies at the University of Paris (1976-2007). He is currently Professor in the Department of Drama at the University of Kent at Canterbury. Educated in the Ecole normale supérieure de Saint-Cloud (1968-1972), where he studied German and French literature, he has published a Dictionary of Theatre (translated into thirty languages), and books on Performance Analysis, Contemporary French Dramatists and Contemporary Mise en Scène. He is a Research Fellow at the University of London (Queen Mary).

David Bradby is Professor Emeritus of Royal Holloway, University of London. His most recent book is Le Théâtre en France de 1968 à 2000 (Paris: Champion, 2007). He has translated works by Jacques Lecoq, Michel Vinaver and Bernard-Marie Koltès. With Maria M. Delgado, he edits Contemporary Theatre Review.

Mary Noonan is Lecturer in French at University College Cork, where she teaches modern and contemporary French theatre and theories of performance. She has published widely in the field of contemporary French theatre, including, most recently, an article in Yale French Studies (No.112) on the theatre of Noëlle Renaude, and a chapter on voice in the theatre of Marguerite Duras (Marguerite Duras: Écriture, Écritures, edited by Myriem E-Maïzi and Brian Stimpson, Paris: Minard, 2007).

Paul Allain is Professor of Theatre and Performance at the University of Kent, Canterbury. Routledge published his Companion to Theatre and Performance, co-written with Jen Harvie, in 2006. He is currently researching the legacy of Grotowski's work in the AHRC-funded 'British Grotowski Project'.

Roundtable discussion, Wed 5 March, 7.30pm at the Institut français. £3, conc. £2, in English.

Institut français, 17 Queensberry Place, London SW7 2DT
T. 020 7073 1350
www.institut-francais.org.uk
box.office@ambafrance.org.uk

top

24. Theoretical, Methodological and Political Implications of Doing Research Among Refugees, March 7-8 2008, London, UK

Prof Nira Yuval-Davis and Erene Kaptani invite you to a two day conference to celebrate the conclusion of the three year research Project Identity, Performance and Social Action: Community Theatre Among Refugees.

Day 1 - 7 March 2008
A discussion of the theoretical, methodological and political issues emanating from the research. This will be followed by a performance by Playback South and a reception in the evening.
Venue: Oxford House, Derbyshire St, Bethnal Green, London E2 6HG

Day 2 - 8 March 2008
Playback and Forum Theatre workshops in which the conference participants will be able to try out the theatre techniques used by the research project.
Venue: Room UH304 Stratford Campus, University House.

Keynote speakers will include Don Flynn, Prof Paul Heritage, Dr Phil Marfleet and Prof Margie Wetherell as well as members from the refugee organisations that the Research Project worked with. Admission is free, but places are limited. For more information please see www.uel.ac.uk/ipsa or to book a place contact: Catherine Donaldson c.donaldson@uel.ac.uk or Tel: 020 8223 7085

top

25. On Whose Terms? Critical Negotiations in Black British Literature and the Arts, March 13-14 2008, Goldsmiths, U of London, UK

Goldsmiths, University of London is proud to present an exciting two-day Conference

ON WHOSE TERMS?:CRITCAL NEGOTIATIONS IN BLACK BRITISH LITERATURE AND THE ARTS 13-14th March 2008.

This is the first UK conference in the field, to draw together academics, creators of the work and the public in a context of critical engagement and celebration from local, national and international perspectives. There will be over sixty academic papers from all over the world, five expert panels of artists prominent in Drama, Poetry, Prose Writing and Memoir, Pedagogy and Education and Young People's Writing, a videoconferencing session in conjunction with University of California, Los Angeles and six keynote addresses. Please see the schedule listed below and for further information and registration details please go to: www.goldsmiths.ac.uk/onwhoseterms

If you have any queries please contact Katie Lyons k.lyons@gold.ac.uk

SCHEDULE
Thursday 13th March 2008
9.00 -9.45 Registration: two-day, one-day or sessional. Tickets will be colour-coded according to duration and day.Coffee, tea and refreshments.

Session one 9.45-11.15 GEORGE WOOD THEATRE, Drama Department 9.45-10.00 Welcome to the conference:Dr Deirdre Osborne (Goldsmiths, University of London) and Geoffrey Crossick, (Warden of Goldsmiths) 10.00-10.15 Opening by DIANE ABBOTT MP. 10.15 - 11.15 Speaker 1. SIMON GIKANDI (University of Princeton, USA)

Coffee Break 11.15 - 11.45

Session two 11.45 - 1.00
Five parallel sessions of academic papers and talks.

Lunch Break 1.00-2.00

Session three 2.00 - 3.15 GEORGE WOOD THEATRE

Panel 1. THEATRE AND DRAMA Introduced by Maria Shevtsova (Goldsmiths, University of London) Kwame Kwei-Armah in conversation with directors: Paulette Randall, Michael Buffong, Indhu Rubasingham, Dominic Cooke and Kerry Michael.

Session four 3.15-4.30
Five parallel sessions of academic papers and talks. Videoconference poetry panel from University of California, Los Angeles

Afternoon tea 4.30 - 5.00

Session five 5.00-6.15 GEORGE WOOD THEATRE
Panel 2. PUBLISHING AND SMALL PRESSES Introduced by Mark Stein University of Muenster) Susheila Nasta (Open University) in conversation with publishers: Kadija George (SABLE), Margaret Busby OBE, Neil Astley (Bloodaxe), Nii Parkes (Flipped Eye), James Hogan (Oberon).

Session six 6.15-7.45 GEORGE WOOD THEATRE
6.15 - 7.15 Speaker 2. GABRIELE GRIFFIN (University of York, UK)

7.15 - 7.45 GEORGE WOOD THEATRE
Presentation of the John La Rose Memorial Short Story competition award. Judges: R. Victoria Arana, Margaret Busby OBE, Kadija George and Courttia Newland.

Reception Launch:
The Oxford Companion to Black British History (Oxford University Press) Hidden Gems (Oberon Books) Sponsored by Oberon Books.

8pm CONFERENCE DINNER: MC - Queenie (Valerie Mason-John)

SCHEDULE Friday 14th March

9.00-9.30 Registration and Coffee
Session one 9.30-10.30 GEORGE WOOD THEATRE
Speaker 3. LYN INNES (University of Kent UK)

10.30-11.00 Coffee Break

Session two 10.45 - 12.15 GEORGE WOOD THEATRE
10.45 Pupils of Deptford Green arrive
WRITING FOR YOUNG PEOPLE AND YOUNG PEOPLE'S WRITING

11.00-12.00 Speaker 4. MALORIE BLACKMAN Introduced by Deirdre Osborne (Goldsmiths) Deptford Green Secondary School with MakeBelieveArts.

11.00 - 12.15 Four parallel sessions of academic papers and talks.

Session three 12.15-1.15 GEORGE WOOD THEATRE
12.15-1.15 Panel 3. ANDREA LEVY interviewed by BLAKE MORRISON (Goldsmiths, University of London)

1.15 - 2.15 Lunch

Session five 2.15.-3.15
2.15 - 3.15 Speaker 5. SUKHDEV SANDHU (New York University USA) GEORGE WOOD THEATRE 2.15.-3.30 Panel 4.ODYSSEYS THROUGH THE DIASPORA: MEMOIR, POETRY AND PROSE Introduced by John Ginman (Goldsmiths) Courttia Newland in conversation with: Mark McWatt (University of the West Indies), SuAndi OBE, Parminder Bhachu (Clarke University USA) and Valerie Mason-John.

3.30-4.00 Coffee break

Session six 4.00-5.15
Five parallel sessions of academic papers and talks.

5.15 - 5.30 Break - no refreshments

Session seven 5.30-6.45 GEORGE WOOD THEATRE
5.30-6.45 Panel 5. TEACHING BLACK BRITISH LITERATURE AND THE ARTS: AT HOME AND ABROAD Introduced by Osita Okagbue (Goldsmiths) Joan Anim-Addo (Goldsmiths, University of London) in conversation with: Les Back (Goldsmiths), R.Victoria Arana (Howard University, USA), and Bénédicte Ledent (Liege University, Belgium). Sponsored by the Higher Education Academy - English Subject Centre Session eight 6.45-end GEORGE WOOD THEATRE 6.45 - 7.45 Speaker 6. HILARY CARTY MBA (Director, Cultural Leadership Programme) Introduced by Godfrey Brandt (Birkbeck, University of London) 7.45 - 8.30 Reception SENIOR COMMON ROOM 8.30 - 10.00 Poetry performances GEORGE WOOD THEATRE SHEREE MACK, MALIKA BOOKER, SEFI ATTA and SuANDI Hosted by KADIJA GEORGE

Gerald Lidstone BA MA ATC Dr.h.c FRGS
Head of Drama Department
Director of MA Arts Administration and Cultural Policy Goldsmiths University of London Lewisham Way New Cross London SE 14 6NW

top

26. The Life of the Mourner's Dance Symposium, March 14-15 2008, Queen Mary, U of London, UK

Curated by Doran George
As part of the Interface Residency at Chisenhale Dance Space
in association with Queen Mary, University of London.

To book contact helena@chisenhaledancespace.co.uk

Fri 14th March 5.30pm-9.00pm
Sat 15th March 10.00am-6.30pm
Pinter Studio Theatre, The Arts Building, Queen Mary, University of London, Mile End Road, London E1 4NS Nearest Tube: Mile End
http://www.streetmap.co.uk/streetmap.dll?Postcode2Map?code=E1+4NS&title=SYMPOSIUM&nolocal=X

A symposium on using performance practice to learn how to grieve which in turn can teach us how to live. In the wake of loss, contemporary culture that struggles to negotiate mortality can leave the bereaved alienated and confused. Performance practice, rich with tools to work with our bodies and lives, can be a way of restoring meaning in the present. Bringing together experts in bereavement care, dance, and other relevant professions we will consider how performance can be a catalyst and vessel for emotional recovery through presentation, performance, film and discussion. Presenting at the symposium will be:

John Fox and Sue Gill ( previously of Welfare State International ) will give an illustrated talk about their new company Dead Good Guides which they formed in 2006 and which picks up where Welfare State International left off. Patricia Repar founder and director of Arts-in-Medicine at University of New Mexico (US) a program of clinical service, research, and education. She will present her work in this area with a particular focus on bereavement. Mary O'Donnell Fulkerson, will look at the place of the religious and spiritual in performance work that includes bereavement. For the past two decades she has been exploring Gnosticism in her life and visionary work. Rosemary Lee, will talk about walking the tightrope between community and high art in dance. Her choreography is one of the best examples of a practice that located itself successfully beyond the limited terms concert dance and community dance. Robert Pacitti, will look at the socio-political as it interfaces with art, bereavement and life. His critical theatre practice explicitly navigates the socio political with elegant lack of dogma. Other contributers include Gill Addison, Ray Jacobs, and Jo Clifford.

Doran George's experimental dance/live art practice focuses on the physical, emotional, interpersonal, and cultural body in recovery. His performance work has been funded, commissioned and presented internationally. He regularly curates cutting-edge performance and events on critical practice such as "Vital Signs: symposium on interfaces between disability politics and contemporary art." He has danced for Mary O' Donnell Fulkerson (Germany) Arlette George (UK), Bock and Vincenzi (UK), Mark Tompkins (France), Oracle Dance (UK) and Yvonne Meier (US.) Doran is widely published, and has taught at NYU, Chelsea School of Art, the University of Southern California Los Angeles, and the University of Marseille.

COST:
£35 for 2 days or £20 for 1 day full-time salaried/funded,
£25 for 2 days or £15 for 1 day part-time salaried/freelance artist, £20 for 2 days or £10 for 1 day concessions

We offer a 10% discount for group bookings of 7 people or more.

To book for the workshops or/and symposium please complete the attached booking form and send by email to helena@chisenhaledancespace.co.uk or by post to Helena Hunter, Chisenhale Dance Space, 64-84 Chisenhale Road, London E3 5QZ. Or call 020 8981 6617. For further information please visit http://www.chisenhaledancespace.co.uk/interface.htm

top

27. An Arts-Based Seminar on the Ethnography of Walking, March 15-17 2008, Loughborough U, UK

An arts-based seminar on the ethnography of walking
With OERoam: a Festival of Walking¹
15-17th March 2008
Loughborough University

During the weekend of the 15-16th March 2008 Loughborough University¹s RADAR arts centre is hosting Roam: a Festival of Walking, which hosts the work of several artists who make walking is central to their practice (Tim Brennan, Duncan Speakman, Active Ingredient, Lottie Childs, Mark Gwynne Jones, Claire Blundell Jones) and a Walking Fair.

In conjunction with this walking festival, we are organising a one-day seminar to be held on Monday 17th March 2008, at Loughborough University. The seminar is open both to participants who have been involved in the weekend walks and to others on a one-day only basis. Invited speakers will discuss OEthe arts of walking¹, and what this means for an understanding of everyday walking. Reflecting the contemporary interest in walking, across the social sciences and humanities, the seminar aims to create new connections between approaches to walking in academic and arts practice. We are interested in exploring themes that include:

- Walking as place-making: Walking has often been theorised as a form a place-making. How might such interpretations be applied to the work of artists whose practice involves walking? What might walking as art tell us about how walking can be understood as a way of participating in power relationships?

- Walking as ethnographic practice: Ethnographers and anthropological filmmakers often walk with others as part of their efforts to learn about and represent how people experience their environments. What do these academic practices share with the methodologies of artists who engage walking as part of their practice? Are there parallels between arts practice and ethnographic practice? What might ethnographers learn from artists about how walking might be engaged in processes of research and representation.

Speakers: Tim Edensor (Manchester Metropolitan University), Andrew Irving (University of Manchester), Simon Pope (Cardiff School of Art and Design) and Misha Myers (Dartington College of Art)

The seminar is organised by an interdisciplinary group whose work is based in Social Anthropology (Sarah Pink), Social Psychology (Alan Radley), Social Geography (Phil Hubbard) and Sociology/Cultural Criminology (Maggie O¹Neill).

To book a place at the seminar please e-mail radar.info@lboro.ac.uk with a completed booking form (below) or tel: 01509 222960.

Please note that booking is essential as there is a limit of 40 participants. All bookings should be made through the RADAR office.

Please note the following:
- There is no fee to attend the seminar, and we will provide tea/coffee and a light sandwich lunch during the event. However we cannot cover any other costs.

- Information about how to get to Loughborough and on accommodation in the area is on the university web site at http://www.lboro.ac.uk/about/. Accommodation information can be found through the local information link at http://www.lboro.ac.uk/about/local.html. Please book your accommodation directly yourself the seminar organisers are not able book accommodation for you.

top

28. Creative Graduates: Learning and Research in the Creative Arts, Palatine Event, March 18 2008, Alexander Gibson Opera School, Royal Scottish Academy of Music and Drama, UK

Dear Colleagues,

You are invited to attend a joint PALATINE/ADM-HEA symposium on 18 March 2008. You can book by e-mailing Barbara Hargreaves at: palatine@lancaster.ac.uk or telephoning 01524 592614.

You are further invited to attend a related seminar on the following day. Book for that by e-mailing Lucinda Dempsie at: l.dempsie@admin.gla.ac.uk

There is no charge to UK HE delegates attending either event.

'Creative Graduates: Learning and Research in the creative arts'

The Alexander Gibson Opera School, Royal Scottish Academy of Music and Drama

Tuesday 18 March 2008

What makes higher education 'higher'? Is some form of linkage between teaching and research a defining characteristic of 'higher education'?

Specific 'graduate attributes' related to research, or 'research mindedness', all feature in the SCQF (Scottish Credit and Qualifications
Framework) and QAA subject benchmarks and these high level attributes are also widely assumed to be important in graduate employability.

At the same time, many universities as a consequence of the RAE are organising their activities in ways that separate research and teaching, and educational researchers have also raised questions about whether innovative and effective teaching is necessarily dependent upon staff being involved in discipline-based research.

PALATINE and the Art Design Media Subject Centre (ADM-HEA) are currently undertaking a collaborative project, funded by the Scottish QAA, that is investigating the potential for the enhancement of high level graduate attributes through research-teaching linkages in the creative arts.

Our project is particularly concerned with understanding how Scottish institutions enhance the students' learning experience through the use
of:

* Performances and exhibitions;
* Creative projects within and outwith the institution;
* Contact with professional artists and organisations;
* The professional artistic experience of staff;
* The research interests of staff - especially where these include creative work and practice-based approaches;
* The other research activities of the institution, including consultancy work.

This one day symposium is an important contribution to the work of the project. It aims to provide a valuable opportunity to discuss and showcase the various ways in which 'a spirit of enquiry' informs and becomes integral to the learning process in creative and practice-based disciplines. It also aims to explore and articulate the interconnectedness of research, learning and teaching in those disciplines.

Details of travel information and accommodation for delegates attending this event are available on the following web page:

http://www.palatine.ac.uk/events/view/1144/

top

29. George Ewart Evans Centre for Storytelling Lecture and Symposium, March 18-19 2008, U of Glamorgan, Cardiff, UK

We thought you may like to know about the George Ewart Evans Centre for Storytelling annual lecture and symposium, which takes place on Tuesday 18th and Wednesday 19th March. This year we are holding the event in our new ATRiuM building on the University of Glamorgan's new CCI campus in the centre of Cardiff. Final details are still to be confirmed but so far we are pleased to be able to announce the following sessions:

George Ewart Evans Lecture and Reception
Tuesday 18th March 2008
Professor Richard Bauman will present his keynote lecture on Tuesday evening, this will be followed by a reception and dinner in the newly opened Atrium building of the Cardiff School of Creative and Cultural Industries at the University of Glamorgan. The dinner will be followed by story and music performance by Guto Dafis.

Professor Richard Bauman The Remediation of Storytelling: Narrative Performance on Early Commercial Sound Recording Professor Richard Bauman, Distinguished Professor and Chair in the Department of Folklore and Ethnomusicology at Indiana University, has published widely on the ethnographic study of language and performance. He has served as president of the Semiotic Society of America, the Society for Linguistic Anthropology, and the Society of Fellows of the American Folklore Society. Among many other professional activities, he has been chair of the Folklife Advisory Council of the Smithsonian Institution, editor of the Journal of American Folklore, and a member of more than 15 editorial boards. He has also been a Guggenheim Fellow, a Fellow of the Center for Advanced Study in the Behavioral Sciences, Folklore Fellow of the Finnish Academy of Sciences, and twice holder of National Endowment for the Humanities Fellowships.

Professor Bauman's keynote lecture will focus on narrative and development of sound recording. The years between 1895 and 1920 represented a formative period in the commercial development of sound recording in the U.S. as nascent recording companies attempted to create a consumer market for phonograph records and the machines on which to play them. As recording companies sought to discover what might attract consumers to purchase records, they drew heavily upon traditional performance forms, such as storytelling, oratory, and religious sermons, and upon popular entertainments, such as minstrel shows, early vaudeville, medicine shows, tent shows, and Chautauqua, all of which had proven themselves attractive to popular audiences. The adaptation of these traditional and popular performance forms to phonograph records involves the process of remediation, specifically, the rendering of embodied, face-to-face performance forms through the mediation of another communicative technology, sound recording. In this paper, I explore what happens when we render oral storytelling, formerly experienced live, in situations of copresence, when the immediacy of copresence is transformed into a mediated experience.

Chair: Professor Mike Wilson

Symposium
Tuesday 18th and Wednesday 19th March 2008
This two day symposium will examine issues raised in the keynote lecture and the implications for storytelling and authenticity. The symposium is structured around a series of keynote 'provocations', with maximum time allocated for debate and discussion on the issues raised.

Tuesday 18th March 2008
Tale-Enders: Gathering the Narrative Heritage of Welsh Cricket Launch We are proud to be able to launch this project which brings together the George Ewart Evans Centre for Storytelling and Glamorgan Cricket to explore the use of storytelling and technology to populate the new Museum of Welsh Cricket at Sophia Gardens as part of the current £9.6 million redevelopment in advance of hosting an Ashes Tests in 2009. The launch will be followed by a free buffet lunch.

Susie Pratt and Lisa Heledd Digital Storytelling
Susie Pratt (Research Fellow, George Ewart Evans Centre for Storytelling) and Lisa Heledd (Capture Wales, BBC Wales and Postgraduate Researcher in Digital Storytelling, George Ewart Evans Centre for Storytelling) will run a digital storytelling workshop. This session will explore the latest developments in digital storytelling and present some of the current research being carried out by members of the George Ewart Evans Centre for Storytelling team.

Joseph Sobol The Razor's Edge: The American Storytelling Movement in 2008 Joseph Sobol (Associate Professor, East Tennessee State University), author of The House Between Earth and Sky: Harvesting New American Folktales and The Storytellers' Journey: An American Revival, will present a lecture and workshop exploring issues raised in the American Storytelling movement and the resonances they might have for people working in Wales and the UK. The American Storytelling movement has matured in certain unmistakable ways-and not in others. This mixed development has placed major stresses on the organizational base and on those working in the field. This talk will identify some of the stresses-organizational, artistic, and economic--and suggest some avenues of potential evolution and relief.

Wednesday 19th March 2008
Dick Leith "Authenticity" and "Ownership": How to Shut People Up Academic and storyteller Dick Leith will explore his own recollections of the 1950s and 60s folk revival in Britain and how issues raised during that period are resurfacing today. He will examine notions of the authentic voice and questions regarding how this concept has been used both to silence and to empower.
Chair: Susie Pratt (Research Fellow, George Ewart Evans Centre for Storytelling)

Professor Hande Birkalan Gedik Uses of Authenticity: Responsibility, Re-presentation and Re-contextualization of Folklore Performances Professor Hande Birkalan Gedik (Associate Professor, Yeditepe University, Istanbul) will aim to bring light to the concepts of "authenticity" and "authority" in folklore performances in selective examples from Turkey. She will be discussing these concepts primarily as a "native" woman and as a folklorist with an educational up-bringing in the American folkloristics.
Chair: Joseph Sobol (Associate Professor, East Tennessee State University)

Neil Lanham 'Who is the truly educated man: The one who can grown onions or the man who can spell them?' - (George Ewart-Evans P.17 'The Horse in the Furrow 1960). A view from the onion grower's perspective Neil Lanham was born in 1938 into a rudimentary small farm way of life. He observed early in his life that culture came from the spoken word of the indigenous vernacular people around him. He has recorded both mentally and physically oral idioms ever since. This paper will investigate concepts of authenticity and indigenous voice.
Chair: Hamish Fyfe (Co-Director, George Ewart Evans Centre for Storytelling and Professor of Arts in the Community)

Venue: Cardiff School of Creative & Cultural Industries, ATRiuM, University of Glamorgan, Adam Street, Cardiff
Cost: Lecture is FREE but booking is essential.
Dinner and story and music performance: £30/EUR40
Symposium: £60 /EUR80 organisation, £40/EUR55 individual waged, £25/EUR35 individual unwaged To book your place at this event call 01443 3668631 or email storytelling@glam.ac.uk

http://www.glam.ac.uk/storytelling
George Ewart Evans Centre for Storytelling
Cardiff School of Creative & Cultural Industries, ATRiuM, University of Glamorgan, Adam Street, Cardiff, CF24 2XF Canolfan Adrodd Storïau George Ewart Evans Ysgol Diwydiannau Creadigol a Diwylliannol Caerdydd, ATRiuM, Prifysgol Morgannwg, Stryd Adam, Caerdydd, CF24 2XF

top

30. Contemporary Dance in Asia: Mapping Out a Discourse, March 27-29 2008, Indonesia

an international dance workshop
Yogyakarta (Indonesia), 27-29 March 2008

The workshop aims to first map these different strands of histories and experiences in dance modernism and practice as taking place in various countries in Asia, thus engage the scholars, critics and practitioners alike to discuss several key issue that kept surfacing in previous forums. Some key issues are the historiographies, traditions, politics of bodies and identities,the relationship between dance and nationalism and/or feminism.

Programme

This workshop intends to address some core issues related to the contemporary dance practice in the Asian countries. 'Asia' here is used as a point of reference which still provesd to be useful in framing a discussion, under which the core themes are set against, although we are fully aware of its trapping. After all, there is arguably so much difference between countries like Indonesia and Japan, as much as between countries like Indonesia and Iceland - regardless in which continents Japan and Iceland are.

The workshop's conveners identified five core issues to be discussed further in each panel during which two paper presenters will draw a perspective that will be shared to the engaged, intimate participants.

For detailed information on registration, please click: http://dance.kunci.or.id <http://dance.kunci.or.id/>

Conveners:
Antariksa (Kunci Cultural Studies: www.kunci.or.id)
Helly Minarti (MPhil/PhS student, Roehampton University: www.roehampton.ac.uk) St Sunardi PhD (Uiniversitas Sanata Darma: www.usd.ac.id)

Organised by Kunci Cultural Studies Centre and Universitas Sanata Darma Funded by SEASREP Co-sponsored by Arts Network Asia

top

31. Burnt Cork: Traditions and Legacies of Blackface Minstrelsy, March 28-29 2008, Graduate Centre for Study of Drama, U of Toronto, Canada

An Interdisciplinary Symposium

Dedicated to the highly contentious and richly complex tradition of blackface minstrelsy, this two day symposium aims to provide an opportunity for exploration, discussion, and debate concerning the varied legacies of this performance idiom. All events will take place at the Graduate Centre for Study of Drama's Robert Gill Theatre.

For much of the 19th century, blackface minstrelsy-in which a group of performers wearing makeup made of burnt cork pretended to 'delineate' the culture of black Americans-was arguably the most popular entertainment in North America. A renewed scholarly interest in this contentious form has produced studies treating a range of issues: its contradictory depictions of class, race and gender; its relationship with an American popular street culture; its legacy in the development of racial stereotyping, with which we continue to live; and its parallel legacy in a number of persistent performance idioms in humour, dance and music, in live performance, film and television. Although an American form, from its beginnings minstrel performers toured across North America and around the world, establishing a taste for American popular culture in all English-speaking colonies and in Western Europe. This symposium will explore, from seven individual perspectives, and with plenty of time for an open discussion, the complex and sometimes troubling issues raised by this tradition.

Featured Speakers:
Dale Cockrell (Blair School of Music, Vanderbilt College), Demons of Disorder Catherine M. Cole (Theatre & Dance, UC Berkeley), Ghana's Concert Party Theatre Daphne Brooks (African American Studies, Princeton), Bodies In Dissent Arthur Knight (American Studies, College of William and Mary), Disintegrating the Musical W. T. Lhamon (English, Emeritus, Florida State), Raising Cain, and Jump Jim Crow Linda Williams (Rhetoric and Film Studies, UC Berkeley), Playing the Race Card Original Dance Performance by: Dean Moss

Friday, March 28: 7:00 pm - 9:00 pm, Reception to follow Saturday, March 29: 10:00 am - 6:00 pm Robert Gill Theatre 214 College Street, (St. George St. entrance) 3rd fl. All events free of charge