[artinfo] palya
Kiss-Pál Szabolcs
kspal at aramszu.net
Fri Jul 4 08:55:07 CEST 2003
CALL FOR ENTRIES: "MIX 2003:" (New York, USA)
Deadline: July 31, 2003; Source: Instant Coffee
MIX 2003: RESISTANCE IS FERTILE!
THE 17th New York Lesbian and Gay Experimental Film/Video Festival.
November 19-23, 2003
Anthology Film Archives, NYC
http://www.mixnyc.org
email: info at mixnyc.org
-----------------------------------------------
CALL FOR SUBMISSIONS: "stART" (New York, USA)
Deadline: August 15, 2003; Source: Judson Church
ARTIST PROPOSAL DEADLINE: August 15, 2003
EVENT: October 9, 2003
www.judson.org/stART
-----------------------------------------------
CALL FOR CONTRIBUTIONS: "On the Page" Performance Research 9:2 (UK)
Deadline: August 30, 2003; Source: Performance Research
email: performance-research at dartington.ac.uk
web: http://www.performance-research.net
-----------------------------------------------
/Fado/
comp/ks
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<div>FADO E-LIST (July, 2003)</div>
<div><br>
INDEX</div>
<div><br></div>
<div>1. Fado presents PAS DE TRADUCTION, featuring 5 Quebec
artists</div>
<div> Performance Interventions July 12, 2003; round
table discussion July 13, 2003</div>
<div>2. Fado update</div>
<div>3. CALL FOR ENTRIES: "MIX 2003:" (New York, USA)</div>
<div> Deadline: July 31, 2003; Source: Instant
Coffee</div>
<div>4. CALL FOR SUBMISSIONS: "stART" (New York, USA)</div>
<div> Deadline: August 15, 2003; Source: Judson
Church</div>
<div>5. CALL FOR PERFORMANCE ART DOCUMENTS: "PERFORMANCE ART IN
CONTEXT" (UK)</div>
<div> Deadline: August 25, 2003; Source: Kenny
McBride</div>
<div>6. CALL FOR SUBMISSIONS: Audio Art "Coalition"
(Chile)</div>
<div> Deadline: September 1, 2003; Source:
IAPAO</div>
<div>7. CALL FOR CONTRIBUTIONS: "On the Page"
Performance Research 9:2 (UK)</div>
<div> Deadline: August 30, 2003;
Source: Performance Research</div>
<div>8. CALL FOR PAPERS : "Perform: State: Interrogate:"
PSi (Singapore)</div>
<div> Deadline: September 30, 2003;
Source: performance_art_network e-list</div>
<div><br>
-----------------------------------------------</div>
<div>1. Fado presents PAS DE TRADUCTION, featuring 5 Quebec
artists</div>
<div> Performance Interventions July 12, 2003; round
table discussion July 13, 2003</div>
<div><br></div>
<div><font color="#000000"><b>PAS DE TRADUCTION<br>
Sylvette Babin, Constanza Camelo, Sylvie Cotton, Jocelyn Robert,
Armand Vaillancourt<br>
Curated by Eric Letourneau<br>
Performances: July 12, 2003, noon - 5 pm<br>
Queen St. W. & Alexandra Park: pick up map and program the day of
the event from weewerk Gallery, 620A Queen St. W.<br>
Round Table Discussion: July 13, 2003, 11 am - 2 pm<br>
Meeting Room 308, Metro Hall, 55 John St.<br>
All events Free</b></font></div>
<div><font color="#000000"><b><br></b></font></div>
<div><font color="#000000">TORONTO, Canada ... Fado is pleased to
present PAS DE TRADUCTION, a series of street actions featuring
Montreal- and Quebec-based performance artists. Curated by Eric
Letourneau for Fado Performance Inc., the performances will take place
in the Queen Street West and Alexandra Park area on Saturday, July 12
between noon and 5 pm. A program detailing the exact locations and
nature of the performances will be available on the day of the event
from weewerk Gallery, 620A Queen St. W. (within walking distance of
all of the activities). On Sunday, July 13, the artists will present a
round table discussion of the project at Metro Hall (meeting room
308), moderated by writers Sonia Pelletier and Johanna
Householder.<br>
<br>
PAS DE TRADUCTION is the first in a new series of events by Fado that
examines the work of various Canadian performance art communities,
defined culturally, regionally, ethnically, or aesthetically. This
inaugural series focuses on Montreal. PAS DE TRADUCTION focuses on the
ways interaction between performer and public can take place in
site-specific contexts. The title ("no translation") refers
light-heartedly to the traditional tensions between English and French
Canada. More importantly, however, the title reflects how the practice
of performance privileges direct action and shared presence as a way
of expressing ideas and moments that are ephemeral and essentially
untranslatable. PAS DE TRADUCTION dances among the ambiguities of what
needs no translation, what cannot be translated, and what we refuse to
translate, focusing on the interpretation process between artist,
audience and location.<br>
<br>
<b>About the artists<br>
<br>
Sylvette Babin</b></font></div>
<div><font color="#000000">Originally from the Gaspé area of
Quebec,<b> Sylvette Babin</b> lives and works in Montreal. Over the
past decade, she has developed an interdisciplinary art practice in
performance, installation and video. Her work has been presented in
Quebec and several European countries. She is also a writer and has
contributed to numerous publications, most notably ESSE arts +
opinions, where she has worked as the Coordinator since
2000.</font></div>
<div><font color="#000000"><br>
<b>Constanza Camelo<br>
</b>Originally from Columbia,<b> Constanza Camelo</b> has lived and
worked in Quebec City and Montreal since 1994. Her early performances
examined the hybrid cultural identity of her native culture. More
recently, she has turned her attention to notions of private and
public space through street actions that inscribe a temporary, utopian
territory over the existing landscape.</font></div>
<div><font color="#000000"><br>
<b>Sylvie Cotton<br>
Sylvie Cotton</b> is a multidisciplinary artist living and working in
Montreal. She has studied literature, arts and museology. Her work,
which includes installation/situation and performance, focuses on the
relation between social and individual identities, and between public
and private spheres. Her projects take place in the street or other
public spaces, including galleries and festivals. Sylvie Cotton is
also an author of narrative texts and critical articles. She has a
column in ESSE Arts + Opinions, a Quebec art magazine.<br>
<br>
<b>Jocelyn Robert<br>
Jocelyn Robert</b> lives in Quebec City, where his solo and
collaborative (with Diane Landry and Bruit TTV) art practice includes
audio, installation, interactive machination, performance,
typographical diversion, computer-aided epistles, and urban maneuvers.
He is preoccupied with the notion of imprecision as quality,
fascinated by blurry pianos, hollow nerves, packaged gods, and the
ambiguity between work and context, music and noise, object and
site.<br>
<br>
<b>Armand Vaillancourt<br>
Armand Vaillancourt</b> is best known as one of the towering figures
in modern sculpture in Canada. He has created some 3,000 small-scale
and monumental sculptures, including the famous fountain sculpture in
Embarcadero Plaza in San Francisco. In 1993, he received the Prix
Paul-Émile-Borduas. In addition to his sculptural projects,
Vaillancourt is a Canadian pioneer in the field of art actions and
performance maneuvers, creating various happenings in urban and rural
environments since 1953.<br>
<br>
<b>Eric Letourneau</b></font></div>
<div><font color="#000000"><b>André-Eric Létourneau</b> is an
intermedia artist whose practice includes performance art, live
electronic music and performative projects for radio and mass media.
From 1999 to 2001 he worked for the CBC (Canadian Broadcasting
Corporation), producing concerts, recordings and radio programs about
new music, sound poetry, audio art and radio art. Eric Létourneau is
a frequent contributor to publications and catalogues about
performance art, and has written for Inter, Parallelogramme and ESSE.
He currently teaches art history at Collège André-Grasset and
works as an independent curator.</font><br>
</div>
<div>-----------------------------------------------</div>
<div>2. Fado update</div>
<div><br></div>
<div>As Fado begins a new programming year with PAS DE TRADUCTION, we
are pleased to report a substantial increase in our annual operating
budget as the result of significant funding increases from the Canada
Council, Toronto Arts Council and Department of Canadian Heritage.
(The Ontario Arts Council results have been delayed until early
August, but we are hopeful following Thursday's remarkable
announcement of a $7.5 million increase in their base budget
allocation for the 2003-04 fiscal year -- the first injection of new
money since 1995.) Our success is due in large measure to the
outstanding work of the artists who we have had the privilege to
present over the past several years. It is their thoughtful,
innovative and vital contribution that is being recognized.</div>
<div><br></div>
<div>Our next major event will be FIVE HOLES: reminiSCENT, a series of
smell-based site-specific performances taking place in September
co-curated by Paul Couillard and Display Cult's Jim Drobnick. Stay
tuned for details.</div>
<div><br></div>
<div>In August, Fado will welcome Pessi Parviainen from the Turku Art
Academy, in Turku, Finland. He will be doing a three-month work
practice placement with Fado as part of his degree requirements. His
duties will include assisting with performance events and working on
our web archive. He is a visual art student who has been doing
performance art since 1999 in festivals and clubs as well as on the
streets in Finland, the Baltics and Belgium. He also knows something
of Canada, having lived in Burnaby, B.C. for two years as a child.
Pessi has a place he can stay in Markham, but if anyone has any
suggestions for cheap downtown Toronto accommodation for any period
between August and November (house-sitting, inexpensive rooms, etc.),
please contact Fado and let us know, either by phone (416-822-3219) or
email (info at performanceart.ca).</div>
<div><br></div>
<div>Fado's Performance Art Curator , Paul Couillard, was recently in
Edmonton, where he was invited to act as the Festival Animator for the
VisualEyez Festival put on annually by Latitude 53. You can check out
his daily online reports oft the festival at
http://www.latitude53.org/main/main.html</div>
<div><br></div>
<div>-----------------------------------------------</div>
<div>3. CALL FOR ENTRIES: "MIX 2003:" (New York, USA)</div>
<div> Deadline: July 31, 2003; Source: Instant
Coffee</div>
<div><br></div>
<div>MIX 2003: RESISTANCE IS FERTILE!</div>
<div>THE 17th New York Lesbian and Gay Experimental Film/Video
Festival.</div>
<div>November 19-23, 2003<br>
Anthology Film Archives, NYC<br>
<br>
** C A L L F O R E N T R I E S **<br>
<br>
Deadlines: June 30 (early); July 31 (final)<br>
<br>
MIX: the New York Lesbian & Gay Experimental Film/Video Festival,
which runs<br>
November 19-23, 2003 at Anthology Film Archives in Manhattan's East
Village,<br>
is now receiving entries of all shapes and sizes for its 17th
annual<br>
edition. Films, videos, installation, performance and digital media of
any<br>
length or genre completed since January 2002 are eligible for
consideration.<br>
<br>
Entries from emerging; lesbian, gay, bisexual or transgender artists
of<br>
color; two-spirit, indigenous or aboriginal artists; works by or about
lgbtq</div>
<div>youth; and international entries are especially encouraged.<br>
<br>
MIX17 promises to be a cruising ground for radical opinion, sexy
performance<br>
and plain old brilliant experimental film and video. This years theme
is<br>
"Resistance is Fertile", so submit your mutant artistic progeny
and we'll<br>
inject them into the body politic!<br>
<br>
Please go to our website : http://www.mixnyc.org to download complete
entry<br>
guidelines, procedures and a hard copy of the required entry form.<br>
--<br>
MIX: the New York Lesbian and Gay Experimental Film/Video Festival<br>
29 John Street, #132<br>
New York City, NY 10038<br>
tel: (212) 571-4242<br>
email: info at mixnyc.org</div>
<div>http://www.mixnyc.org</div>
<div><br></div>
<div>-----------------------------------------------</div>
<div>4. CALL FOR SUBMISSIONS: "stART" (New York, USA)</div>
<div> Deadline: August 15, 2003; Source: Judson
Church</div>
<div><br></div>
<div><br></div>
<div>stART</div>
<div>AT JUDSON MEMORIAL CHURCH</div>
<div>ANNOUNCES</div>
<div><br></div>
<div>A MULTI-DISCIPLINARY ART AND PERFORMANCE EVENT</div>
<div>TAKING ON THE NEWS MEDIA</div>
<div><br></div>
<div>ARTIST PROPOSAL DEADLINE: August 15, 2003</div>
<div>EVENT: October 9, 2003</div>
<div><br></div>
<div>stART invites submissions from artists in all disciplines -
performance, dance, music, visual art, theatre, spoken word, comedy,
video/film and multi-media - that address the failures of
contemporary news media. This one-night-only performance and four-day
exhibition will be a carnival anti-celebration and thought-provoking
critique of what has become the Media Industrial Complex. See website
for guidelines: <a
href="mailto:rnrarts at hotmail.com">www.judson.org/stART</a> or
call (212) 477-0351 for more information.</div>
<div><br></div>
<div>stART is a multidisciplinary art series at Judson Church that
presents free, public events that stand at the intersection of arts
and politics - art, music, dance, video, spoken word, multi-media
performance and more.</div>
<div><br></div>
<div>Contact: <a
href="mailto:rnrarts at hotmail.com">info at judson.org</a>, (212)
477-0351</div>
<div><br></div>
<div>-----------------------------------------------</div>
<div>5. CALL FOR PERFORMANCE ART DOCUMENTS: "PERFORMANCE ART IN
CONTEXT" (UK)</div>
<div> Deadline: August 25, 2003; Source: Kenny
McBride</div>
<div><br></div>
<div>PERFORMANCE ART IN CONTEXT</div>
<div>DARTINGTON ART GALLERY, UK 3 - 5 OCTOBER 2003 </div>
<div>CURATOR: KENNY McBRIDE<br>
<br>
As an approach to curation the chronotope is applied as a methodology
that seeks not only to highlight the dialogic nature of documents
within the artist's own time-space - i.e. by making us audience to
performances that happen in other places while giving us access to
audiences who are not physically present - but also in how such
documents might link content and context in an overall production of
artistic meaning.<br>
<br>
According to Mikhail Bakhtin the chronotope functions "as
the primary means for materialising time in space", that it
"emerges as a centre for concretising representation". Using
the example of biography and autobiography he says, "it is
precisely under the conditions of this real-life chronotope, in which
one's own or another's life is laid bare (that is, made public), that
the limits of a human image and the life it leads are illuminated in
all their specificity." Within the context of ancient history we
can understand the chronotope to be best manifest within the public
square, the agora , where "the autobiographical and
biographical self-consciousness of an individual and his life was
first laid bare and shaped in the public square. It was a remarkable
chronotope, in which all the most elevated categories, from that of
the state to that of revealed truth, were realised concretely
and fully incarnated, made visible and given a face. And in this
concrete and as it were all-encompassing chronotope, the laying bare
and examination of a citizen's whole life was accomplished, and
received its public and civic stamp of approval." quoted
from M.M.Bakhtin The Dialogic Imagination</div>
<div><br></div>
<div>PERFORMANCE ART IN CONTEXT is an attempt at making these links
visible through an installated exhibition in Dartington Art Gallery,
3rd-5th October 2003, and will aim at making visible a historical
poetics of performance art</div>
<div><br>
PLEASE SEND ALL MATERIALS BY SURFACE MAIL TO:<br>
<br>
KENNY McBRIDE<br>
PERFORMANCE ART IN CONTEXT<br>
POSTGRADUATE RESEARCH CENTRE<br>
DARTINGTON COLLEGE OF ARTS<br>
TOTNES<br>
TQ9 6EJ<br>
UK<br>
</div>
<div>http://www.geocities.com/ephemeraltraces/opencall</div>
<div><br>
LAST POST DATE 25th AUGUST 2003<br>
</div>
<div>All participants to the exhibition will receive documentation of
the event.</div>
<div> </div>
<div>-----------------------------------------------</div>
<div>6. CALL FOR SUBMISSIONS: Audio Art "Coalition"
(Chile)</div>
<div> Deadline: September 1, 2003; Source:
IAPAO</div>
<div><br></div>
<div>Dear All:<br>
<br>
I am currently organizing a performance festival in Valparaiso,
Chile,<br>
on November 26-29, 2003, called "Coalition".<br>
</div>
<div>Featured artists are Dan McKereghan, Jessica Buege, Jamie
McMurry, Ladan<br>
Yalzadeh, Julie Bacon and Roddy Hunter, and the new generation of<br>
performance artists from Chile.<br>
</div>
<div>In many performance art festivals around the globe when you are
a<br>
witness to a performance piece, besides the actions taking place,
the<br>
interaction with the audience, the multimedia aspects, you also
"hear"<br>
something. Many times, the performance artists themselves work on
the<br>
sound aspects of the piece, in other cases, they collaborate with<br>
audio/music artists for that purpose; some performers avoid the use
of<br>
any explicit sound, but "silence doesn't exist" in a broader
sense, as<br>
John Cage stated. "Coalition" will expand this audible
feature<br>
throughout the festival. As part of the festival activities, we
are<br>
having a special audio showcase called "PerfoRadio",
featuring sound<br>
works, music, and audio art related to performance art.<br>
"PerfoRadio" will be played at the opening, and during the
pauses in<br>
between performances. A special stand will display the CD covers and
art<br>
of the audio works at play. The festival website will include the
CD<br>
covers and bio (with contact information)of the audio artists
featured.<br>
</div>
<div>So here is the deal:<br>
1) Submissions must include audio art, be it music, sound works, or
any<br>
other form of audible/vocal/noise/etc. that has been used as part of
a<br>
performance art piece for the past 5 years.<br>
2) Audio art must be sent in audio CD format only; CDA, WAV,or
MP3</div>
<div>format can be used to record the CD.<br>
3) Enclosed with the CD you must send the following:<br>
- Audio artist name or group<br>
- Performance artist name or group, where the audio have been
used.<br>
- Performance title.<br>
- Performance date, venue, Festival or event where it was first<br>
performed.<br>
- Country of residence of both the audio and performance artist.<br>
- Contact info including e-mail, postal address, etc.<br>
4) Brief resume of the audio and performance artist; no longer than
20<br>
lines each.<br>
5) For more info please write to coalition at perfopuerto.org<br>
6) No submissions will be accepted by e-mail; please don´t send
samples<br>
or any other attachment without prior agreement. Only 1 CD for artist
is<br>
elegible.<br>
7) Deadline for submissions is September 1st 2003. No materials could
be<br>
returned. If you need them returned, please contact us in advance,
to<br>
arrange this as a particular procedure. No submission fee is
needed.<br>
8) Please send all material to:<br>
PerfoRadio<br>
Padre Mariano 192 dep. 61<br>
Providencia, Santiago<br>
Chile</div>
<div><br></div>
<div>Feel free to pass along this call to anyone interested.<br>
<br>
And by the way: if somebody has recently seen or talk to Roddy
Hunter,<br>
please tell him to contact Alexander Del Re, as soon as possible.<br>
<br>
Best wishes,<br>
Alexander Del Re</div>
<div><perfonews at runbox.com></div>
<div><br></div>
<div>List-Id: International Association of Performance Art
Organizers<br>
<x-tab>
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<http://mailman.smufsa.nu/mailman/listinfo/apao>,<br>
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<div><br></div>
<div>-----------------------------------------------</div>
<div>7. CALL FOR CONTRIBUTIONS: "On the Page"
Performance Research 9:2 (UK)</div>
<div> Deadline: August 30, 2003;
Source: Performance Research</div>
<div><br></div>
<div>'On the Page' Performance Research 9:2 (June 2004)<br>
<br>
Issue Editors: Ric Allsopp & Kevin Mount<br>
<br>
'On the Page ' will be the second issue of Performance Research,
Vol.9, Nos.1-4 , 2004, which explores a theme of transaction,
transmission and exchange - between performance and its sites and
contexts, between performance and its histories, between performance
and its agencies in four related issues: 'On Correspondence', 'On the
Page', 'Generations' and 'On Shame'. The issue is jointly edited by
Ric Allsopp, editor and co-founder of 'Performance Research',
Dartington College of Arts, UK; and Kevin Mount, designer, and
co-founder of DeMo Design, UK.<br>
<br>
Deadlines are as follows:<br>
Proposals: August 30th, 2003<br>
Draft manuscripts: October 30th, 2003<br>
Finalised material: December 15th, 2003<br>
Publication Date: June 2004<br>
<br>
The Editors are interested in contributions from practitioners and
scholars who are considering the future of the printed paper page in
its relation to/ with performance, and with the newer performance
media that live at a comfortable distance from print publishing -
hypermedia, cybertexts, multimedia, web-based media. We invite
contributions to 'On the Page' in three broad categories:</div>
<div><br>
1. Scholarly writings, essays, reflections concerning the (material)
substance of the page; these may offer historical perspectives but
should deal with material qualities of the page that have endured -
pulp, glue, stitching, inking, wood, animal - and those aspects of the
page that may bear witness to the 'performance' of the book - page
turning, marking, dog-earing, marginalia. We anticipate that these
contributions would be in the form of conventional, linear,
block-set texts from keepers of manuscripts, archivists, forensic
archeologists, historians of writing and the book, theorists of visual
and spatial poetics [Š]</div>
<div><br>
2. Contributions from artists/ writers who may consider the page as a
site of performance and/ or its traces including typographers and
typographical designers, concrete poets and their contemporary
descendants, book designers and graphic designers. We are especially
interested in work that may be taken as a defence of the materiality
and mutability of the printed page, and varying perceptions of its
unique characteristics and qualities [Š]</div>
<div><br>
3. Performers and performance artists who may consider their work to
depend on the page as the key to, or foundry of performance, including
scriptwriters, storyboard writers, writers of dance or choreographic
notations, who may wish to contribute extracts, examples of working
drawings, layerings or handmade or machine-made scripts. We are also
interested in connections to other forms of performance scripts, for
example the specifications of architects, engineers or programmers
[Š]</div>
<div><br>
ALL proposals, submissions and general enquiries should be sent direct
to:<br>
<br>
Linden Elmhirst - Administrative Assistant<br>
Performance Research<br>
Dartington College of Arts, Totnes,<br>
Devon TQ9 7RD UK<br>
tel. 0044 1803 861683<br>
fax. 0044 1803 866053<br>
email: performance-research at dartington.ac.uk<br>
web: http://www.performance-research.net<br>
<br>
Issue specific enquires should be directed to:<br>
<br>
Kevin Mount <u> kmount2 at aol.com</u> or Ric Allsopp<u>
transomatic at orange.net</u> <br>
<br>
For complete Guidelines for Submissions please see:<br>
<br>
http://www.performance-research.net/pages/guidelines.html<br>
<br>
Performance Research is MAC based. Proposals will be accepted in
hard<br>
copy, on CD or by e-mail (Apple Works, MS-Word or RTF). Please DO NOT
send</div>
<div>images without prior agreement.<br>
<br>
Please note that submission of a proposal will be taken to imply that
it</div>
<div>presents original, unpublished work not under consideration
for<br>
publication elsewhere. By submitting a manuscript, the author(s)
agree<br>
that the exclusive rights to reproduce and distribute the article
have<br>
been given to Performance Research</div>
<div><br></div>
<div>*******</div>
<div>Linden Elmhirst <br>
Administrator</div>
<div>Performance Research<br>
Dartington College of Arts<br>
Totnes, Devon TQ9 6EJ UK<br>
Tel : +44 (0)1803 861683<br>
Fax : +44 (0)1803 861685</div>
<div>e-mail : performance-research at dartington.ac.uk</div>
<div>http://www.performance-research.net</div>
<div><br></div>
<div>-----------------------------------------------</div>
<div>8. CALL FOR PAPERS : "Perform: State: Interrogate:"
PSi (Singapore)</div>
<div> Deadline: September 30, 2003;
Source: performance_art_network e-list</div>
<div><br></div>
<div>Performance Studies international #10</div>
<div>Perform: State: Interrogate:</div>
<div>15 to 18 June Singapore 2004<br>
<br>
The Organizing Committee of Performance Studies international #10<br>
invites proposals for papers to be presented at the conference<br>
Perform: State: Interrogate: which will take place from 15 to 18
June<br>
2004 in Singapore.<br>
<br>
I. Preamble<br>
Performance Studies international (PSi) was launched by the<br>
Department of Performance Studies at New York University in 1995.
In<br>
its nine years of existence, the conference has staged gatherings<br>
that have attracted a wide range of scholars and artists working
in<br>
the field of performance. PSi has become internationally
recognized<br>
for creating an opportunity for dialogue among artists and
academics<br>
in a variety of disciplines whose concerns converge in the<br>
still-evolving areas of performance research and practice. Its<br>
coalition of the diverse field of performance studies has resulted
in<br>
the formation of a worldwide membership association. PSi
conferences<br>
have been held in the United States, Wales, and Germany. PSi #9
was<br>
held in Christchurch, New Zealand, in 2003. PSi #10 will take
place<br>
in Singapore in 2004.<br>
<br>
II. PSi #10 Perform: State: Interrogate: Singapore 2004<br>
PSi #10 Singapore 2004 aims to bring the field of Performance
Studies<br>
to the attention of researchers, theorists, artists and activists<br>
across diverse practices and disciplines in the "Asian"
region, while<br>
introducing the current state of "Asian" performance theory
and<br>
practice to researchers, theorists, artists and activists from
other<br>
regions.<br>
<br>
This will be the first time the Performance Studies international<br>
(PSi) conference is taking place in an Asian country. But it is<br>
precisely our intention to interrogate the issue of a "PSi
Conference<br>
in Asia" - to precipitate a high level of critical
reflexivity about<br>
PSi #10 itself, PSi conferences, and our constructions of
"Asia". We<br>
aim to address the present state of performance discourse in Asia,<br>
and to represent a diversity of Asian perspectives in performance<br>
studies. However, the point is not to frame these perspectives as<br>
representations of "otherness" - as new local authenticities
for</div>
<div>consumption and appropriation by the global gaze of theory.
Beyond<br>
the parameters of a single conference, our purpose is to mobilize<br>
individuals and organizations to dialogue and develop the language<br>
through which performance can be understood, examined and debated
in<br>
Asia.<br>
<br>
We also invite, of course, issues that cut across questions of<br>
cultural or geographic identity (please refer to the list of
Interest<br>
Group themes below), regardless of whether they engage with Asian<br>
performance issues per se.<br>
<br>
The title, "Perform: State: Interrogate:", comprises three
verbs<br>
related to articulation that have multiple resonances. The
critical<br>
reflexivity we demand is echoed by the word 'interrogate,' which<br>
implies the questioning of power, both in the sense of being
directed<br>
at and originating from power - as in the power of theory,<br>
practitioners, the 'people' or the state. Indeed the 'state'
figures<br>
centrally in much of performance in Asia - from patronage to<br>
engagement to resistance to complicity. Arguably the central<br>
'performance' that takes place in a nation like Singapore is that
of<br>
stating the concerns of the 'state.' While 'perform' connotes the<br>
more conventional understandings of the term (theatrical
performance,<br>
etc.,) there is also the question of how theory 'performs' - what
are<br>
the ways in which it can be tested, evaluated? What are its
effects?<br>
How does it contain, domesticate, obfuscate, and appropriate, or<br>
liberate, enable, and enlighten?<br>
<br>
III. Structure of the Conference<br>
PSi #10 Perform: State: Interrogate: Singapore 2004 has a
three-part<br>
structure.<br>
- MAIN SESSIONS where all participants meet.<br>
- PARALLEL SESSIONS offer different sets of presentations running<br>
simultanously.<br>
- INTEREST GROUPS will meet daily throughout the conference,
with</div>
<div>registered participants seeking to intensify discussion
around<br>
specific shared concerns, and to establish relationships and
networks<br>
that will extend beyond the parameters of the conference.<br>
<br>
III. Deadlines & Details<br>
PLEASE NOTE: The closing date for submission of proposals for
papers<br>
is 30 September 2003.<br>
<br>
Proposals should not be more than 500 words and should be sent as<br>
hard copy as well as an email attachment to the organizers at the<br>
following addresses:<br>
<br>
Papers for PSi #10<br>
c/o Lee Weng Choy<br>
The Substation<br>
45 Armenian Street<br>
Singapore 179936<br>
tel: (65) 6337 7535 fax: (65) 6337 2729<br>
email: <papers at singaporepsi.org><br>
<br>
Please complete the attached form and send it together with your</div>
<div>proposal, both in hard and soft copy.<br>
<br>
CALL FOR PAPERS Performance Studies international #10 Singapore
2004<br>
Please fill in this reply form and attach it to your proposal.<br>
<br>
Name:<br>
Title & Affiliation:<br>
Proposed title of Paper:<br>
Mailing address:<br>
Telephone and fax numbers:<br>
Email:<br>
<br>
Signature: <span
></span
>
Date:<br>
<br>
Please tick the appropriate box(es)<br>
<br>
___ I am submitting a proposal for a paper<br>
___ I would like to submit a proposal for a
panel (please<br>
indicate fellow participants names)<br>
___ I would like to organise an Interest
Group<br>
___ I would like to organise a performance/workshop-based Interest
Group<br>
<br>
The following are proposed Interest Groups. To help us sequence
your<br>
presentation in the conference, please tick three areas under
which<br>
you feel your work could most accurately be categorized:<br>
<br>
___ (1) Everyday & Social Performance; Ritual; Ethnographies<br>
___ (2) City/Urban & Rural Development<br>
___ (3) Ethno-Identitarian Issues<br>
___ (4) Performance Conferences/Events; Regional Networks; Performance
Studies<br>
Publications; Economies of Performance<br>
___ (5) Traditional & Aesthetic Disciplines<br>
___ (6) Pedagogy & Development; Mapping Social Development<br>
___ (7) Tensions between Theory and Practice<br>
___ (8) Performance Languages & Translations<br>
___ (9) Contemporary Theatre/Performance Art<br>
___ (10) Visual Cultures: Icons, Iconoclasms & Iconoclashes<br>
___ (11) Nature, Culture & Other Species<br>
___ (12) Spectacle/Nation/State; Transnational Practices &
Structures<br>
___ (13) Technologies & Simulations<br>
___ (14) Bodies & the Sensorium<br>
___ (15) Gender & Sexuality</div>
<div>___ (16) Others, please specify:<br>
</div>
<div>-----------------------------------------------</div>
<div><br>
Fado is pleased to acknowledge the support of the Canada Council, the
Ontario Arts Council, the City of Toronto through the Toronto Arts
Council and the Department of Canadian Heritage for their sponsorship
of our ongoing activities.<br>
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