<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; "><span lang="EN-GB"><span class="Apple-style-span" style="color: rgb(31, 73, 125); ">This is a reminder that the deadline for proposals for this special issue of <i>CTR</i> is 15 July, 2012. </span></span></div><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; "><span lang="EN-GB"><span class="Apple-style-span" style="color: rgb(31, 73, 125); ">We look forward to hearing from you, </span></span></div><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; "><span lang="EN-GB"><span class="Apple-style-span" style="color: rgb(31, 73, 125); ">Jen Harvie and Keren Zaiontz</span></span></div><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; "><span lang="EN-GB"><br></span></div><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; "><span lang="EN-GB">Call for Proposals</span></div><p class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; "><span lang="EN-GB"> </span></p><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; "><i><span lang="EN-GB">Contemporary Theatre Review </span></i><span lang="EN-GB">(Autumn 2013)</span></div><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; "><b><span lang="EN-GB">Special Issue – “The Cultural Politics of the Olympics: Performing Global Britishness”</span></b></div><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; line-height: 22px; "><span lang="EN-GB">Proposal Deadline: <b>15 July 2012</b></span></div><span class="Apple-style-span" style="font-family: Calibri, sans-serif; font-size: 15px; line-height: 22px; ">Special Issue Editors: Jen Harvie and Keren Zaiontz</span><span class="Apple-style-span" style="font-family: Tahoma, 'Sans Serif', Arial; font-size: 11px; "><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB"><br></span></div><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB">The lead up to the 2012 London Olympic Games has seen critics and artists challenge the official narratives of positive legacy that circulate around the Games. The work of writer and walker Iain Sinclair (<i>Ghost Milk</i>), sociologists John Sugden and Alan Tomlinson (editors, <i>Watching the Olympics: Politics, Power and Representation</i>, 2011) and artist Neville Gabie (Olympic artist-in-residence) demonstrates – if proof were needed – that cultural representation is more than a prop for state-sponsored aspirations; it also provides opportunities to interrogate and challenge official narratives, modes of address and assumptions, and to propose alternative priorities. This issue of <i>Contemporary Theatre Review </i>joins this critical dialogue and examines the role of cultural performance in hosting and staging the 2012 London Olympic Games.</span></div><p class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB"> </span></p><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB">We particularly welcome submissions that focus on events sponsored by the London Cultural Olympiad (LCO), a four-year program that culminates with the London 2012 Festival held during the Summer Games. Situated in high streets, galleries and theatres, the LCO involves the mass participation of communities in public art events that showcase Britain’s cultural diversity and national art to UK and global audiences. We invite scholars and artists to examine the LCO’s various projects and the ways that positive legacy, and other core cultural policies, are scripted into these events and realised – or not – in them. We are interested to explore national projects that rely on a marriage of expert and volunteer labour to fulfil the mandate of the artwork. Events such as the opening and closing ceremonies, Artists Taking the Lead, Big Dance, the World Shakespeare Festival and the LIFT Festival depend on a variety of expertise, and publics, to stage these programmes. Each of these publics – be they arts workers, spectators, or volunteers – is interpellated to care about a massively scaled cultural event. To donate objects, to share their stories and to dance in the streets is not only a badge of participation, but citizenship. These collective artistic acts encompass the entire nation as Cultural Olympiad events are staged throughout the UK. Does a UK resident qualify as a ‘bad’ citizen if she chooses to stay at home or opt out of visible protocols of national participation? Does a UK artist qualify as unpatriotic if she makes an artwork that does not provoke citizens to ‘care’ about either the Olympic Games or the nation? What role does art play in making us <i>feel </i>nationalist sentiment or, alternatively, in facilitating the greatest possible distance from those feelings?</span></div><p class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB"> </span></p><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB">In addition to these questions we seek submissions that engage with some of the following issues and themes:</span></div><p class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB"> </span></p><ul type="disc" style="margin-top: 0in; "><li class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB">Affect management and the role of emotion in generating a particular response to the nation</span></li><li class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB">The role of cultural policy in crafting narratives of legacy, youth involvement, and mass participation in the Cultural Olympiad</span></li><li class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB">The structure and organisation of the Cultural Olympiad and London 2012 Festival</span></li><li class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB">Events and programs featured as part of the London 2012 Festival (this includes projects funded well outside the limits of the London host boroughs)</span></li><li class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB">Partnerships and cultural policies between UK arts councils and LOCOG or the London Organising Committee of the Olympic Games</span></li><li class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB">The role of branding events in the Cultural Olympiad as markers of national and international excellence</span></li><li class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB">The role of state commissioned public art projects (i.e., Arcelor Mittal Orbit) as well as official iconography (i.e., London 2012 logo) and even iconic mascots (i.e., Wenlock and Mandeville) in providing a visual identity for the Games </span></li><li class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB">The relationship of the London Cultural Olympiad to previous and future Olympic cultural programmes</span></li><li class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB">The relationship of the Cultural Olympiad to other events in the UK in and around 2012, such as the Jubilee celebrations and Occupy London</span></li></ul><p class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB"> </span></p><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB">The issue does aim to focus on art activities related to the Games and to cultural programming around the Games (e.g. the opening and closing ceremonies), however we also welcome analysis of particular sports, sports events, sportspeople and sports audiences in contributing to the cultural and political meanings cultivated by the Games.</span></div><p class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB"> </span></p><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB">This special issue will include a range of scholarly essays, visual work, artist responses and interviews that explore these scenes of national unity and the ways in which they are used to critique and mythologise the nation.</span></div><p class="x_MsoNormal" style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; text-align: justify; "><span lang="EN-GB"> </span></p><div style="margin-top: 0in; margin-right: 0in; margin-left: 0in; margin-bottom: 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif; "><span lang="EN-GB">Send a 250-word abstract proposal and academic bio by 15 July 2012 to Jen Harvie (<a href="https://mymail.roehampton.ac.uk/owa/redir.aspx?C=cf54c6686c8a42579f27ba2c2cae100d&URL=mailto%3aj.harvie%40qmul.ac.uk">j.harvie@qmul.ac.uk</a>) and Keren Zaiontz (<a href="https://mymail.roehampton.ac.uk/owa/redir.aspx?C=cf54c6686c8a42579f27ba2c2cae100d&URL=mailto%3akeren.zaiontz%40roehampton.ac.uk">k.zaiontz@qmul.ac.uk</a>: Note updated address). We aim to respond in August and draft articles will be due in December 2012.</span></div></span></body></html>