<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><p align=""><b>ANNOUNCING A NEW JOURNAL IN PERFORMANCE STUDIES</b></p><p align=""><b><i>Performance Matters</i></b></p><p align=""><i>Performance Matters</i> is a new peer-reviewed (double blind), open-source on-line journal published bi-annually by Simon Fraser University. We invite submissions from scholars, artists, curators, and activists on all aspects of performance, and from a variety of disciplinary and methodological perspectives. We are especially interested in work that focuses on the materiality and the consequentiality of performance: the objects that comprise it, the labour that goes into it, the physical sites that give shape to it, as well as the effects it has—what, in short, performance does, and why that is meaningful. We encourage investigation of these questions across a range of formats: scholarly articles; photo and video essays; book and performance reviews; manifestos and policy statements; interviews and critical dialogues; ethnographic transcriptions; and performance scripts.</p><p align="">Email submissions or inquiries to <a href="mailto:peter_dickinson@sfu.ca">peter_dickinson@sfu.ca</a>. All written manuscripts (including notes and bibliographies) should be double-spaced; academic articles (7,000-9,000 words) should follow the Chicago Manual of Style, 14th ed. (author-date citation system).</p><p align=""><br></p><p align=""><u>Editor</u>: Peter Dickinson, English, Simon Fraser University (SFU)</p><p align=""><u>Associate Editor</u>: Dara Culhane, Anthropology, SFU</p><p align=""><u>Consortium Editors</u>: Sasha Colby, Graduate Liberal Studies, SFU</p><p align=""> Henry Daniel, Contemporary Arts, SFU</p><p align=""> Helen Leung, Gender, Sexuality and Women’s Studies, SFU</p><p align=""> Joy Palacios, French, SFU</p><div> <br class="webkit-block-placeholder"></div><p align=""><u>Advisory Board</u>: (in process)</p><p align="">Susan Bennett, English, University of Calgary</p><p align="">T. Nikki Cesare Schotzko, Centre for Drama, Theatre and Performance Studies, University of Toronto</p><p align="">Jill Dolan, English, Theater, and Gender and Sexuality Studies, Princeton University</p><p align="">Kate Elswit, Theatre and Performance, Bristol University</p><p align="">Josette Féral, Études théâtrales, Université Sorbonne Nouvelle-Paris 3</p><p align="">Mark Franko, Dance, Temple University</p><p align="">Karen Fricker, Dramatic Arts, Brock University</p><p align="">Jean Graham-Jones, Theatre, Graduate Center, City University of New York</p><p align="">Jen Harvie, Drama, Queen Mary University of London</p><p align="">Lynette Hunter, Performance Studies, UC Davis</p><p align="">Erin Hurley, English, McGill University</p><p align="">Andrew Irving, Anthropology, University of Manchester</p><p align="">Kirsty Johnston, Theatre and Film, University of British Columbia</p><p align="">Ric Knowles, Theatre Studies, University of Guelph</p><p align="">Laura Levin, Theatre and Performance Studies, York University</p><p align="">Allana Lindgren, Theatre, University of Victoria</p><p align="">André Loiselle, Film Studies, Carleton University</p><p align="">Joanna Mansbridge, American Studies, Bilkent University</p><p align="">Jisha Menon, Theater and Performance Studies, Stanford University</p><p align="">Julie Nagam, Aboriginal Visual Culture Program, OCAD University</p><p align="">Sophie Nield, Theatre and Drama, Royal Holloway, University of London</p><p align="">Emer O’Toole, Irish Studies, Concordia</p><p align="">Mike Pearson, Performance Studies, Aberystwyth University</p><p align="">Lionel Pilkington, English, National University of Ireland/Galway</p><p align="">David Pinder, Geography, Queen Mary University of London</p><p align="">Geraldine Pratt, Geography, University of British Columbia</p><p align="">David Román, English, University of Southern California</p><p align="">Brian Rusted, Communication and Culture/Department of Art, University of Calgary</p><p align="">Rebecca Schneider, Theatre Arts and Performance Studies, Brown University</p><p align="">Kerstin Schmidt, American Studies, Katholische Universität Eichstätt-Ingolstadt</p><p align="">Marlis Schweitzer, Theatre and Performance Studies, York University</p><p align="">Catherine Soussloff, Art History, Visual Art and Theory, University of British Columbia</p><p align="">Joanne Tompkins, Drama, University of Queensland</p><div> <br></div><p align="">***</p><p align=""><u>Call for Submissions</u>: <i>Performance Matters</i> 1.1 (May 2015)</p><p align="">Special Issue on “Archiving Performance”</p><p align="">Performance theorists have long been exercised by the question of archives, and in ways that often differ sharply from theatre historians (who actually spend a great deal of time in them). As the editors of a recent comprehensive anthology on the subject note (Borggreen and Gade 2013), in performance studies the “archival turn” has mostly been framed ontologically: as that which points to performance’s resistance to being saved or stored via its necessary disappearance (Phelan 1993); or to the archive’s own performance of retroaction and modes of access through its “remains” (Schneider 2011); or to the “repertory” acts of embodied knowledge transfer the archive mediates or may be set in opposition to (Taylor 2003). At the same time, recent discussions of reenactment in dance and performance art (Lepecki 2010), and of ethnographic transcription in the digital age (Fabian 2008), foreground the ways in which a vexed concept like performance documentation might be purged of some of its empiricist and nostalgic taint when reconceived as an embodied actualization in the present of a virtual archive of a past event. Relatedly, scholars across a range of disciplines, and in a variety of performative modes, have increasingly begun to talk about their embodied encounters with archival objects (the finding, touching, sorting, describing, reading, and maybe even occasional purloining of them), and of how sensuous contact with these objects influences the sense we make of them. For its inaugural issue, Performance Matters is seeking submissions that take up these and other considerations in relation to the theory and practice of performance archives (broadly defined): where they are; what goes in them; how we use them; why they matter.</p><p align="">Borggreen, Gunhild, and Rune Gade, eds. 2013. <i>Performing Archives/Archives of Performance</i>. Copenhagen: Museum Tusculaneam Press.</p><p align="">Fabian, Johannes. 2008. <i>Ethnography as Commentary: Writing from the Virtual Archive</i>. Durham, NC: Duke University Press.</p><p align="">Lepecki, André. 2010. “The Body as Archive: Will to Re-Enact and the Afterlives of Dances.” <i>Dance Research Journal</i> 42.2: 28-48.</p><p align="">Phelan, Peggy. 1993. <i>Unmarked: The Politics of Performance</i>. New York: Routledge.</p><p align="">Schneider, Rebecca. 2011. <i>Performing Remains: Art and War in Times of Theatrical Reenactment</i>. New York: Routledge.</p><p align="">Taylor, Diana. 2003. <i>The Archive and the Repertoire</i>. Durham, NC: Duke University Press.</p><div> <br class="webkit-block-placeholder"></div><p align=""><u>Deadline for submission</u>: November 30, 2014</p><p align=""><u>Email submissions or inquiries to</u>: <a href="mailto:peter_dickinson@sfu.ca">peter_dickinson@sfu.ca</a></p><p align=""><br></p><p align="">***</p><p align=""><u>Call for Submissions</u>: <i>Performance Matters</i> 1.2 (November 2015)</p><p align="">Special Issue on “Performance and Pedagogy”</p><p align="">Papers are invited for a special issue exploring the theoretical and practice-based relationships between performance and pedagogy. We are interested in broad philosophical reconsiderations and specific case studies focused on performative modes of knowledge exchange, analysis, and assessment in the classroom across a range of disciplinary fields and education levels. We also encourage historiographic and critical analyses of the development and evolution of different performance training programs, as well as the roles of “teacher/mentor” and “pupil/disciple” in the passing on of specific performance methods and techniques. Finally, contributors are asked to consider how individual performance events and social actions become potential “teaching moments,” and what it might mean to bring theories of “emancipated spectatorship” (Rancière 2009) together with liberation models of pedagogy (Freire 1970; Rancière 1991) to transform these moments into a “re-distribution,” after Rancière, of how we make sense of the world perceptually, aesthetically, and politically. Articles investigating these and other topics will be presented alongside a curated section of position papers devoted to performance studies pedagogy in Canada, as well as the sample curriculum—adaptable to different regional contexts and learning outcomes—for a Summer Institute on “Performance, Placemaking, and Cultural Policy.”</p><p align="">Friere, Paulo. 1970. <i>Pedagogy of the Oppressed</i>. Trans. Myra Bergman Ramos. New York: Continuum.</p><p align="">Rancière, Jacques. 1991. <i>The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation</i>. Trans. Kristin Ross. Stanford: Stanford University Press.</p><p align="">---. 2009. <i>The Emancipated Spectator</i>. Trans. Gregory Elliott. London: Verso.</p><p align=""><br></p><p align=""><u>Deadline for submission</u>: May 31, 2015 </p><p align=""><u>Email submissions or inquiries to</u>: <a href="mailto:peter_dickinson@sfu.ca">peter_dickinson@sfu.ca</a></p><div apple-content-edited="true"> <span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-size: medium; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; 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"><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; "><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div>Dr. Peter Dickinson</div><div>Professor </div><div>Department of English</div><div>Simon Fraser University</div><div>8888 University Drive</div><div>Burnaby, BC</div><div>Canada V5A 1S6</div><div>c 604-908-0993</div><div>o 778-782-3762</div><div>e <a href="mailto:peter_dickinson@sfu.ca">peter_dickinson@sfu.ca</a></div><div>w <a href="http://www.sfu.ca/~ped">www.sfu.ca/~ped</a></div><div>b <a href="http://performanceplacepolitics.blogspot.com">http://performanceplacepolitics.blogspot.com</a></div></div></span></div></span></div></span></div></span></div></span></div></span></div></span></div></span> </div><br></body></html>