<div dir="ltr"><span lang="EN-US"><b>Dear <span>CanDrama</span> Colleagues:</b></span><div class="gmail_quote"><br><div dir="ltr"><span lang="EN-US"><b>Please find below a <span><span>CFP</span></span> for a curated panel at this year's <span>CATR</span> conference. Plea<span>se</span> distribute widely. </b><br></span><div><span lang="EN-US"><br></span><div style="text-align:center"><span lang="EN-US">Canadian
Association for Theatre Research / Association <span>Canadienne</span> <span>de</span> la Recherche
<span>Théâtrale</span> Conference</span><br>May
30<sup><span>th</span></sup> – June 2<sup><span>nd</span></sup> University of Ottawa<br></div><span lang="EN-US"></span><p class="MsoNormal" style="text-align:center" align="center"><span lang="EN-US">
<br>
<i>Another Kind of Work: Cultural Capital,
Performance, and <span>LGBTQ</span> Communities</i></span></p>
<p class="MsoNormal"><span lang="EN-US"> </span></p>
<p class="MsoNormal" style="text-align:center" align="center"><b><span lang="EN-US">Coordinators:</span></b><span lang="EN-US"> J. Paul <span>Halferty</span> (University College Dublin) </span></p>
<p class="MsoNormal" style="text-align:center" align="center"><span lang="EN-US">and
Stephen Low (Cornell
University)</span></p><p class="MsoNormal" style="text-align:center" align="center"><b><span lang="EN-US">Due date: Jan.15, 2015<br></span></b></p>
<p class="MsoNormal" style="text-align:center" align="center"><span lang="EN-US"> </span></p>
<p class="MsoNormal"><span lang="EN-US">In Jenny Livingston’s documentary film, <i>Paris is Burning</i>, an MC commenting on
the performance of a contestant in the category “Town and Country” proclaims, “O-P-U-L-E-N-C-E!
OPULENCE! You own everything! Everything is yours!” The irony of the statement is
that most of the queer African-American and Latino people, who produce and participate
in the drag balls that are the subject of Livingston’s film, are economically
and culturally <span>marginalized</span>. The “ball children,” as they are called, “own”
very little as they have been systemically disadvantaged within a racist,
misogynist, trans- and homophobic society. And yet, within the subcultural world
of the ball forms of capital and modes of exchange, meaning, and value are enacted,
performed, and <i>owned</i>. In addition to
the tangible trophies that participants can win, forms of celebrity, of being
“legendary,” particular skills, talents, and knowledge are accrued and
exploited. Indeed, the film itself participates (not <span>unproblematically</span>) in
these processes.</span></p>
<p class="MsoNormal"><span lang="EN-US"> </span></p>
<p class="MsoNormal"><span lang="EN-US">Since before Stonewall and the era of gay
liberation and civil rights, <span>LGBTQ</span> individuals have established unique modes of
non-monetary forms of exchange. These <span>practices</span> continue in current moment,
when queers are increasingly visible in all areas of society, and often
associated with particular talents, proclivities, and forms of cultural
knowledge. Inspired by these diverse queer cultural <span>practices</span>, and Pierre
Bourdieu’s theory of “cultural capital,” this curated panel invites papers that
address how <span>LGBTQ</span> theatres and performances function as modes through which
various forms of cultural capital are enacted, accumulated, exchanged, and
exploited. Taking queer <span>practices</span> and the concept of “cultural capital” as a
point of departure, this panel asks: </span></p>
<p class="MsoNormal"><span lang="EN-US"> </span></p>
<p class="MsoNormal" style="margin-left:36pt"><span lang="EN-US"><span>-<span style="font:7pt "Times New Roman"">
</span></span></span><span lang="EN-US">How does cultural capital
function within <span>LGBTQ</span> communities, especially through theatre and performance
<span>practices</span>? </span></p>
<p class="MsoNormal" style="margin-left:36pt"><span lang="EN-US"><span>-<span style="font:7pt "Times New Roman"">
</span></span></span><span lang="EN-US">How do <span>LGBTQ</span> individuals
exploit various forms of cultural capital in normative, late-capitalist
societies? </span></p>
<p class="MsoNormal" style="margin-left:36pt"><span lang="EN-US"><span>-<span style="font:7pt "Times New Roman"">
</span></span></span><span lang="EN-US">How has the cultural capital of
<span>theater</span> and performance increased, decreased, and/or shifted the cultural
capital of <span>LGBTQ</span> communities over time? </span></p>
<p class="MsoNormal" style="margin-left:36pt"><span lang="EN-US"><span>-<span style="font:7pt "Times New Roman"">
</span></span></span><span lang="EN-US">Or to frame it in the terms of
the conference theme, “Capital Ideas,” how have <i>ideas</i> about who queers are been <span>performatively</span> effected and how do
these relate to discourses of cultural capital? </span></p>
<p class="MsoNormal" style="margin-left:36pt"><span lang="EN-US"><span>-<span style="font:7pt "Times New Roman"">
</span></span></span><span lang="EN-US">How has the rise of queer
theory affected forms of academic capital and performance?</span></p>
<p class="MsoNormal"><b><span style="font-size:13.5pt" lang="EN-US"> </span></b></p>
<p class="MsoNormal"><span lang="EN-US">Interested
parties please email a 250-word paper proposal and 150-word bio to J. Paul
<span>Halferty</span> (</span><span lang="EN-US"><a href="mailto:paulhalferty@gmail.com" target="_blank"><span><span><span>paul</span>.<span>halferty</span>@<span>ucd</span>.<span>ie</span></span></span></a><span>) and Stephen Low (</span><a href="mailto:low.stephen82@gmail.com" target="_blank"><span>low.stephen82@gmail.com</span></a><span>)
by <span>January 15th 2015</span>.</span></span></p></div><div><div dir="ltr"><div><br></div> <br></div></div>
</div>
</div><br><br clear="all"><br>-- <br><div class="gmail_signature"><div dir="ltr"><div><br></div> <br></div></div>
</div>