<html><head><meta http-equiv="Content-Type" content="text/html charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class="">Dear Colleagues:<br class=""><br class=""><i class="">Performance Matters</i> has just published its latest issue at <a href="http://performancematters-thejournal.com/index.php/pm" class="">http://performancematters-thejournal.com/index.php/pm</a>. It is our biggest issue yet and includes four significant new scholarly articles, a special curated Forum section on Dance Studies in Canada, and three reviews of major new books in the field. We invite you to review the Table of Contents here and then visit our web site to read articles and items of interest.<br class=""><br class="">Thanks for the continuing interest in our work,<br class=""><br class="">Peter Dickinson, Editor<br class=""><br class=""><br class=""><i class="">Performance Matters</i><br class="">Vol 2, No 2 (2016)<br class="">Table of Contents<br class=""><a href="http://performancematters-thejournal.com/index.php/pm/issue/view/4" class="">http://performancematters-thejournal.com/index.php/pm/issue/view/4</a><br class=""><br class="">Editorial Notes<br class="">--------<br class="">Moving Critically (1-3)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Peter Dickinson<br class=""><br class="">Articles<br class="">--------<br class="">Provocative Atmospheres, Refracted Nations, and the Performance of Light (4-22)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Joanne Zerdy,<span class="Apple-tab-span" style="white-space: pre;"> </span>Marlis Schweitzer<br class="">The Invisible Helen Levitt (23-42)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Alison V. Dean<br class="">The Politico-Aesthetics of Groundlessness and Philippe Petit’s High Wire Walk (43-62)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Gwyneth Jane Shanks<br class="">Knowing Ways in the Digital Age: Indigenous Knowledge from Idle No More to The Unplugging (63-80)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Kimberley McLeod<br class=""><br class="">Forum<br class="">--------<br class="">Introduction to The Other 'D': A Forum on Dance Studies in Canada (81-83)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Seika Boye, T. Nikki Cesare Schotzko, Heather Fitzsimmons Frey, Evadne Kelly<br class="">The Other D Keynote Address: Disciplinarity and the Future of Dance in Canadian Universities (84-94)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Allana Lindgren<br class="">In the Space of Interdisciplinary Dialogue: Generating Ethnographic Research on Dance/Movement in Canada (95-109)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Evadne Kelly<br class="">Dancing Between Old Worlds and New: Max Nordau's New Jew Idea and its Manifestation in Pre-State Israeli Folk Dance (110-122)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Gdalit Neuman<br class="">Performing Ideas ... Expertly (123-131)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Henry I Daniel<br class="">Midwifing Transitions: The Labour of Publishing in the History of Dance and Dance Studies in Canada (132-139)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Megan Andrews<br class="">revised formations, post-discplinary dance (140-142)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>MJ Thompson<br class="">States of Insurrection in Native Girl Syndrome (143-150)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Stefanie Ellen Miller<br class="">How We Got Here: A View from the US Academy (151-158)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Susan Manning<br class="">Maps, Trespassing and the Periphery: Reflections on the Location of Dance Studies in Canada (159-163)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Seika Boye, Emma Doran<br class=""><br class="">Reviews<br class="">--------<br class="">Review of Shattering Hamlet's Mirror: Theatre and Reality, by Marvin Carlson (164-165)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Kelsey Laine Jacobson<br class="">Review of Robert Lepage on the Toronto Stage: Language, Identity, Nation, by Jane Koustas. (166-173)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Melissa June Poll<br class="">Review of Cirque Global: Inspiring Cultural Exports, edited by Louis Patrick Leroux and Charles Batson (174-176)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Peta Tait<br class=""><br class="">________________________________________________________________________<br class="">Performance Matters<br class=""><a href="http://performancematters-thejournal.com" class="">http://performancematters-thejournal.com</a><br class=""><div class="">
<div style="color: rgb(0, 0, 0); letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-stroke-width: 0px; word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class=""><div style="color: rgb(0, 0, 0); letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-stroke-width: 0px; word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class=""><div style="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: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class="">_________________</div><div style="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: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class="">Peter Dickinson, PhD</div><div style="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: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class="">604-908-0993 •<span class="Apple-converted-space"> </span><a href="mailto:peter_dickinson@sfu.ca" class="">peter_dickinson@sfu.ca</a></div><div style="color: rgb(0, 0, 0); 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