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<p style="margin: 0px 0px 10.66px;"><a name="_Hlk531948210"><b style="mso-bidi-font-weight:normal"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">CALL FOR PARTICIPANTS<ins datetime="2018-11-02T13:08">:
</ins><span style="margin: 0px;"><del datetime="2018-11-02T13:08"></del></span></span></b></a></p>
<p style="margin: 0px 0px 10.66px;"><span style="margin: 0px;"><b style="mso-bidi-font-weight:normal"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">Circling Beyond the Pacific: Asian Canadian Theatre and
Performance</span></b></span></p>
<p style="margin: 0px 0px 10.66px;"><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">The current breadth and depth of Canadian theatre scholarship in the twenty-first century indicates
a healthy interest in work that speaks of intercultural and transnational realities, migration, and notions of belonging and citizenship. Asian Canadian theatre is a ripe field for investigating such topics; it operates, on the one hand, within the dominant
<i style="mso-bidi-font-style:normal">lingua franca</i> (English), and on the other hand, offers audiences a range of cultural narratives, representations and metaphors not often found within the Euro-Canadian theatre. As a relatively new field, Asian Canadian
theatre has already revealed its potential to renew theatre aesthetics while fostering a more inclusive Canadian theatre culture.
</span></span></p>
<p style="margin: 0px 0px 10.66px;"><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">Asian Canadian theatre has moved deftly between genres and forms, integrating technology in a
manner that audiences have found appealing and innovative. For example, </span></span><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">Tetsuro Shigematsu’s
<i style="mso-bidi-font-style:normal">Empire of the Son</i> and <i>One Hour Photo</i>
</span></span><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">and Ins Choi’s
<i style="mso-bidi-font-style:normal">Kim’s Convenience</i> (stage version and TV-series) have literally and figuratively proved that a single-run “shelf-life” for new Canadian plays need not be accepted as the
<i style="mso-bidi-font-style:normal">de rigeur</i>. Asian Canadian theatre seems not only able in its ability to attract audiences and build alliances but seems well-positioned to address issues of representation and inclusion. To this end, this curated panel
welcomes papers that examine productions through typical modes (semiotics, dramatic or performance analysis) while also encouraging critical reflections and contextualizing of the field itself. Has Asian Canadian theatre focused too intensely on artists of
Chinese and Japanese descent, and if so, why is this the case? What are the connecting points with Indigenous theatre<font face="Tahoma" size="2">
</font></span></span><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">and Canadian theatre made<font face="Tahoma" size="2">
</font></span></span><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">by artists of South Asian and/or Middle Eastern descent? What is the larger role of Asian Canadian theatre in
the twenty-first century? What visioning needs to be done to ensure its continuity?<span style="margin: 0px;">
</span><span style="margin: 0px;"> </span></span></span></p>
<p style="margin: 0px 0px 10.66px;"><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">This curated p</span></span><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">anel
welcomes submissions on Asian Canadian theatre, dance, and performance. Possible topics include:
</span></span></p>
<p style="margin: 0px 0px 0px 48px; text-indent: -18pt;"><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;"><span style="margin: 0px;">-<span style="font: 7pt "Times New Roman"; margin: 0px; font-size-adjust: none; font-stretch: normal;">
</span></span></span><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">Canadian theatre, dance,<font face="Tahoma" size="2">
<font face="Times New Roman" size="3">and</font> </font></span></span><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">performance influenced by Asian aesthetics or practices,</span></span></p>
<p style="margin: 0px 0px 0px 48px; text-indent: -18pt;"><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;"><span style="margin: 0px;">-<span style="font: 7pt "Times New Roman"; margin: 0px; font-size-adjust: none; font-stretch: normal;">
</span></span></span><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">Canadian theatre with characters of East Asian, South Asian and/or Middle Eastern descent,</span></span></p>
<p style="margin: 0px 0px 0px 48px; text-indent: -18pt;"><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;"><span style="margin: 0px;">-<span style="font: 7pt "Times New Roman"; margin: 0px; font-size-adjust: none; font-stretch: normal;">
</span></span></span><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">Canadian theatre that challenges lingering Orientalist representations,
</span></span></p>
<p style="margin: 0px 0px 0px 48px; text-indent: -18pt;"><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;"><span style="margin: 0px;">-<span style="font: 7pt "Times New Roman"; margin: 0px; font-size-adjust: none; font-stretch: normal;">
</span></span></span><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">Relationships between Indigenous, European and Asian Canadian narratives, </span></span></p>
<p style="margin: 0px 0px 0px 48px; text-indent: -18pt;"><font face=""Times New Roman",serif" size="3">- </font><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;"><span style="margin: 0px;"><span style="font: 7pt "Times New Roman"; margin: 0px; font-size-adjust: none; font-stretch: normal;">
</span></span></span><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">Contributions of Asian Canadian theatre to discussions of redress and reconciliation,</span></span></p>
<p style="margin: 0px 0px 10.66px 48px; text-indent: -18pt;"><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;"><span style="margin: 0px;">-<span style="font: 7pt "Times New Roman"; margin: 0px; font-size-adjust: none; font-stretch: normal;">
</span></span></span><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">Presence and indicators of “anti-Asian” or “pro-Asian” sentiment in theatre or cinema.</span></span></p>
<p style="margin: 0px 0px 10.66px;"><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">This curated panel will include at least three or four papers (each limited to 20 minutes), followed
by a moderated session with CATR members by Eury Colin Chang. Please submit abstracts (300 words) and a brief biography (150 words) by
<b style="mso-bidi-font-weight:normal">January 4, 2019</b> to: </span></span><a><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">eury.chang@alumni.ubc.ca</span></span></a><span style="margin: 0px;"><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;"><u><font color="#0563c1">.</font></u></span></span></span></p>
<p style="margin: 0px 0px 10.66px;"><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">Conveners:
</span></span></p>
<p style="margin: 0px 0px 10.66px;"><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">Eury Colin Chang, PhD Candidate, Department of Theatre and Film at UBC and Public Scholars Network,
and </span></span></p>
<p style="margin: 0px 0px 10.66px;"><span style="margin: 0px;"><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;">Dr. Siyuan Liu, Associate Professor, Department of Theatre and Film at UBC and Editor,
<i style="mso-bidi-font-style:normal">Asian Theatre Journal</i>. </span></span><span style="margin: 0px; line-height: 107%; font-family: "Times New Roman",serif; font-size: 12pt;"></span></p>
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