Announcing a New Journal: Performance Matters

[Peter Dickinson]

ANNOUNCING A NEW JOURNAL IN PERFORMANCE STUDIES

Performance Matters

Performance Matters 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.

Email submissions or inquiries to peter_dickinson at sfu.ca. 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).



Editor: Peter Dickinson, English, Simon Fraser University (SFU)

Associate Editor: Dara Culhane, Anthropology, SFU

Consortium Editors: Sasha Colby, Graduate Liberal Studies, SFU

                                      Henry Daniel, Contemporary Arts,  
SFU

                                      Helen Leung, Gender, Sexuality  
and Women’s Studies, SFU

                                      Joy Palacios, French, SFU


Advisory Board: (in process)

Susan Bennett, English, University of Calgary

T. Nikki Cesare Schotzko, Centre for Drama, Theatre and Performance  
Studies, University of Toronto

Jill Dolan, English, Theater, and Gender and Sexuality Studies,  
Princeton University

Kate Elswit, Theatre and Performance, Bristol University

Josette Féral, Études théâtrales, Université Sorbonne Nouvelle-Paris 3

Mark Franko, Dance, Temple University

Karen Fricker, Dramatic Arts, Brock University

Jean Graham-Jones, Theatre, Graduate Center, City University of New York

Jen Harvie, Drama, Queen Mary University of London

Lynette Hunter, Performance Studies, UC Davis

Erin Hurley, English, McGill University

Andrew Irving, Anthropology, University of Manchester

Kirsty Johnston, Theatre and Film, University of British Columbia

Ric Knowles, Theatre Studies, University of Guelph

Laura Levin, Theatre and Performance Studies, York University

Allana Lindgren, Theatre, University of Victoria

André Loiselle, Film Studies, Carleton University

Joanna Mansbridge, American Studies, Bilkent University

Jisha Menon, Theater and Performance Studies, Stanford University

Julie Nagam, Aboriginal Visual Culture Program, OCAD University

Sophie Nield, Theatre and Drama, Royal Holloway, University of London

Emer O’Toole, Irish Studies, Concordia

Mike Pearson, Performance Studies, Aberystwyth University

Lionel Pilkington, English, National University of Ireland/Galway

David Pinder, Geography, Queen Mary University of London

Geraldine Pratt, Geography, University of British Columbia

David Román, English, University of Southern California

Brian Rusted, Communication and Culture/Department of Art, University  
of Calgary

Rebecca Schneider, Theatre Arts and Performance Studies, Brown  
University

Kerstin Schmidt, American Studies, Katholische Universität Eichstätt- 
Ingolstadt

Marlis Schweitzer, Theatre and Performance Studies, York University

Catherine Soussloff, Art History, Visual Art and Theory, University of  
British Columbia

Joanne Tompkins, Drama, University of Queensland


***

Call for Submissions: Performance Matters 1.1 (May 2015)

Special Issue on “Archiving Performance”

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.

Borggreen, Gunhild, and Rune Gade, eds. 2013. Performing Archives/ 
Archives of Performance.  Copenhagen: Museum Tusculaneam Press.

Fabian, Johannes. 2008. Ethnography as Commentary: Writing from the  
Virtual Archive. Durham, NC: Duke University Press.

Lepecki, André. 2010. “The Body as Archive: Will to Re-Enact and the  
Afterlives of Dances.” Dance Research Journal 42.2: 28-48.

Phelan, Peggy. 1993. Unmarked: The Politics of Performance. New York:  
Routledge.

Schneider, Rebecca. 2011. Performing Remains: Art and War in Times of  
Theatrical Reenactment. New York: Routledge.

Taylor, Diana. 2003. The Archive and the Repertoire. Durham, NC: Duke  
University Press.


Deadline for submission: November 30, 2014

Email submissions or inquiries to: peter_dickinson at sfu.ca



***

Call for Submissions: Performance Matters 1.2 (November 2015)

Special Issue on “Performance and Pedagogy”

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.”

Friere, Paulo. 1970. Pedagogy of the Oppressed. Trans. Myra Bergman  
Ramos. New York: Continuum.

Rancière, Jacques. 1991. The Ignorant Schoolmaster: Five Lessons in  
Intellectual Emancipation. Trans. Kristin Ross. Stanford: Stanford  
University Press.

---. 2009. The Emancipated Spectator. Trans. Gregory Elliott. London:  
Verso.



Deadline for submission: May 31, 2015

Email submissions or inquiries to: peter_dickinson at sfu.ca

Dr. Peter Dickinson
Professor
Department of English
Simon Fraser University
8888 University Drive
Burnaby, BC
Canada V5A 1S6
c 604-908-0993
o 778-782-3762
e peter_dickinson at sfu.ca
w www.sfu.ca/~ped
b http://performanceplacepolitics.blogspot.com

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