LGBTQ Call for Papers, ATHE Montreal 2015

[Lionel Walsh]

Dear LGBTQ Focus Group Members,

Please find the LGBTQ Focus Group CFP for ATHE 2015 below.

J'ai hâte de vous voir à Montréal!
--Lisa

LGBTQ Focus Group Call for Proposals
Association for Theatre in Higher Education (ATHE) Conference
July 30-Aug 2, 2015 | Fairmont The Queen Elizabeth Hotel, Montréal, 
Québec, Canada
Submission Deadlines:
Individual presentations: October 10 (submit to 
kareem.khubchandani at utexas.edu)
Complete sessions: November 1 (submit online directly to www.athe.org)
The LGBTQ Focus Group of the Association for Theatre in Higher Education 
invites proposals for panels, performances, roundtables, seminars, 
“text-and-response,” working groups, etc. at ATHE 2015. 
• We encourage submissions that think through underrepresented subject 
positions in LGBTQ studies such as disabled, trans, indigenous, non-white, 
and women-identified persons. 
• We hope that session coordinators will consider not only disciplinary 
and institutional diversity as they curate submissions, but also assemble 
participants of different races, genders, and sexual orientations. 
• Proposals that approach the conference format queerly and creatively are 
very welcome. 
• We encourage participants to develop ideas related to the conference 
theme, “Je me souviens,” though we will consider all topics related to 
theater, performance, and LGTBQ issues. 
• Three particular areas of interest are addressed more fully below: 
memory and remembrance; nationalism, imperialism, and (anti)colonialism; 
and questions of translation, language, and cross-cultural encounter. 
Je me souviens.
I remember.
Lest we forget.
Québec’s motto is a reminder to remember.  Performance has the potential 
to unsettle distinctions between memory and history in ways that might 
imagine more radical and just futures.  As a palimpsest, the stage permits 
LGBTQ people to riff on traditional notions of theatre in profane and 
unexpected ways.  Using various memory practices—testimony, 
autobiographical performance, and recuperations of uncanny ancestors—LGBTQ 
folk have (re)inscribed our experiences into the master narratives and 
dominant discourses that repeatedly script us out.  Gestures, poses, 
costumes, and sonic elements carry forward traces of queerness beyond the 
archive.  In this vein of memory and remembrance, we encourage submissions 
that reflect on:
 
LGBTQ folk tales & myth making
Queering archives
Oral history as performance
Queer childhoods & queer ancestors
Dance, ritual, & gesture as memory
Forgetting, amnesia, & disability
Autobiography & autoethnography
Revivals & parodies 
The conference theme is also an acknowledgement of Canada’s layered 
histories of colonialism and nationalism, of British imperial conquest 
over French Canadians, and of European settlement on indigenous land. 
Imperial projects have historically portrayed LGBTQ folks, alongside 
ethnic minorities, as threats to national security.  More recently, 
scholars such as Scott Morgensen and Jasbir Puar have demonstrated the 
complicity of LGBTQ movements with settler colonialism and ethnic 
apartheid, though little work has been done to ground theatre, dance, and 
performance in these conversations.  On this track of nationalism, 
imperialism, and (anti)colonialism, we seek submissions that explore:
 
Queer Nation & Lesbian Separatism
Pinkwashing & homonationalism
Citizenship & sexual deviance
Queer activism as performance
Anti/Post-colonial theatre
Nation-making, kinship, & (re)production
 
The English translation of “Je me souviens” is contested: “I remember,” 
and “Lest we forget.”  This draws attention to tension in the labor of 
remembering as an individual or collective project; it also reflects the 
challenge of translation.  Theatre, as we well know, is always an exercise 
in translation: from script to speech act, from improvised movement to 
repeatable gesture, from director’s vision to lighting director’s 
equipment limitations.  Translation involves compromise and negotiation. 
What is lost when LGBTQ subcultures are translated for mainstream 
theatergoers?  What is learned when western LGBTQ aesthetics are performed 
outside of the U.S. and Europe?  Can queer pleasure come from the 
inevitable différance of translation?  Attending to questions of 
translation, language, and cross-cultural encounters, we seek submissions 
that discuss:
 
Adaptation & interpretation
Non-English & multilingual LGBTQ theatre
Transnational circulations of queer theatre
The globalization of LGBTQ identities
Indigenous critiques of LGBTQ identity
Two spirit ritual, performance, & representation
LGBTQ theatre in the borderlands
 
 
INFORMATION ON SUBMITTING PROPOSALS:
1. Completed proposals (with all session members assembled) may be 
submitted directly to ATHE atwww.athe.org no later than November 1, 2014. 
Please forward a copy of your completed proposal to Kareem Khubchandani 
(kareem.khubchandani at utexas.edu).  Please note that all technology 
requests must be included in your completed proposal.  Consultation with 
the LGBTQ conference planner well in advance of the November 1 deadline is 
recommended and appreciated.
2. While complete sessions are strongly encouraged, individual paper 
proposals may be submitted to the LGBTQ Focus Group conference planner 
(kareem.khubchandani at utexas.edu).  The conference planner will attempt to 
group submissions into cohesive sessions but cannot guarantee inclusion. 
In order to be considered, individual proposals must be submitted by 
October 10, 2014.  Abstracts (250 words) must include the presentation 
title and the submitter’s contact information and must specify any A/V 
needs.  ATHE does not accept individual paper submissions: do not submit 
your individual proposal on the ATHE website.
3. All A/V support is fee-based.  Grants for A/V support are available and 
encouraged.  To apply, follow the directions on the proposal submissions 
form at ATHE’s website and fill out any additional information required. 
You will be notified of grant monies at the same time that you are 
notified of the status of your session.  ATHE cannot accommodate A/V 
requests submitted after November 1 without substantial cost to the 
individual presenter.
4. Please note that ATHE runs from Thursday through Sunday in 2015.  The 
application form will not accept scheduling preferences.
5. We encourage session coordinators with proposals that encompass the 
interests of multiple focus groups to pursue a multidisciplinary session. 
Presenters wishing to create multidisciplinary sessions should contact the 
Focus Group conference planners for each of the three groups that they 
propose as co-sponsors of their sessions, since multidisciplinary session 
coordinators who do not complete this step are likely to have their 
sessions ranked low or rejected.
6. Presenters proposing sessions outside the traditional panel format are 
asked to be specific in their proposals concerning the structure and 
number of participants so that ATHE can be notified about time/space 
needs.
7. ATHE will notify the LGBTQ Focus Group concerning accepted or rejected 
panels in February.  Presenters should expect to hear from the conference 
planner or the session coordinator by early March.


-- 
Lisa Sloan
PhD Candidate
UCLA Theater and Performance Studies
917-349-5330
lisaasloan at gmail.com
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Association for Theatre in Higher Education
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Lionel Walsh, Associate Dean
Academic and Student Affairs
Faculty of Arts, Humanities and Social Sciences
University of Windsor
401 Sunset Avenue
Windsor, ON
N9B  3P4  Canada
www.uwindsor.ca/fahss
519/253-3000, ext. 2029

Associate Professor
School of Dramatic Art
519-253-3000, ext. 2820
Fax: 519-971-3629
www.uwindsor.ca/drama
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