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FADO E-LIST (February 2018)INDEX 1. FADO Performance Art Centre presents LOST in TRANS by Dickie Beau Presented at The Theatre Centre in the context of Progress Dates: February 8–10, 2018 (3 performances) 2. FADO Performance Art Centre presents Performance Club 2 Valley of the Dolls with Keith Cole Dates: January 30–February 27, 2018 (5 sessions) 3. FADO Performance Art Centre presents the Long Table with Lois Weaver Presented at The Theatre Centre in collaboration with Progress and Rhubarb Date: February 9, 2018 (1 performance) 4. FADO Performance Art Centre presents What Tammy Needs to Know... by Lois Weaver Presented at Buddies in Bad Times Theatre in the context of the Rhubarb Festival Date: February 17, 2018 (1 performance) 5. FADO Performance Art Centre presents Performance Salon 2 x for staying here with us now by Sherri Hay Dates: February 16 & 24, 2018 (2 performances) 6. FADO Performance Art Centre presents: Myung-Sun Kim at Eyeblink: Fires Presented at the Gardiner Museum in collaboration with Pleasure Dome Date: March 15, 2018 (1 performance) 7. FADO Performance Art Centre's MONOMYTHS perpetual calendar is now available! LIMITED EDITION / Order yours today! 8. CALL FOR PROPOSALS: Performance Research Vol. 23, No. 8 'On Drifting' Deadline: February 10, 2018; City: everywhere; Source: Performance Research 9. CALL FOR SUBMISSIONS: PerfoArtNet 2018 Deadline date: February 20, 2018; City: the world; Source: PerfoArtNet 10. EVENT: Indelible Refusal Date: February 26–March 6, 2018; City: Toronto, Canada; Source: VK Preston 11. CALL FOR SUBMISSIONS: The Live Art Almanac Volume 5 Deadline date: February 28, 2018; City: the world; Source: LADA 12. CALL FOR PROPOSALS: Site-Specific Performance / Rendezvous with Madness Festival Deadline date: March 2, 2018; City: Toronto, Canada; Source: Workman Arts +++
1. FADO Performance Art Centre presents: LOST in TRANS by Dickie Beau Presented at The Theatre Centre in the context of Progress Dates: February 8–10, 2018 (3 performances)
DATES & TIMES
VENUE The Theatre Centre, 1115 Queen Street West, Toronto Wheelchair accessible space / Gender neutral washrooms
INFO Language: Performed in English
TICKETS Single Tickets: $25 | PURCHASE TICKETS
Conceived and performed by Dickie Beau Curated and presented by FADO Performance Art Centre in the context of Progress
Dickie Beau presents a poetic performance of peculiar personas. LOST in TRANS takes Dickie’s sensational multimedia aesthetic to hallucinatory new heights.
Continuing his shtick of using playback, in which he ‘channels’ voices he sees as being misplaced, misrepresented or misunderstood, Dickie breathes new life into found sound, ‘re-writing’ audio artefacts and playing them back through his body to become a live performing archive of the missing.
Presenting a compelling constellation of vivid characters inspired by cultural antiquity and Ovid’s Metamorphoses, LOST in TRANS is an off-road trip through the cultural archives. Cyclops, the one-eyed giant, becomes a third eye through which we view the world anew, including a radical re-visioning of Echo, the Nymph, of whom all that remained when she died of a broken heart was the sound of her voice…
“Phenomenal talent…a powerful and moving artist…breathtaking.”
“Dickie Beau is the closest this country has to a genuine medium, an auteur of the airwaves, who can put flesh onto recorded sound in a manner both gripping and disturbing.”
ABOUT DICKIE BEAU Dickie Beau draws on performance traditions including clowning, theatre, vaudeville, dance and mime. He merges the sensibility of contemporary culture with queer twists and informed echoes of the past, realizing an exquisite interplay of digital content. A pioneer of playback performance, emerging from the drag tradition of lip-synching, Dickie Beau is influencing the practice of a whole new generation of performance-makers. In October 2015 Dickie joined Queen Mary University of London Department of Drama as an Associate Research Fellow. He also holds an Associate Research Fellowship at Birkbeck Centre for Contemporary Theatre at the University of London. In 2014 Dickie was the recipient of the Oxford Samuel Beckett Theatre Trust award.
CREDITS LOST in TRANS was a Southbank Centre commission supported by a Jardin d’Europe contemporary dance award and a residency at Cullberg Ballet, Stockholm and has been presented at: Southbank Centre in London, Contact in Manchester, Homotopia Festival, Liverpool, Artsadmin, London, and City of Women Festival, Ljubljana (curated as part of the Live Art Development Agency’s "Just Like a Woman" programme).
Conceived and performed by: Dickie Beau Producer: Sally Rose Dramaturg: Julia Bardsley Lighting Design: Marty Langthorne Sound Design: Will Saunders Video filming and post-production Consultant: Lukas Demgenski Lighting operator: Nao Nagai Video consultant: Gillian Tan Video operator: Aaron Pollard (Toronto) Pegasus: Stephen Lawson (Toronto) Production Manager: Deborah Lim (Toronto) THIS IS PROGRESS Progress is an international festival of performance and ideas presented in partnership by SummerWorks Performance Festival and The Theatre Centre. The festival is collectively curated and produced by a series of Toronto-based companies, operating within a contemporary performance context.
Progress 2018 is curated by: SummerWorks Performance Festival, The Theatre Centre, Anandam Dancetheatre, FADO Performance Art Centre, Little Black Afro Theatre Company, Toronto Dance Community Love-In, and Volcano Theatre.
Progress Team Presented by: SummerWorks Performance Festival & The Theatre Centre Festival Producer: Sue Balint Festival Production Manager: Pip Bradford Graphic Design: Monnet Design Web Design: Kyle Purcell For media inquiries: Red Eye Media / Suzanne Cheriton
As a Festival that brings together performance nationally and internationally, Progress wishes to acknowledge that the festival takes place on the traditional territory, Tkaronto, “Where the Trees Meet the Water,” “The Gathering Place” of the Mississauga, Anishinaabe, Haudenosaunee and Wendat Nations. As we come together, we pay our respects to all our relations who have gathered and will continue to gather in this place.
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2. FADO Performance Art Centre presents: Performance Club 2 Valley of the Dolls with Keith Cole Dates: January 30–February 27, 2018 (5 sessions)
DATES & TIMES There is limited space for each session in the club on these dates: Session 1: Tuesday 30 January / 7–9pm Session 2: Tuesday 6 February / 7–9pm Session 3: Tuesday 13 February / 7–9pm Session 4: Tuesday 20 February / 7–9pm
All welcome / EVENT & SCREENING / PWYC Session 5: Tuesday 27 February 7pm: Keynote & Graduation 8pm: Screening
VENUE Super-8 Downtown Hotel, 222 Spadina Avenue The Commons @ 401 Richmond, 401 Richmond Street West, suite 440
INFO Please register for sessions #1–4 on Eventbrite.
Performance Club 2: Valley of the Dolls With Keith Cole
Fifty years ago, Jacqueline Susann wrote what would become one of the most successful books of its time (with over 31 million copies sold, and counting) making Susann a household name (even if many read her book under the covers in secret) and bestowing her with the honour of being the first author in history to have three #1 consecutive books on the New York Times bestsellers list. Some might remember the Valley of the Dolls best as the cinematic vehicle for a pill and booze soaked cautionary tale of female ambition, fame, fortune and failure. Fifty years later the story is still relevant, telling us as much about celebrity culture today and it forewarned us then.
You’re got to climb to the top of Mount Everest to see the Valley of the Dolls, and you’re invited to take this journey with Toronto’s very own performance provocateur Keith Cole in a 5-session book club-cum-academic master class. The first 4 sessions take place in a sprawling hotel room. In Session 5, book club attendees gather with audience to watch a screening of the 1967 film directed by Mark Robson, listen to a key note speech by a secret special guest, and receive their “V of the D” diplomas.
This Performance Club provides participants with a survey of a range of theories and opinions about how we engage, understand and re-evaluate, literary works of art from the past. How do we talk about, feel and learn from a work of art that is still celebrated fifty years after its first release? Our lives are increasingly dominated by visual images on screens but what about the act of reading? The act of discussion? The act of listening? The act of offering up opinions? Have we globally lost the inter-personal understanding of the importance of ideas, the circulation of information and the importance of coming together to identify, contextualize and analyze literary works of art?
“The Valley Of The Dolls” by Jacqueline Susann refers to many performance and non-performance outlets. Namely popular entertainment and academic forms ranging from fine art, television, Hollywood, cabaret, camp, feminism, fashion, musical theatre, drug culture, power dynamics and gender politics. All of which will be analyzed in this participant lead Performance Club.
In order to reach a greater understanding of how meaning circulates through our diverse and hectic lives Performance Club participants must first come to terms with 4 items of importance: reading is crucial participation is mandatory attendance counts opinions matter
FADO's newest performance series, Performance Club, attempts to redefine the historical and contemporary performance art canon, one book club, and one book / article / essay / anthology at a time. Invited artists perform the role of book club facilitators, leading the audience through a performance of a reading, a reading performance, a performance about a book, or a bookish performance.
Facebook event: www.facebook.com/events/369947933416748/
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3. FADO Performance Art Centre presents: Long Table with Lois Weaver Presented at The Theatre Centre in collaboration with Progress and Rhubarb Date: February 9, 2018 (1 performance)
DATE & TIME Friday, February 9 7pm–8:30pm
VENUE The Theatre Centre, 1115 Queen Street West, Toronto Wheelchair accessible space / Gender neutral washrooms
INFO ASL INTERPRETED
TICKETS All welcome / FREE
Presented in collaboration with Progress and the Rhubarb Festival
The Long Table is a dinner party structured by etiquette, where conversation is the only course. The project ingeniously combines theatricality and models for public engagement. It is at once a stylised appropriation and an open-ended, non-hierarchical format for participation. Both of these elements–theatrical craft and political commitment–are mutually supporting in this widely and internationally toured work. The (often-feminised) domestic realm here becomes a stage for public thought.
As an experiment in performance as a means of public engagement, the Long Table has been taken up by a vast array of of practitioners in a variety of disciplines as a way to encircle, question, and reflect in a performative, and communal way. Lois Weaver, the originator of the Long Table, hosts this special edition for Progress.
THIS IS PROGRESS
Progress 2018 is curated by: SummerWorks Performance Festival, The Theatre Centre, Anandam Dancetheatre, FADO Performance Art Centre, Little Black Afro Theatre Company, Toronto Dance Community Love-In, and Volcano Theatre.
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4. FADO Performance Art Centre presents: What Tammy Needs to Know... by Lois Weaver Presented at Buddies in Bad Times Theatre in the context of the Rhubarb Festival Date: February 17, 2018 (1 performance)
DATE & TIME Saturday, February 17 @ 10pm
VENUE Buddies in Bad Times Theatre 12 Alexander Street, Toronto
TICKETS Evening Pass: $20 (all-access festival-wide including special presentations) Emerging Creators Unit Presentations: PWYC RUSH tickets: PWYC (limited tickets available each day; first come first serve) Tickets online: https://tickets.buddiesinbadtimes.com/TheatreManager/1/login&event=529
What Tammy Needs to Know About Getting Old and Having Sex
FADO Performance Art Centre has a long history collaborating with Buddies in Bad Times Theatre to present the work of Canadian and international performance artists at the Rhubarb! Festival including: 2Fik (2011), Sian Robinson Davies (2012), Paul Couillard and Ed Johnson a.k.a Duorama (2014) and Staceyann Chin (2017).
For the 39th edition of the festival, we are excited to be collaborating with Rhubarb once again; this time to bring the work of celebrated feminist performance icon Lois Weaver to the stage at Buddies. Weaver will be developing and presenting a Toronto iteration of her part-chat show, part-concert performance, What Tammy Needs to Know About Getting Old and Having Sex.
Performed in the guise of her alter-ego Tammy WhyNot, a “65-year old trailer trash blonde who left Nashville for a career as a performance artist”, the performance is created through a collaborative workshop process with local LGBTQ elders in the week leading up to the performance. What Tammy Needs to Know About Getting Old and Having Sex looks at intimacy, relationships, desire, and sex in people over 50. No matter your age, Tammy shows us that love, desire, friendship, sexual health, and losing your keys in your handbag are universal concerns. Several iterations of this performance have been developed with a growing community of seniors in the UK and around the world. Sharing their stories and her own, Tammy invites you to quite worrying why… and start thinking, Why Not?
ABOUT LOIS WEAVER
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5. FADO Performance Art Centre presents: Performance Salon 2 x for staying here with us now by Sherri Hay Dates: February 16 & 24, 2018 (2 performances)
DATES & TIMES Performance 1: Friday, February 16 @ 7:30pm Performance 2: Saturday, February 24 @ 4:00pm
VENUE The Commons @ 401 Richmond, 401 Richmond Street West, suite 440, Toronto
INFO Doors open 30 minutes prior to performance start time / No latecomers admitted
TICKETS PWYC (at door only)
x for staying here with us now Conceived by Sherri Hay
As a sculptor, it has never seemed outlandish to me to think about objects as having a life of their own. Nurit Bird David talks about a kind of empathetic understanding between people and the things around them that is bred by familiarity. A good friend from Japan tells how seamstresses hold funerals for their needles, burying them in a soft cool block of tofu at the temple. Which sounds quaint and funny, though of course even we are every day more familiar with how our smart devices seduce us.
For so much of our history what has been valorized was the human who would subdue and shape the world through his reason and will, a world that was considered to be inert and insensible. In this new age of connectivity, some new ways of being and relating are coming into focus, beginning to acknowledge to a broad spectrum of otherness, and preferring self-organization to dominion.
Two evenings, two different non-human performers performing a score. The performance will move slowly, lasting perhaps 45 minutes. The exact time of the performance will be determined by the performer, in the moment. The performance will be corporeal, unmediated and analogue, not moved by electronics or motors. It will be attendant to real life forces like gravity, as well as its own material constraints.
THE GOLDEN BOOK On the occasion of this new work by Sherri Hay, FADO is pleased to publish the fourth in The Golden Book series, containing an interview about the process of creating this performance, conducted by FADO and the performer in x for staying here with us now. The Golden Book series (designed by Lisa Kiss Design) is an irregular limited edition booklette series containing a single text, photo essay, interview, or abstract didactic about a forthcoming performance project. Other editions in the series include: Film: Rope by Francesco Gagliardi (essay by Andrew James Paterson); Duorama 1–4 (photo essay on the works of Duorama performance series by Paul Couillard and Ed Johnson); and PULSE by Mary Coble (workbook and key for Coble’s 2016 MONOMYTHS performance of the same name).
ABOUT SHERRI HAY Sherri Hay a Canadian artist who splits her time between NYC and Toronto. With a wide-ranging practice that includes video and performance, her sculpture and installations have been exhibited internationally, at the Art Gallery of Toronto and the Museum of Canadian Contemporary Art in Toronto. She is also an occasional collaborator in experimental theatre and dance. Since 2012, her practice has focused on movement and time, relationships and change, exploring the quality and the extent to which she can give over voice as an artist–how she can be the instigator of a process instead of the Creator-from-nothing, proposing a certain kind of sentience for objects as performers.
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6. FADO Performance Art Centre presents: Myung-Sun Kim at Eyeblink: Fires Presented at the Gardiner Museum in collaboration with Pleasure Dome Date: March 15, 2018 (1 performance)
Performance by Myung-Sun Kim Screening of the work of Julieta Maria
In support of the Gardiner Museum’s exhibition YOKO ONO: THE RIVERBED Co-presented by FADO Performance Art Centre, Gardiner Museum and Pleasure Dome
DATE & TIME Thursday, March 15, 2018 7:00pm: Doors open 8:00pm: Event starts
VENUE Gardiner Museum 111 Queen's Park, Toronto
INFO Admission includes entry to YOKO ONO: THE RIVERBED. Students can use the coupon code “studenteyeblink” to receive a 20% discount on tickets. Student IDs will be checked at the door.
TICKETS $10 regular / $8 students (online or at the door) Purchase online at: www.gardinermuseum.on.ca/event/eyeblink-fires/
Facebook: www.facebook.com/events/316215422229975/
In support of the Gardiner Museum’s exhibition YOKO ONO: THE RIVERBED, Eyeblink is a three-part monthly screening and performance series that draws inspiration from Ono’s 1960s and 1970s filmmaking.
In Yoko Ono’s early Fluxus films, Eyeblink and One (Match), the artist watches in steady, fixed-frame contemplation the simplest of gestures, managing to distill cinema to its essentials in a shot-countershot duet of light and vision. This screening and performance event, co-presented by FADO Performance Art Centre, the Gardiner Museum and Pleasure Dome, will explore the intertwined lineages of trauma and survival.
Myung-Sun Kim will present a new performance work. Kim’s work explores ideas around foodways, undocumented history, war, fiction, memory, trauma, resilience, and community care. She is interested in the sharing of lived experiences and methodologies that may evoke a collective sense of empathy and a deeper understanding and care for the differences that exist within our complex intercultural communities in ways that provides sustenance.
Julieta Maria’s elegant, performance-for-camera shorts concentrates lifetimes of study and digestion into exquisite frames. The artist uses the material of her body to reflect on the violence of her native Colombia, or the exile of her Palestinian father. Pleasure Dome curates a mini-retrospective featuring a program of seven shorts, as well as two smashed reconstruction loops installed in the Gardiner’s lobby.
About YOKO ONO: THE RIVERBED February 22 to June 3, 2018
The Gardiner Museum is pleased to present a three-part installation by Yoko Ono entitled THE RIVERBED. Yoko Ono is a forerunner of Conceptual art who frequently involves collaboration, audience participation, and social activism in her artwork.
YOKO ONO: THE RIVERBED invites visitors to collaborate with the artist, the museum, and each other, participating in the artwork through everyday action and contemplation. YOKO ONO: THE RIVERBED, in a sense, becomes a temporary village—a repository of hopes and dreams for individuals and for the world.
Stone Piece features a pile of river stones that have been honed and shaped by water over time. Ono has inscribed some of the stones with words, such as dream, wish, and remember. Visitors are invited to pick up a stone and hold it, concentrating on the word, and then placing the stone upon the pile of other stones in the center of the room.
Line Piece is comprised of a series of low tables with notebooks in which visitors are encouraged by Ono to “draw a line to take me to the farthest place in our planet.” Visitors may also extend a string across the gallery space using hammers and nails to secure it from one point or another, creating a web that will grow and evolve over the course of the exhibition.
Mend Piece reinforces the idea of healing. Fragments of broken ceramic cups and saucers are placed on a table for visitors to reassemble using glue, string, and tape, before positioning them on shelves around the all-white room. In Ono’s words: “As you mend the cup, mending that is needed elsewhere in the Universe gets done as well. Be aware of it as you mend.” (November 19, 2015)
The space also features a small coffee bar where visitors are encouraged to enjoy a cup of coffee together, forming another kind of union.
YOKO ONO: THE RIVERBED was first mounted at Gallerie Lelong & Co. and Andrea Rosen Gallery in New York City, in 2015.
ABOUT YOKO ONO Yoko Ono (born February 18, 1933) is an artist, musician, filmmaker, and peace activist. In the last sixty years, Ono has continued to play a pioneering role in the international development of Conceptual art, experimental film, and performance art, and has been acknowledged progressively more for these roles. In 2015, the Museum of Modern Art in New York presented Yoko Ono: One Woman Show, 1961-71, which reinforced her influence as one of the most important agents of cultural change. She received a Golden Lion Award for lifetime achievement from the Venice Biennale in 2009, and the Oskar Kokoschka Prize in 2012, Austria’s highest award for applied contemporary art.
For more information about the exhibition and related programming series: www.gardinermuseum.on.ca/event/eyeblink-fires/
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7. FADO Performance Art Centre's MONOMYTHS perpetual calendar is now available! LIMITED EDITION / Order yours today!
Take a sneak peak inside the calendar!
MONOMYTHS invited a diverse collection of artists, scholars and activists to revise Joseph Campbell's conception of the hero's journey through performance art, lectures, workshops and other offerings. The MONOMYTHS perception of the universal journey dispels the notion of the lone patriarchal figure on a conquest to vanquish his demons–both inner and outer–in consideration of community, collectivity and collaboration. This perpetual calendar, beautifully designed by Lisa Kiss Design, documents the year-long MONOMYTHS journey.
Playing on the cyclical nature of the universal story, and the interconnectedness of the MONOMYTHS performance series, this 14-month perpetual calendar contains a main image and a detail from each project in the series taken by FADO photographer Henry Chan; as well as biographical information about each artist and a short description of each work.
LIMITED EDITION of 250 Photography by Henry Chan and Connie Tsang Designed by Lisa Kiss Design Number of pages: 17 Overall dimensions: 11 x 14 inches
COST: $25.00 (Canadian) plus shipping (to be determined at purchase) Methods of payment: Cheque, E-transfer, Paypal
Shipping: Toronto: $10 / tracking included Canada (NFLD / BC): $14 / tracking included USA: $12 / $18 with tracking International: $20
For order inquiries, please contact: info@performanceart.ca
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8. CALL FOR PROPOSALS: Performance Research Vol. 23, No. 8 'On Drifting' Deadline: February 10, 2018; City: everywhere; Source: Performance Research
Issue Editors: Carl Lavery (University of Glasgow) Marielle Pelissero (Paris Nanterre University; NY University Tisch School of the Arts, USA) David Pinder (Roskilde University, Denmark)
On Drifting
Of all the concepts introduced by the Situationist International (SI), the idea of la dérive or drifting is the one, perhaps, that has proved most amenable to performance practitioners. One thinks, here, for instance, of performance artists and activist groups, such as Stalker, Wrights & Sites, and Laura Oldfield Ford who have used walking as a practice to explore the psychogeography of various types of urban landscapes; of Marina Abramovich’s epic journey along the Great Wall of China; of Graeme Miller’s haunted London in the audio walk Linked; of Rimini Protokoll’s voyages throughout Europe; of Janet Cardiff’s urban disruptions where the foot become an ear; of Francis Alys’ pharmaceutical-inspired strolls through Copenhagen; of Lone Twin’s actions, endurance work and bike performances; of Dee Heddon and Misha Myers’ ‘Walking Library’; of Mike Pearson’s and Mike Brooke’s static and assisted drifts in Cardiff with the disabled performer Lyn Levett; of Simon Whitehead’s stalking of urban foxes and group howlings; and, of course, of the recent explosion in feminist, post-colonialist and queer walking practices performed by (amongst others) Les Sapeurs, Nando Messias, Rosana Cade, Clare Qualmann and Amy Sharrocks, and Cathy Turner. In all of these performances and interventions, the drift, in accordance with the SI’s own concept, is employed as a spatial practice, a method for subverting normative notions of dwelling and territory. While we, too, are interested in how drifting and journeying may provide new and alternative insights into how neo-liberal space is gendered, racialised, sexualised and colonized, we are also concerned with how drifting may allow us to reconsider the political and aesthetic function of different art forms and everyday practices. What may it mean, for instance, to make architecture, language, photography, dance and painting drift? And how may this expanded practice of drifting disclose new possibilities for thinking about theatricality and performance in ways that are intimately connected to the medium of theatre but not necessarily limited to it? By interrogating the drift as a theatrical or performative concept, our intention in this issue of Performance Research is to engage creatively with the ideas of the SI, as opposed to looking for some authentic or pure actualization of them. To borrow something from Gilles Deleuze, we are interested in making ‘alliances’ with the SI, not in establishing an ‘affiliation’ grounded on some problematic notion of fidelity. In that respect, our aim is to show how the drift, like theatre itself, is a practice that is always contemporary, that is to say, untimely, never in step with its historical moment, and always in the process of being invented differently. Indeed, by theatricalizing the drift, we seek a critical and creative historiography that would not imprison the SI in the past, but rather would open their ideas to the future—to make ‘their drift drift’, so to speak. Topics for discussion may include:
Drifting and Cruising Drifting and Gender Drifting and ‘Race’ Drifting and Surveillance Drifting and the Digital Drifting and Disciplinarity Drifting and Control Drifting and Thinking Drifting and Temporality Drifting and Connection Drifting and Laziness Drifting and the Rhizome Drifting and Writing Drifting and Ecology Drifting with Animals Drifting in Theatre Drifting and Dance Drifting as Catalyst and Process Drifting as History Drifting and Economics Drifting and Performance Drifting as Spectating Drifting and Affect Drifting and Painting Drifting and Activism Drifting as Cosmopolitanism Drifting and Drugs Drifting and Music Drifting and Disorientation Drifting and Disability Drifting and Breathing Drifting and Geology Drifting and Becoming Drifting and Exhaustion Drifting and Stuttering Drifting and Sensation Drifting and the Human Drifting and the ‘More than Human’ Drifting and the Elemental Drifting and Fugitivity Drifting and Virtuality Drifting and Technique
Schedule Proposals: 10 February 2018 First drafts: June 2018 Publication date: December 2018
Issue contacts: All proposals, submissions and general enquiries should be sent direct to the journal at: info@performance-research.org
Issue-related enquiries should be directed to the issue editors: Carl.Lavery@glasgow.ac.uk [Carl Lavery] marielle.pelissero@gmail.com [Marielle Pelissero] dpinder@ruc.dk [David Pinder]
General guidelines for submitting a proposal: –Before submitting a proposal please visit our website (www.performance-research.org/) and familiarize yourself with the journal. –Proposals will be accepted by email (MS Word or Rich Text Format (RTF)). Proposals should not exceed one A4 side. –Please include your surname in the file name of the document you send. –Please include the issue title and issue number in the subject line of your email. –If you intend to send images electronically, please contact the journal first to arrange prior agreement. –Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. –If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.
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9. CALL FOR SUBMISSIONS: PerfoArtNet 2018 Deadline date: February 20, 2018; City: the world; Source: PerfoArtNet
PerfoArtNet 2018 International Biennial of Performance Deadline: February 20, 2018
If you use the body symbolically, to defend rights ... If he uses the body for peaceful struggle... share what you do to inspire others
Activism Activist - Leader - Artivist - Environmentalist - CiberActivist - Community Leader - Defender of Rights - Direct Action - Peaceful Action - Indigenous Leader - Woman - Man - Children - Girls - Thinker - Artist - Poet ...
What do you defend? What is your action?
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Date: February 26–March 6, 2018; City: Toronto, Canada; Source: VK Preston
Jackman Humanities Institute Arts Program and WalkingLab Presents: Indelible Refusal: Bodies, Performances, and Walking Resistance
February 26 to March 6, 2018
This series of public lectures, panel discussions, film screenings, workshops, artistic walking interventions, performances, and master classes aim to actively engage in pedagogies of refusal and solidarity. The program aims to walk-with and think-with Indigenous, Black, 2 spirit, queer and trans artists and scholars to work through concepts related to land, settler colonialism, slavery, erasure, violence, and refusal.
This event has been funded through the Jackman Humanities Institute, The Centre for Drama, Theatre & Performance Studies, University of Toronto, Curriculum, Teaching and Learning, Ontario Institute for Studies in Education (OISE), University of Toronto, Sexual Diversity Studies University of Toronto, The Centre for Comparative Literature, University of Toronto, and Indigenous Studies, University of Toronto.
Organized by: Stephanie Springgay, Curriculum, Teaching & Learning, OISE; V.K. Preston, FAS Drama, Theatre & Performance Studies, University of Toronto.
Artists-in-residence during the duration of the event include: Camille Turner Gein Wong Jes Sachse Vanessa Dion Fletcher
Schedule of events: https://walkinglab.org/schedule-of-events-for-indelible-refusal/
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11. CALL FOR SUBMISSIONS: The Live Art Almanac Volume 5 Deadline date: February 28, 2018; City: the world; Source: LADA
Deadline for submissions is February 28, 2018.
We are seeking recommendations for material to include in the Live Art Almanac Volume 5, to be published by the Live Art Development Agency in Autumn 2018.
The Live Art Almanac series draws together all kinds of ‘found’ writing about and around Live Art from a wide range of sources–from more traditional forms such as magazine articles, newspaper reviews, transcribed interviews, or public lectures; to digital forms such as blog entries, Facebook pages and Twitter conversations; to less conventional forms of ’publishing‘ such as emails, diary entries, and letters. It aims to be both a useful resource and a great read for artists, writers, students and others interested in the field of interdisciplinary, performance-based art throughout the world.
If you’ve read something that engaged, provoked, excited or amused you, or made you rethink Live Art and radical performance then we want to hear about it. Your recommendation can be for any writing that was published, shared, sent or spread between January 2015 and December 2017.
Some key themes, events and issues that emerged in 2015-17 that we would like to reflect in Volume 5 include the cultural response to the European refugee crisis and issues of global displacement; Brexit, Europe and ‘Europeaness’; Trump and the rise of the alt-right; class and privilege; Black Lives Matter; Trans / fluid identities; safe spaces/trigger warnings/snowflakes; gentrification; issues relating to Ireland including the 2016 centenary celebrations, gay marriage and abortion rights; climate change and the Anthropocene; technology takeovers; new forms of, frameworks for, critical thinking and writing; cultural ethics (including funding issues); and sexual harassment and abuses of power.
You can submit up to three pieces of writing for consideration, and we have a limit of up to 3,000 words per entry. Please note that the Almanac is a text-only publication–you may submit pieces that have image content, but the images will not be included in the publication. We'd prefer you not to nominate your own writing, as we really want you to tell us about interesting material you have read, but understand if you have written something you feel has a particular urgency and relevance, and hasn't yet been widely seen. We’re also not so interested in receiving nominations of more academic writing as this is already brilliantly covered by many institutions and journals.
If you have questions about the Live Art Almanac, contact Megan at:
More information on the Live Art Almanacs: Volume 1: www.thisisliveart.co.uk/publishing/the-live-art-almanac Volume 2: www.thisisliveart.co.uk/publishing/the-live-art-almanac-volume-2/ Volume 3: www.thisisliveart.co.uk/publishing/the-live-art-almanac-volume-3/ Volume 4: www.thisisliveart.co.uk/publishing/the-live-art-almanac-volume-4/
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12. CALL FOR PROPOSALS: Site-Specific Performance / Rendezvous with Madness Festival Deadline date: March 2, 2018; City: Toronto, Canada; Source: Workman Arts
DOWNLOAD THE APPLICATION FORM: https://workmanarts.com/rendezvouswithmadness/2018callforproposals/
Workman Arts is accepting applications for site-specific performance work as a part of the Rendezvous with Madness Festival from October 10–21, 2018.
What is a Site-Specific Production? Site-specific productions use non-traditional spaces rather than a standard theatre and respond directly to the space in terms of staging, theme, history and/or atmosphere. Rendezvous with Madness will incorporate up to 5 site-specific productions into the festival.
Details: Artists retain sole responsibility for securing the site-specific venue as well as all costs related to their production (rehearsal, technical elements etc.) There is no cost to participate in the festival and productions receive 70% of the box office revenue. Individual tickets prices range from PWYC to $12. Please note that if you are thinking of using a CAMH site you must first contact Workman Arts at submissions@workmanarts.com
Productions also receive: –Complete box office services –Complete front of house services –Promotional and marketing support –Up to 30 hours of free rehearsal space in the Workman Arts Theatre –Workman Arts will provide letters of reference for grant proposals, if needed. –Production bursaries are available upon request and range from $250-$500 per production. Eligibility: –Artists must integrate the topic of mental health or addiction into the fabric of their work. We will prioritize projects where members of the artistic team have lived experience with mental health or addiction issues and where the content or subject matter addresses or explores mental health or addiction issues in a sophisticated and artistically grounded way. –Artists must be available for a minimum of 5 performances throughout the festival (exact scheduling details will be negotiated upon acceptance). –Artists must secure the necessary performance rights or permissions, including permission for actors in unions and associations if necessary.
Application: Application deadline is Friday, March 2 at 5PM. Download the application form here: https://workmanarts.com/rendezvouswithmadness/2018callforproposals/
Applicants will be notified of their acceptance no later than March 23, 2018.
Please submit applications as one PDF attachment to: submissions@workmanarts.com
If you have questions regarding your application please email: submissions@workmanarts.com
For more information about the Rendezvous with Madness Festival please visit www.workmanarts.com
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ABOUT FADO PERFORMANCE ART CENTRE Established in 1993, FADO Performance Art Centre is a not-for-profit artist-run centre based in Toronto, Canada. FADO provides a stage and on-going forum in support of the research and development of contemporary performance art practices in Canada and internationally. As a year-round presentation platform, FADO exists nomadically, working with partner organizations and presenters, and utilizing venues and sites that are appropriate to individual projects. FADO presents the work of local, national and international artists who have chosen performance art as a primary medium to create and communicate provocative new images and perspectives. FADO is supported by the Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and the Department of Canadian Heritage.
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