Troverete qui call e richieste di contributi di istituzioni e comitati scientifici, a livello internazionale.
CALL for Submissions, Special Guest Edited Issue of Dance Research Journal, "Queering Dance Modernism: Sexuality and Race on Stage"
Compared to the queer sexual biographies of many protagonists of dance modernism, very little scholarly attention has been given to what might be called the queer aesthetic of their performances. This aesthetic is part of a gestural revolution that restored dance’s psycho-social and political rel- evance, not least through the circulation of sexual energies. A queer reading of dance modernism therefore requires more than the revelation of the sexual lives of performers or the uncovering of hidden meaning in dance works as being about same sex relationships. Queering dance modernism means to chart out how moving bodies enacted, demonstrated and fabricated new intimate and social relations, and how they imagined forms of often cross-temporal gendered habitus and desire. Yet, as queer theory has underlined, sexuality is always intersectional, and many modernist per- formances of gender and sexuality were articulated through corporeal fantasies of race. Serving as surfaces onto which such fantasies were projected, dancers and dancing bodies became contested ground in both colonial and sexological politics.
This special issue of Dance Research Journal invites submissions to work on a timely yet still under- researched field: queer and ethnic modernism in dance. It flags the productive confluence of dance studies, queer theory, and critical race studies in re-engagements with modernist performance. How might historical queer activisms and sexological research of the early 20th century inform an aes- thetic theory of modernist dance? How might the racial masquerades of so many dancers be criti- cally reassessed from a queer perspective? How were queer subjectivities and relations performed and enacted on a variety of stages, from high art to the popular and the so called ritual? How can the question of desire be integrated into the network of global modernities, as lived desire between international actors in the field, as well as through acting out queer desires (of otherness) in dance? How did early queer aesthetics rely on Orientalist, primitivist and exoticist tropes? How was (queer) sexuality policed or stimulated in state discourses – colonial, imperial, nationalistic or other? And lastly, how can dance studies enter into a productive encounter with methods from queer and critical race studies and account for the different affects – desire, melancholy, empathy, pain – at work in historiography, as articulated by Elizabeth Freeman, Heather Love, José Esteban Muñoz, Saidiya Hartman and others? What is at stake here for us as contemporary researchers? How do we navigate between critical and reparative approaches to the archive? How do we account for archival violence against non-normative bodies at the same time as conjuring up their utopian potential?
The editors of Queering Dance Modernism: Sexuality and Race on Stage encourage submissions investigating these questions from a variety of perspectives with examples stemming from all kinds of locales.
Final deadline for submissions: March 1, 2021.
Approximate length: 6,000 words (not including notes and references)
Submissions should be uploaded to: <https://mc.manuscriptcentral.com/drj>
Inquiries to: Lucia Ruprecht (email@example.com) and Eike Wittrock (Eike.Wittrock@kug.ac.at)
INTERNATIONAL CONFERENCE: Women and music in the early modern age, Queluz National Palace, July 2nd - 4th, 2021
Divino Sospiro – Centro de Estudos Musicais Setecentistas de Portugal
Cristina Fernandes, Giuseppina Raggi, Iskrena Yordanova,
Ricardo Bernardes, José Camões, Francesco Cotticelli, Paologiovanni Maione
The 9th international conference at the Queluz National Palace organized by DS-CEMSP aims to investigate the role of women in the musical and theatrical worlds of the early modern age, with special reference to the 17th and 18th centuries.
Theatrical practices favoured opportunities and emancipation processes which played significant roles in the imagery of and the stage production themselves. It is equally important to mention the patronage and the encouragement given to the performing arts by female sovereigns and nobles, who intended to promote the dialogue and the reflection between different contexts. Differences can be found in the educational methods, distinctions amid theory and practice or between the amateur and the professional milieu, yet they often merged to produce events destined to leave their mark on history.
The conference promotes research into the careers of women as impresarios, singers, actresses, composers, no matter how resounding their activity was in their heydays. Emphasis is also placed on their travels, contacts, and repertoires, and on the strategies adopted by female patronage in order to support the organization (and the memory) of theatrical and musical events throughout the continent.
- Female performers: singers, instrumentalists, dancers and impresarios. Their roles and repertoires.
- Female composers, librettists and choreographers.
- The feminine in music: women as subjects in the musical literature.
- Women as music and theatre patrons. Political uses of female musical patronage.
- The importance of music in the education of aristocratic and royal women.
- The female public.
- Women as music collectors.
- Women and music sociabilities.
Scholars are invited to submit individual proposals. Each paper shall not exceed 20 minutes. Session proposals will be accepted as well: a maximum of three or four papers will be taken into consideration, and the session should not exceed 1h30.
A selection of the presented papers will be published in our book series Cadernos de Queluz by Hollitzer Verlag (Vienna). (http://www.hollitzer.at/de/programm/uebersicht/programm/specula-spectacula.html?no_cache=1&cHash=a9c950cc42d1315a1187701f3685723c)
Official languages of the conference are Portuguese, English, Italian, Spanish, and French.
Abstracts in Word format (.doc), should not exceed 300 words.
Please enclose in the same file a brief curriculum vitae of 150 words max., providing your name and surname, postal address, e-mail and telephone number, as well as your institutional affiliation. Please indicate to which topic your proposal belongs.
Deadline for sending abstracts is March 1st, 2021
The scientific board will examine all the abstracts by March 15th, 2021 and contributors will be informed immediately thereafter.
Call for Papers A Special Issue of Dance Chronicle: Critical Institutional Studies
Edited by Olive Mckeon and Clare Lidbury
Deadline for submissions: June 1, 2021
Contact email: firstname.lastname@example.org, C.Lidbury@wlv.ac.uk
We will be editing a special issue of the journal focused on the systematic inquiry into the workings of dance institutions. “There is more to dance than meets the eye,” as Sally Banes began the introduction to a sequence of articles within a 2002 issue of Dance Chronicle titled, “Where They Danced: Patrons, Institutions, Spaces.” Banes noted that this collection of articles explored what she called “critical institutional studies,” or research that considers the institutions and patrons that form the conditions of possibility for dance practices. Nineteen years later, we wish to return to the questions that Banes posed and to reflect on how dance studies has developed frameworks for the political economic analysis of dance in the last two decades. Banes cited the influence of institutional critique in the visual arts, the rise of museum studies as well as “a long tradition of left-wing art criticism—especially Marxist criticism” on emerging inquiries in dance studies. We invite contributions addressing the institutional location and economic context of dance practices from a range of genres, time periods, and geographic locations. Articles may address, but need not be limited to, subjects such as:
How does access to money, space, and time influence choreographic aesthetics?
How do artists of color navigate the agendas of white funders?
How do artists in post-colonial contexts navigate funding sources from former colonial powers?
How can the widespread circulation of diversity, equity, and inclusion discourses be deepened or challenged in light of their institutional functions?
How can practices of “institutional critique” in the visual arts inform dance practices and research?
How can methodologies of “workers inquiry” provide insight into labor struggles within educational dance departments and cultural organizations?
What can the perspectives of part-time and contingent workers illuminate about institutional politics?
How have dance venues positioned themselves in relation to urban redevelopment, gentrification, and land use struggles?
How have dance institutions been erected from different sources of money—for example, public funding, private funding, land rent, surplus value, debt, accumulated wealth from chattel slavery?
How are dance funding and university endowments imbricated with fossil fuel investments and energy infrastructure?
What roles have clients, johns, and sexual patrons played in the economic structure of dance institutions (Paris Opera, for example)?
What are the merits of different theoretical frameworks (e.g., Marx, Adorno, Bourdieu, Foucault, Moten/Harney) for critical institutional studies?
What forms of lateral power exist within cultural and educational institutions for dance?
How can abolitionist politics inform the analysis of dance institutions?
Submission Instructions: All manuscripts will receive double-blinded anonymous peer review. Manuscripts, 6,000–10,000 words in length (inclusive of footnotes and endnotes), may be submitted any time before June 1, 2021. Dance Chronicle follows the Chicago Manual of Style. Please submit manuscripts through the Taylor & Francis Submission Portal.
Weblink to CFP -- Dance Chronicle: Critical Institutional Studies at bit.ly/