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2018 Convention Call from Performance Studies Interest Group

Monday, June 5, 2017   (0 Comments)
Posted by: Christina Yoshimura
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By Bernadette Calafell, Interest Group Chair

Performance Studies Interest Group

2018 WSCA Convention

February 15 – February 19, 2018

Santa Clara, CA

“Mindfulness and Communication”

 

Call for Papers, Performances, and Programs

Submission deadline: September 1, 2017

 

Refusal to take a moral stand is itself a powerful statement of one’s moral position.

            -Dwight Conquergood, “Performing as a Moral Act: Ethical Dimensions of the Ethnography of Performance”

This is my culture, my entertainment, nothing to laugh over, this is me.

            -Michele Serros, Chicana Falsa: And Other Stories of Death, Identity, and Oxnard

The impetus to speak must be carefully analyzed and, in many cases (certainly for academics!), fought against. This may seem an odd way to begin discussing how to speak for, but the point is that the impetus to always be the speaker and to speak in all situations must be seen for what it is: a desire for mastery and domination. If one's immediate impulse is to teach rather than listen to a less-privileged speaker, one should resist that impulse long enough to interrogate it carefully. Some of us have been taught that by right of having the dominant gender, class, race, letters after our name, or some other criterion we are more likely to have the truth. Others have been taught the opposite, and will speak haltingly, with apologies, if they speak at all…We must also interrogate the bearing of our location and context on what it is we are saying, and this should be an explicit part of every serious discursive practice we engage in…Speaking should always carry with it an accountability and responsibility for what one says.

            -Linda Martín Alcoff, “The Problem of Speaking for Others”

 The Performance Studies Interest Group invites submissions for WSCA’s 2018 annual convention. This year’s theme is “Mindfulness and Communication,” which invites us as an interest group to reflect on the relationship between ethics, performance, and power. The theme further implicates us to be (intersectionally) reflexive and critical about our identities and relationships to performance and what we study. Mindfulness asks us to consider what is at stake in acts of performance. Additionally, the conference theme also encourages us to be mindful of the different iterations of performance, which mirror Dwight Conquergood’s argument that “the performance studies project makes its most radical intervention, I believe by embracing both written scholarship and creative work, papers and performances. We challenge the hegemony of the text best by reconfiguring texts and performances in horizontal, metonymic tension, not by replacing one hierarchy with another, the romance of performance for the authority of the text” (151). Thus, the interest group welcomes submissions that understand performance as a way of knowing through embodiment both on the page and the stage. 

In the spirit of the conference theme, the division invites submissions that explore the relationship between mindfulness and performance. For example, how might mindfulness inform our understanding of Conquergood’s dialogic performative or co-performative witnessing? Where does mindfulness meet ethical questions surrounding performance, particularly in fieldwork or performance ethnography? Is mindfulness important as we enact critical or intersectional reflexivity and speaking for the Other? What is the role of ethics, mindfulness, and fiction in performance studies? What is the relationship between the audience and mindfulness? How might we as performance scholars problematize popular discourses of mindfulness? How might the lens of performance lead us to consider issues of cultural appropriation and mindfulness? In what ways might calls for mindfulness mirror oppressive calls for civility that silence critiques from the margins? Who is implicated and who is silenced in popular iterations of mindfulness? How do these iterations intersect with race, class, gender, sexuality, nationalism, citizenship, and ability? What does mindfulness’ call for “the practice of present moment awareness while remaining non-judgmental about self and others” mean in the age of a Trump presidency? What is the relationship between the role of the performer/critic and mindfulness?

Programs and/panels co-sponsored with other interest groups are encouraged as they increase opportunities for intradisciplinary dialogue and may also allow for more submissions recommended for acceptance to be paneled. Mark the top left of submission with name of the potential CO-SPONSOR INTEREST GROUP.

 

I.               COMPETITIVE PAPERS

a.     Scholar-artists are encouraged to submit papers to the Performance Studies Interest Group for competitive selection. Papers should have a performance studies research focus and can utilize any methodology, critique, and/or theoretical perspective. We welcome diverse and creative approaches to academic research (e.g., critical/cultural, indigenous, queer, feminist, poetic, personal narrative, autoethnography, performance ethnography, among others). Competitive Papers should not: (1) have been presented at another conference or convention; (2) have been published; and (3) have been accepted for publication. All submissions should use APA, MLA, or Chicago style.

b.     Debut Award: The Performance Studies Interest Group welcomes and encourages debut competitive papers. The WSCA Executives Club Award is made to the author or co-authors of a paper presented as the convention “who have not presented a paper at a state, regional, national, or international convention, or published in any academic journal.” Papers presented at student-only conferences are exempt from this requirement. All authors of a co-authored paper must meet these eligibility requirements for a paper to be considered a Debut Paper. Papers eligible for the Debut Award should be marked “DEBUT” in the upper right-hand corner of the title page. Indicate whether each author is a bachelor’s, master’s, or doctoral student.

c.     All papers should be submitted in PDF, RTF, or MS Word format. Submitted papers should include two separate attachments:

                                      i.     A title page with title of paper, names of all authors, and the addresses, phone numbers, email addresses, and institutional affiliations of each author. Also include audio-visual requests only if absolutely necessary for your presentation or performance. You are encouraged to bring your own audio-visual equipment(s) whenever possible. Equipment availability is extremely limited and expensive. See the WSCA policy on Audio-Visual Equipment at Conventions in the Policies and Procedures Manual on the website http://www.westcomm.org/

                                    ii.     The paper, including a 100-250 word abstract, and a maximum of 25 pages of text. Remove authors’ names from the paper.

d.     Please submit competitive and debut papers electronically to:

Bernadette Marie Calafell

Program Planner, Performance Studies Interest Group

Bernadette.Calafell@du.edu

II.             PANEL PERFORMANCES

a.     We invite scholar-artists to submit completed scripts for performances to be scheduled on panels. Panel performances should be between 10-15 minutes and can be in various modes (e.g., critical/cultural, indigenous, queer, feminist, poetic, personal narrative, performance (auto)ethnography, multimedia, digital, etc.). While you are invited to submit program panels featuring a number of short performances (see program proposals below), panel performances are intended for individuals (or groups) with 10-15 minute performances interested in being programmed with other 10-15 minute panel performances. To submit a performance for consideration, submit the following separate attachments:

                                      i.     A title page with title of performance, names of all performers, and the addresses, phone numbers, e-mail addresses, and institutional affiliations for each performer. Also include audio-visual requests only if absolutely necessary for your performance. You are encouraged to bring your own audio-visual equipment(s) whenever possible. Equipment availability is extremely limited and expensive. See the WSCA policy on Audio-Visual Equipment at Conventions in the Policies and Procedures Manual on the web site http://www.westcomm.org

                                    ii.     The completed script. Please remove author and performer names from the script.

b.         Please submit panel performances electronically to:

Bernadette Marie Calafell

Program Planner, Performance Studies Interest Group

Bernadette.Calafell@du.edu

 

III.           SOLO/ENSEMBLE PERFORMANCES

a.     We invite scholar-artists to submit completed scripts and for solo and/or ensemble performances. Solo/ensemble performances are intended to fill an entire panel slot (75 minutes, preferably including time for discussion and/or questions) and can assume various modes (e.g., critical/cultural, indigenous, queer, feminist, poetic, personal narrative, performance (auto)ethnography, multimedia, digital, etc.). To submit a solo/ensemble performance for consideration, submit the following separate attachments:

                                      i.     A title page with title of solo or ensemble performance, names of all performers, and the addresses, phone numbers, e-mail addresses, and institutional affiliations for each performer. Also include audio-visual requests only if absolutely necessary for your performance. You are encouraged to bring your own audio-visual equipment(s) whenever possible. Equipment availability is extremely limited and expensive. See the WSCA policy on Audio-Visual Equipment at Conventions in the Policies and Procedures Manual on the web site http://www.westcomm.org

                                    ii.     The completed script. Please remove author and performer names from the script.

b.     Please submit solo/ensemble performances electronically to:

Bernadette Marie Calafell

Program Planner, Performance Studies Interest Group

Bernadette.Calafell@du.edu

 

IV.           PROGRAM PROPOSALS

a.     Program proposals should focus on a unifying theme relevant to research, theory, or instruction in Performance Studies. Programs may consist of a chair, individual presenters/performers, and a critic or respondent in a format traditionally presented at conferences. However, ensemble or solo performances, debates, round table discussions, performance activities, or other unique formats are encouraged. Innovative program proposals, especially those that provide opportunities for interaction among participants and attendees, are encouraged.

b.     All program proposals should be submitted in PDF, RTF, or MS Word format. Submitted program proposals should include two separate attachments:

                                      i.     A title page with title of program, names of all participants (include specific titles for individuals, if inclined), and the addresses, phone numbers, email addresses, and institutional affiliations of each participant. Also include audio-visual requests only if absolutely necessary for your performance. You are encouraged to bring your own audio-visual equipment(s) whenever possible. Equipment availability is extremely limited and expensive. See the WSCA policy on Audio-Visual Equipment at Conventions in the Policies and Procedures Manual on the website http://www.westcomm.org/

                                    ii.     The proposal, including descriptions of performances, abstracts, or scripts, etc. fitting the format of the proposed program. Remove author names, please.

c.     Please submit program proposals electronically to:

Bernadette Marie Calafell

Program Planner, Performance Studies Interest Group

Bernadette.Calafell@du.edu

 

V.             Western States Communication Association Performance Studies Interest Group Outstanding Contributions to Performance Studies Award (OCPSA)

a.     This award seeks to honor a WSCA member who has completed a terminal degree and has been active with performance studies for more than five years. The criteria for this award are as follows:

                                      i.     Regular past or present attendance to the WSCA convention and active involvement in the performance studies discipline as well as the performance studies interest group

                                    ii.     A robust body of scholarship including both publications and performances

                                   iii.     A history of service to performance studies with specific service to WSCA.

                                   iv.     Persons must be nominated (including self-nominations) by a current WSCA member

                                    v.     Winner should ideally plan to attend the convention in which she/he/ze is being awarded

b.     Deadline: Nominations are due by the WSCA submission deadline. Letters of nomination should be no more than 2 pages and include the following: a brief history of the individual’s work, a justification for awarding the individual, and a description of the contributions made by this individual to WSCA. Please also include a copy of the nominee’s CV. All nominations must be sent via email to the Chair-Elect of the Performance Studies Interest group, Amira De La Garza, who serves as the OCPSA Committee Chairperson.

c.     Submit nominations electronically to:

mindfulheretic@gmail.com and place “OCPSA Nomination” in the subject line.

Should you have questions, do not hesitate to contact the Performance Studies Interest Group chair at: Bernadette.Calafell@du.edu


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