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From: SCUDD List at JISC [mailto:[log in to unmask]] On Behalf Of Alison
Matthews [aem7]
Sent: 12 May 2011 12:50
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Subject: CFP: Performance Research 17.2: 'On Foot'
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Call for proposals
Performance Research 17.2 (April 2012):
'On Foot'
Proposal Deadline: 14 June 2011 (see below for details)
Issue Editors: Carl Lavery (Aberystwyth University) and Nicolas Whybrow
(University of Warwick)
AIMS
Taking as its point of departure the writer Robert Macfarlane's sense of
regret that 'the hand always out-skills the foot', that 'we speak of
manipulation, but not pedipulation', the aim of this issue of Performance
Research is to rethink the expressive and perceptive potential of the foot
in contemporary performance. In addition to its obvious connections with
walking, the editors wish to expand the notion of what might be called
'foot-based performance', or 'being on foot'. We also invite potential
contributors to reflect on the metaphorical significance of the foot in
phrases such as footwork, footnotes, footage, footloose, footprints,
footfalls, footlights and footholds. We are equally interested in the
technical vocabulary associated with the foot as a mode of rhythmic
measurement in music and poetry. One thinks here of words such as metre,
pace and enjambement. The editors' goal for the issue is simultaneously
polemical and creative: by shifting the focus away from sociologically
determined notions of mobility that have, in certain cases, coerced
artists into making work to satisfy the economic and social concerns of
funding bodies, we hope to place the attention back on the foot as a tool
for, and practice of, art-making. The impulse behind this move is to
develop alternative ways of thinking about the increasingly important role
played by the foot - and the steps it would take - in contemporary art and
performance practice, and also as an aesthetic method for perceiving and
(re)arranging the world. As Macfarlane says: 'the foot is extremely
sensitive'.
The editors' methodology for exploring the significance of the foot in
current performance practice is structured around notions of poesis
(making), aisthesis (reception) and discourse (vocabulary). By
concentrating on the aspects above, we intend to illuminate how
practitioners use the foot as an instrument for performance; how audiences
respond to art that sets feet in motion; and how theorists speak about it.
In this way, we seek to enrich and deepen knowledge of current performance
work that centres on the foot. More formal themes and topics that might
arise are listed below, but, as editors, we are also particularly
interested in reflecting on 'states' or 'conditions' related to being on
foot, for example: exhaustion, endurance, duration, companionship,
enchantment, astonishment, stillness, slowness, loitering, standing,
lostness, injury and so on.
FORMAT
Building on the journal's emphasis on the intersection of practice and
theory, we welcome contributions from artists, poets and
performance-makers as well as scholars. Leaving aside theatre and
performance, the interdisciplinary nature of the enquiry means that we
also hope to receive proposals from theorists in fields as diverse as
cultural and/or human geography, architecture, sports science, film,
philosophy and design. A strong visual dimension will be integral to the
issue, and we intend to include photographs, drawings, maps, experimental
typographies and other forms of creative engagement. With this in mind, we
envisage expanding the 'artist's pages' section of the journal to include
3 or 4 different interventions.
KEY THEMES
The issue will approach the role of the foot in performance with the
following general headings in mind:
* Practices
* Genealogies
* Vocabularies
* Experiences
* Politics
POSSIBLE TOPICS MIGHT INCLUDE:
* The dramaturgy/choreography of the foot (audio-tours, installations,
relational practices).
* The foot as a mode of performance (in walking, cycling, running,
climbing, sports, mapping and in performance practices rooted in
endurance, following others, disappearing, carrying etc).
* The role played by the weather, the elements, the landscape in
various
forms of foot-based practice.
* Histories of foot-based performance from the historical avant-garde
to
the present.
* Representations and rhythms of the foot in theatre, film, music,
poetry
and performance.
* The foot as a mode of spectatorial experience.
* The politics of the foot (binding, marches, kettling, trespassing,
guerrilla practices, border-crossing, mobilities, witnessing etc).
* The identity of the foot in performances to do with gender, 'race',
sexuality and disability.
* The foot as a mode of participation and collaboration in performance
(walking with or responding to).
* The ecology of the foot (the carbon foot-print, performances
generated
by footpower, problems and paradoxes of foot-based performance etc).
* Alternative vocabularies for the foot (fugues, errance, orthopedics,
itinerancy, jogging, ambling, jumping, springing etc).
* Metaphors of the foot (footnotes, footprints, flatfoot, first step,
grounding, kick, limp, stumble, the Achilles heel, the instep, the arch
etc).
* Pedagogies of the foot (in philosophy, poetry, geography, sociology
etc).
* Affects of the foot (exhaustion, erotics, astonishment, wonder,
shattering, anxiety, etc).
* Theologies of the foot (pilgrimage, footwashing etc).
* Economies of the foot (eviction, itinerancy, dereliction etc).
* The foot in various regimes of training or preparing for performance
(night-running, improvisation, fitness techniques, endurance, pacing,
breathing, listening, etc).
* Caring for the foot (injury, trauma, recovery, rehabilitation,
strengthening).
SCHEDULE
* Proposals: Tuesday 14 June 2011
* First drafts: Monday 12 September 2011
* Publication date: April 2012
ALL proposals, submissions and general enquiries should be sent direct to:
Alison Matthews: [log in to unmask]
Issue-related enquiries should be directed to the issue editors:
Carl Lavery [log in to unmask]
Nicolas Whybrow [log in to unmask]
All other matters in relation to the Journal PR, please contact Sandra
Laureri: Performance Research: [log in to unmask]
General Guidelines for Submissions
Proposals will be accepted by e-mail (MS-Word or RTF). Proposals should
not exceed one A4 side. Please DO NOT send images electronically without
prior agreement.
Please note that submission of a proposal will be taken to imply that it
presents original, unpublished work not under consideration for
publication elsewhere. By submitting a manuscript, the author(s) agree
that the exclusive rights to reproduce and distribute the article have
been given to Performance Research.
*** END ***
Alison Matthews
Researcher/Doctoral Student
Centre for Performance Research / TFTS
Parry Williams Building
Aberystwyth University
Aberystwyth, Ceredigion,
Wales, UK
SY23 3GH
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